To the last third division of the sixteenth century belong other poets, celebrated then, but of a merit and order very inferior to those already named:--Juan de la Cueva, who more properly belongs to the history of comedy, is considered amongst its first corrupters; Vicente Espinel, to whom music owes the introduction of the fifth chord in the guitar, and poetry the combination of rhymes in octosyllabic verses, to which was then given the name of _espinela_, but which are now better known under that of _decima_; Luis Barahona de Soto, author of _Las Lagrimas de Angelica_, a poem very celebrated then, and read by no one now; Pablo de Cespedes, sculptor, painter, and poet, in whose didactic poem on Painting breathes, at times, the vigorous and picturesque style of Virgil; Pedro de Padilla, whom some esteemed highly for his pure diction and fluent versification, but poor of fancy and fire; and lastly, others less noted, who cultivated the art, and who, if they did not obtain a great reputation in it, contributed with the rest to give to verse and style more ease, harmony, and copiousness. FOOTNOTES: [Footnote F: The Spaniards call _quebrado_ those shorter verses which are, as it were, _broken_ from, and intermingled with their _redondillas mayores_, or octosyllabic lines, as for example: "Recuerde el alma adormida, Avive el seso y despierte, Contemplando Como se pasa la vida, Como se viene la muerte, Tan callando." MANRIQUE. They do not however strike an English ear as destitute of harmony, but it is a harmony that in any long composition would become very monotonous.]