Similar qualities of precision and ease were developed in encyclopædic treatises like the _Septenario_[3] which, together with the _Fuero Juzgo_, Alfonso drew up in his father's lifetime; and in practical guides such as the _Juegos de Açedrex, Dados, et Tablas_ (Book of Chess, Dice, and Chequers). This miraculous activity astounded contemporaries, and posterity has multiplied the wonder by attributing well-nigh every possible anonymous work to the man whose real activity is a marvel. It has been sought to prove him the author of the _Libro de Alexandre_, the writer of Alexander's _Letters_, the compiler of treatises on the chase, the translator of _Kalilah and Dimnah_, and innumerable more pieces. Not one of these can be brought home to him, and some belong to a later time. Ticknor, again, foists on Alfonso two separate works each entitled the _Tesoro_, and the authorship has been accepted upon that authority. It is therefore necessary to state the real case. The one _Tesoro_ is a prose translation of Brunetto Latini's _Li Livres dou Trésor_ made by Alfonso de Paredes and Pero Gómez, respectively surgeon and secretary at the court of Sancho, Alfonso's son and successor; the other _Tesoro_, with its prose preamble and forty-eight stanzas, is a forgery vamped by some parasite in the train of Alonso Carrillo, Archbishop of Toledo, during the fifteenth century. Alonso de Fuentes, writing three hundred years after Alfonso's death, names him as author of a celebrated _romance_—"_I left behind my native land_"; the rhythm and accentuation prove the lines to belong to a fifteenth-century maker whose attribution of them to the King is palpably dramatic. Great authorities accept as authentic the _Libro de Querellas_ (Book of Plaints), which is represented by two fine stanzas addressed to Diego Sarmiento, "brother and friend and vassal leal" of "him whose foot was kissed by kings, him from whom queens sought alms and grace." One is sorry to lose them, but they must be rejected. No such book is known to any contemporary; the twelve-syllabled octave in which the stanzas are written was not invented till a hundred years later; and these two stanzas are simply fabrications by Pellicer, who first published them in the seventeenth century in his _Memoir on the House of Sarmiento_, with a view to flattering his patron.