was his Anthology of Castilian Lyric Poets (1890-1908), again 13 volumes devoted to medieval poetry (except the last one, dedicated to Juan Boscán Almogáver). He also devoted much time to his Orígenes de la novela ("The origins of the novel"), three volumes published in 1905, 1907 and 1910, with a fourth posthumous volume where he examined the imitations that La Celestina gave rise to in the 16th century. Simultaneously, he published the Anthology of Hispano-American Poets (1893-1895), 4 volumes that are actually a History of Hispano-American poetry as he titled it when reissuing it in 1911. Although some of his judgments, mainly those related to the defense of Spanish tradition, are no longer accepted, his studies of Spanish literature (Medieval, Renaissance, and Golden Age) are still valuable. He died at Santander. He is buried in Santander Cathedral, where his monument may still be seen. Disciples Among his many disciples can be mentioned: Ludwig Pfandl, German Hispanist and biographer of many important Spanish historical figures; Ramón Menéndez Pidal, founder of Hispanic philology as a scientific discipline; Adolfo Bonilla y San Martín, editor of the Obras completas of Miguel de Cervantes, among other works; and José María Sánchez Muniaín, chair of Aesthetics at the Universidad Complutense de Madrid, who compiled the Antología general de Menéndez Pelayo. Summary of important works La ciencia española (1876) is a claim of the existence of a scientific tradition in Spain. Horacio en España (1877) is an analysis of the translations of Horace in Spanish literature, according to Horace's classical dispositions. His work Historia de los heterodoxos españoles (1880–1882) is particularly famous and valued today especially where the Christian traditions of Spain are studied. From the Middle Ages to the ending of the 19th century, he breaks down the work of all the thinkers and writers persecuted by the Spanish Catholic traditions, taking the perspective of Catholicism. In his second edition he corrected some of his perspectives, but not, for example, his jests and ironies against the Krausists and the Hegelianists, especially Emilio Castelar. Historia de las ideas estéticas en España (1883–1891) is five volumes long and very up to date. They explore, summarize, and reinterpret the existing bibliography about literary esthetics and artistics in distinct eras of the Spanish cultural tradition. Menéndez Pelayo took on three large works that would keep him occupied almost until the time of his death. One is the publication of Obras