might be expected during the Crusades. Yet in all Europe, outside Spain, but three isolated Arabists of that time are known—William of Tyre, Philip of Tripoli, and Adelard of Bath; and in Spain itself, when Boabdil surrendered in 1492, the tide had run so low that not a thousand Arabs in Granada could speak their native tongue. Nearly two centuries before (in 1311-12) a council under Pope Clement V. advised the establishment of Arabic chairs in the universities of Salamanca, Bologna, Paris, and Oxford. Save at Bologna, the counsel was ignored; and in Spain, where it had once swaggered with airs official, Arabic almost perished out of use. Save a group of technical words, the sole literary legacy bequeathed to Spain by the Arabs was their alphabet. This they used in writing Castilian, calling their transcription _aljamía_ (_ajami_ = foreign), which was the original name of the broken Latin spoken by the Muzárabes. First introduced in legal documents, the practice was prudently continued during the reconquest, and, besides its secrecy, was further recommended by the fact that a special sanctity attaches to Arabic characters. But the peculiarity of _aljamía_ is that it begot a literature of its own, though, naturally enough, a literature modelled on the Spanish. Its best production is the _Poema de Yusuf_; and it may be noted that this, like its much later fellow, _La Alabanza de Mahoma_ (The Praise of Muhammad), is in the metre of the old Spanish "clerkly poems" (_poesías de clerecía_). So also the Aragonese Morisco, Muhammad Rabadán, writes his cyclic poem in Spanish octosyllabics; and in his successors there are hendecasyllabics manifestly imitated from a characteristic Galician measure (_de gaita gallega_). The subjects of the _textos aljamiados_ are frankly conveyed from Western sources: the _Compilation of Alexander_, an orientalised version of the French; the _History of the Loves of Paris and Viana_, a translation from the Provençal; and the _Maid of Arcayona_, based on the Spanish poem _Apolonio_. In the _Cancionero de Baena_ appears Mahomat-el-Xartosse, without his turban, as a full-fledged Spanish poet; and the old tradition of servility is continued by an anonymous refugee in Tunis, who shows himself an authority on the plays and the lyric verse of Lope de Vega.