[1] This work, celebrated for its literary and theatrical contributions, is dedicated to His Excellency Theodoro Trivulzio, Cardinal of the Holy Roman Church, Prince of Musocco.

[1][2] The volume is structured into five books, each inspired by a Muse from classical mythology—Calliope, Clio, Melpomene, Erato, and Thalia—and features a range of poetic and dramatic works.

These works, dedicated to prominent figures of the time, showcase Medrano’s mastery of classical and preceptivist forms, blending poetic elegance with moral and religious themes.

Only the first volume was published, as the second, printed somewhat later, was lost in a shipwreck while en route to Spain, as indicated by Cayetano Alberto de la Barrera in his bibliographic catalog.

Within, you will find a variety of ingeniously crafted verses, as refined and inspired as the offspring of the brilliant mind of Don Sebastián Francisco de Medrano.

[11] The first book of the works of Sebastián Francisco de Medrano (pages 1–20) is introduced as a tribute to the epic and heroic style, under the inspiration of Calliope, the greatest of the Muses.

[12] Sebastian Francisco de Medrano's work is notable for the poems dedicated to the five muses: Calliope, Clio, Melpomene, Erato, and Thalia.

Urzáiz also mentions a fifth play, divided into two parts, Los estragos por la hermosura, attributed to Medrano in a manuscript catalog from the BMPS.

Given Medrano's limited theatrical production, the comedies in this volume gain relevance due to their differences in style and forms among themselves, as well as their bibliographical history.

More than a conventional comedy, it is more like a poetic declamation by each of the gods, in which Sebastian Francisco de Medrano showcases the use of verse in the classical and preceptivist manner through their dialogues.

[4] Sebastian Francisco de Medrano's El lucero eclipsado, San Juan Bautista,[15] is a tragedy about the martyrdom of Saint John the Baptist.

As Pérez de Priego commented: He would conceive his tragedy as a pure academic exercise, aimed more than anything at proving the viability of classicist precepts, so that it can be seen - as Solórzano stated in the prologue - that there are those in Spain who know how to do it with great care.

[17] The characters in Sebastian Francisco de Medrano's "El Lucero Eclipsado, San Juan Bautista" are a reflection of the biblical story with the necessary licenses for theatrical construction: Truth in the habit of a nymph; King Herod, tetrarch of Galilee; Heliab, prince; Shimei, Abner and Ananias, his disciples; Asher, tribune; Gershom, mayordomo of King Herod; Queen Herodias and her daughter Salome; Saint John, star of the sun and the choir of intelligence.

[18] The description by Manos Teatros of the manuscript once again makes clear the confusion regarding the comedy: "By the hand of the bookseller Matías Martínez, with some handwritten notes from Don Francisco de Rojas.

[4] Medrano dedicated his Favores de las Musas to "the Most Eminent and Excellent Lord His Excellency Theodoro Trivulzio,[21] Cardinal of the Holy Roman Church of the Title of San Crisogono, Legate a latere of the Holy Apostolic See and of our Most Blessed Lord Pope Urban VIII, in the Province of La Marca of Ancona, Vicar General in spiritual, civil, and temporal matters of the Holy Roman Empire, Prince of Misocco and the Misolcino, Count of Melcio and Gorgonzola, Lord of Cotono and Venzaguelo": Most Eminent and Excellent Lord, As Your Eminence has no need of panegyrics or praises—being such a distinguished prince by lineage, with the antiquity of your house so well-known and your illustrious and celebrated name so frequently repeated; and for being a heroic master of moral virtues, a zealous protector of divine ones, and an insightful patron of intellect—I focus solely on seeking in you a Maecenas who might shelter this book.

Bartholome Corradi of the Order of Preachers: The Reverend Father Master Fray Juan Miguel Pio de Bolonia, Inquisitor General of the State of Milan, entrusted me to examine this book, and I have read it not only with pleasure but also with admiration.

[6] Medrano, addressing the Venerable, Illustrious, and Revered Inquisition of the State of Milan[23] at the outset of his miscellany, simultaneously reveals the intricate process of Golden Age literary approval, writing: "I dedicate myself to the holy memory of such an exalted Tribunal, and I wish to be a part of it, so that the world may know (if my works are worthy of such an esteemed honor) the care that this sacred Inquisition takes in preventing the significant inconveniences that arise from granting permission to print any paper without it first being seen, examined, and approved.

For once the bad seed is sown, it is difficult to uproot before it multiplies ... May it please God that, in other kingdoms and provinces, books would not be entrusted to those who approve them merely for the vanity of placing their name, rather than for the benefit of Christian virtue and public example.

To be of benefit to those who wish to learn, to delight poets with something agreeable and fitting, and to offer the promise of perpetuity, not on perishable paper but written in eternal bronze, for our age and for future generations to emulate.