Petrarch is a key figure in the imitation of Horace in accentual meters. His verse letters in Latin were modelled on the "Epistles" and he wrote a letter to Horace in the form of an ode. However he also borrowed from Horace when composing his Italian sonnets. One modern scholar has speculated that authors who imitated Horace in accentual rhythms (including stressed Latin and vernacular languages) may have considered their work a natural sequel to Horace's metrical variety. In France, Horace and Pindar were the poetic models for a group of vernacular authors called the Pléiade, including for example Pierre de Ronsard and Joachim du Bellay. Montaigne made constant and inventive use of Horatian quotes. The vernacular languages were dominant in Spain and Portugal in the sixteenth century, where Horace's influence is notable in the works of such authors as Garcilaso de la Vega, Juan Boscán, Sá de Miranda, Antonio Ferreira and Fray Luis de León, the last writing odes on the Horatian theme "beatus ille" ("happy the man"). The sixteenth century in western Europe was also an age of translations (except in Germany, where Horace wasn't translated into the vernacular until well into the seventeenth century). The first English translator was Thomas Drant, who placed translations of Jeremiah and Horace side by side in "Medicinable Morall", 1566. That was also the year that the Scot George Buchanan paraphrased the Psalms in a Horatian setting. Ben Jonson put Horace on the stage in 1601 in "Poetaster", along with other classical Latin authors, giving them all their own verses to speak in translation. Horace's part evinces the independent spirit, moral earnestness and critical insight that many readers look for in his poems.