The opening of the 17th century is distin guished by the crowd of imitative epics which naturally followed the success of the Lusiad. Quevedo de Castro, Mascurenhas and Brandam are among the principal authors of these works, the most noticeable feature of which is the na tional patriotism they continue to display after gal. This century is also distinguished by great historical compilations. It was the period of repose after an epoch of great activity and the absorption of the Portuguese nationality in the more powerful monarchy of Spain naturally turned all eyes to the recent period of its glory. The Lusitana' (1597-1690); Ber nardo Brito's of the Kings of Portu Faria de Souza's Portugueza' (1667); 'Asia Portugueza' (1666-75), Portugueza' (1680); Portugueza' (left to manuscript), the historical works of Nunez de Laio, Manoel de Mello and others belong to this epoch. Antonio Vieira, a Jesuit preacher, is one of the most vigorous prose writers of this century. The letters of Alco farrara are also among its notable productions. But the most prolific writer of all was the padre Macedo, who composed a number of epic poems, besides 110 odes and numerous dis sertations. He wrote chiefly in Latin, Spanish and Italian.
The Portuguese drama was nearly extin guished during this century by the predomi nance of the Spanish, to which even Portuguese writers contributed. Cocho Rebello has col lected a number of the minor indigenous pro ductions of the art, 'A Musa Entretenida de Varios Entremeses' (Coimbra 1658).
In the 18th century the influence of the French writers of the age of Louis XIV so completely dominated Portuguese literature that it became almost entirely imitative. Transla tions from and imitations of the French formed the staple of its products in every department, and the nation that gave birth to the Lusiad condescended to copy the Henriade and the Lutrin. Scholarship in this age made greater progress than literature. The academy called the Arcadia was founded in 1757 by Antonio Diniz da Cruze Silva, the Portuguese Boileau, and other promoters of the revival of learning. It became extinct in 1776 and was replaced in 1779 by the Royal Academy of Sciences of Lis bon. Toward the close of this century two writers appeared who have formed schools, Francisco Manoel do Nascimento (1734-1829), an elegant lyrist, and Barbosa du Bocage, who introduced an affected and hyperbolical style of writing, which has been called, from the pen name Elmano, which he adopted, Elmanism.
In the 19th century the classic school was represented by the followers of Manoel do Nas comento, Domingo Maximiano Tores and Ri beiro do Santos. Among poets of the century possessing some claim to originality are Roque, Carvalho Moreira, Mouzinho de Albuquerque, Feliciano de Castilho, Herculano de Carvalho, Almeida Garret, Joao de Lemos, Antonio de Serpa and Palmeirim. Through the efforts of these and other Portuguese literature has again begun to assume an aspect of native vigor. The drama has also been revived by J. B. Gomez, Pomenta de Aguiar, Mendes Leal and A. Herr culano. Alexandre Herculano and Rebello da Silva are also writers of history and historic romance. Castello Branco is a novelist. To the Coimbra School, which found inspiration in the leading writers of modern France and Germany, belong the lyric poet Joao de Deus, the historian Theophilo Braga, the philologist Coelho and other less-known writers. Science, law and political economy are likewise well rep resented.
Portuguese literature is also cultivated with considerable independence and success in Brazil. For an extended discussion of Portuguese Brazilian literature see section Brazil in the article WEST INDIAN, CENTRAL AMERICA AND BRAZILIAN LITERATURE.
The principal architectural monu ments which Portugal possesses are due to the Goths and Moors. There are also numerous architectural relics of the Roman dominion, such as the ruins of an amphitheatre at Lisbon, those of a Corinthian temple dedicated to Diana at Evora and a round tower named after Sertorius. The cathedrals of Coimbra and Braga and the church of Cedofeita at Oporto are due to the Goths. The chateaux Pombal, Feira, Alcobaca, etc., were palaces inhabited by the Saracen princes. There are no native works of any importance. Although the art has been well patronized Portuguese painters are few and have never formed a recognized school; the same may be said of native sculpture.