But the Italian was met on his own ground. The Neapolitan poet, Luigi Tansillo, declares himself a Spaniard to the core:—"_Spagnuolo d'affezione_." And, later, Panigarola asserts that Milanese fops, on the strength of a short tour in Spain, would pretend to forget their own speech, and would deliver themselves of Spanish words and tags in and out of season. Meanwhile, Spanish Popes, like Calixtus III. and Alexander VI., helped to bring Spanish into fashion. It is unlikely that the epical _Historia Parthenopea_ (1516) of the Sevillan, Alonso Hernández, found many readers even among the admirers of the Great Captain, Gonzalo de Córdoba, whose exploits are its theme; but it merits notice as a Spanish book issued in Rome, and as a poor imitation of Mena's _Trescientas_, with faint suggestions of an Italian environment. A Spaniard, whom Encina may have met upon his travels, introduced Italians to the Spanish theatre. This was BARTOLOMÉ TORRES NAHARRO, a native of Torres, near Badajoz. Our sole information concerning him comes from a Letter Prefatory to his works, written by one Barbier of Orleans. The dates of his birth and death are unknown, and no proof supports the story that he was driven from Rome because of his satires on the Papal court. Neither do we know that he died in extreme poverty. These are baseless tales. What is certain is this: that Torres Naharro, having taken orders, was captured by Algerine pirates, was ransomed, and made his way to Rome about the year 1513. Further, we know that he lived at Naples in the service of Fabrizio Colonna, and that his collected plays were published at Naples in 1517 with the title of _Propaladia_, dedicated to Francisco Dávalos, the Spanish husband of Vittoria Colonna. That Torres Naharro was a favourite with Leo X. rests on no better basis than the fact that in the Pope's privilege to print he is styled _dilectus filius_.