The reign of Juan the Second of Spain (1406-1454), characterized as it was by a succession of conspiracies and internal commotions, represents also one of the most important epochs in the history of Spanish poetry, which up to that period had found expression almost exclusively in the crude though spirited historical and romantic ballads of anonymous origin: Iliads without a Homer, as Lope de Vega called them. The first to attempt a reform in Castilian verse was the Marquis of Villena (died 1434), who introduced the allegory and a tendency to imitate classical models; and although he himself left nothing of consequence, his influence is plainly revealed in the works of his far greater pupils and successors, the Marquis of Santillana and Juan de Mena. Strangely enough, the reigns of Ferdinand and Isabella, and of the Austrian Charles the Fifth, covering the most brilliant and momentous period in Spanish history, are yet marked by comparative stagnation in letters until after the first quarter of the sixteenth century. During the greater part of this period the increasing pomp and formality of the court rendered the poetry correspondingly artificial and insincere. It was not in fact until after many years of constant intercourse with Rome, Naples, and Florence, while the bulk of the noble youth of Spain resorted to the universities of those cities for higher education, that a wide-spread and profound admiration for Italian culture and refinement began to pave the way for another and more important revolution in Castilian poetry than that inaugurated by Villena. Juan Boscan Almogaver, who was the first of his nation to compose verses after the manner of Petrarch, and whose successors in the sixteenth century include some of the most brilliant and inspired lyrists of Spain, was born in 1493 at Barcelona, a city which had witnessed the recent triumphs of the Provencal Troubadours. Boscan, however, from the beginning of his career, preferred to write in Castilian rather than in the Limosin dialect. Of patrician descent, and possessed of ample means, he entered the army like the majority of the young nobles of his age. After a brief but honorable service as a soldier he traveled extensively abroad, which led to his becoming deeply interested in the literature and art of Italy. Meanwhile he had produced verses in the ancient lyric style, but with only a moderate measure of success.