The first Greek text of the New Testament ever printed came from Alcalá de Henares in 1514. In 1520 the renowned Complutensian Polyglot followed; the Hebrew and Chaldean texts being supervised by converted Jews like Alfonso de Alcalá, Alfonso de Zamora, and Pablo Coronel; the Greek by Nebrija, Juan de Vergara, Demetrio Ducas, and Hernán Núñez, "the Greek Commander." Versions of the Latin classics were in all men's hands. Palencia rendered Plutarch and Josephus, Francisco Vidal de Noya translated Horace, Virgil's _Eclogues_ were done by Encina, Cæsar's _Commentaries_ by Diego López de Toledo, Plautus by Francisco López Villalobos, Juvenal by Jerónimo de Villegas, and Apuleius' _Golden Ass_ by Diego López de Cartagena, Archdeacon of Seville. Juan de Vergara was busied on the text of Aristotle, while his brother, Francisco de Vergara, gave Spaniards their first Greek grammar and translated Heliodorus. Nor was activity restrained to dead languages: the Italian teachers saw to that. Dante was translated by Pedro Fernández de Villegas, Archdeacon of Burgos; Petrarch's _Trionfi_ by Antonio Obregón and Álvar Gómez; and the _Decamerone_ by an anonymous writer of high merit. If Italians invaded Spain, Spaniards were no less ready to settle in Italy. Long before, Dante had met with Catalans and had branded their proverbial stinginess:—"_l'avara povertà di Catalogna_." A little later, and Boccaccio spurned Castilians as so many wild men: "_semibarbari et efferati homines_." Lorenzo Valla, chief of the Italian scholars at Alfonso V.'s Neapolitan court, denounced the King's countrymen as illiterates:—"_a studiis humanitatis abhorrentes_." Benedetto Gareth of Barcelona (1450-?1514) plunged into the new current, forswore his native tongue, wrote his respectable _Rime_ in Italian, and re-incarnated himself under the Italian form of Chariteo. A certain Jusquin Dascanio is represented by a song, half-Latin, half-Italian, in Asenjo Barbieri's _Cancionero Musical de los Siglos xv. y xvi._ (No. 68), and a few anonymous pieces in the same collection are written wholly in Italian. The Valencian, Bertomeu Gentil, and the Castilian, Tapia, use Italian in the _Cancionero General_ of 1527, the former succeeding so far that one of his eighteen Italian sonnets has been accepted as Tansillo's by all Tansillo's editors. The case of the Spanish Jew, Judas Abarbanel, whom Christians call León Hebreo, is exceptional. Undoubtedly his famous _Dialoghi di amore_, that curious product of neo-platonic and Semitic mysticism which charmed Abarbanel's contemporaries no less than it charmed Cervantes, reaches us in Italian (1535). Yet, since it was written in 1502, its foreign dress is the chance result of the writer's expulsion from Spain with his brethren in 1492. It is unlikely that Judas Abarbanel should have mastered all the secrets of Italian within ten years: that he composed in Castilian, the language most familiar to him, is overwhelmingly probable.