note of a haughty, or even arrogant patriotism, which is the finest in Spanish poetry. Even in his case we have examples of the same premature maturity noted in Boscan. One of his epistles addressed to this very writer begins by the Horatian “Nil admirari”--an excellent maxim, perhaps, but chilling in the first youth of a poetry. Mendoza wrote not only in the Tuscan, but the native metres, couplets, and _glosas_. The _glosa_ is a favourite exercise of verse-making ingenuity with the Spaniard. It consists in taking any stanza of whatever number of lines, and building on it a poem of the same number of stanzas as there are lines. Each must end in one of the lines of the foundation stanza taken in their order. They must be brought in without violence, and the whole must be a variation on the theme of the stanza quoted. Diego de Mendoza outlived Charles V., and spent his last years in exile at Granada, incurred by a too great promptitude in resenting impertinence within the precincts of the Court. [SN: _The two schools of Salamanca and Seville._] It has been the custom to divide the poets of Spain into the Castilian and the Andalusian, or those of Salamanca and those of Seville. The division is somewhat arbitrary, and corresponds to very little distinction in tone, method, or language among the writers, or at least so it seems to a foreigner who compares Luis de Leon with Hernan de Herrera, though the first is counted as the chief of the school of Salamanca, and the second as the chief of the school of Seville. Both wrote the same fine Castilian, both were good scholars, and there was the same intense religious feeling, the same high patriotism, in both. Luis Ponce de Leon (1528-1591), as if to show how artificial this distinction is, was born at Granada, which is one of the sub-kingdoms of Andalusia.[12] He was an Augustine friar, and occupied two important chairs in succession at Salamanca. Between 1572 and 1576 he was imprisoned by the Inquisition. The charge made against him was that he had translated the _Song of Solomon_, which, at a time when the Reformers were making an active use of the Bible in the vernacular tongues against the Church, was a serious offence. The leader of the attack on him was the Dominican Melchior Cano, of whose _De Locis Theologicis_ Dr Johnson wrote, “Nec admiror, nec multum laudo.” It is a well-known story of Luis de Leon that when the verdict of the Holy Office was given in his favour, and he was allowed to resume his lectures, he began where he had left off, and with the words, “As we were saying yesterday, gentlemen.” His poetry may be divided into that part which is inspired by Horace, and that which is inspired by the Bible. It is perhaps only natural that he should appear to more advantage when he is paraphrasing the description of a perfect wife from the _Proverbs of Solomon_ than when he is endeavouring to adapt the _lira_ of Garcilaso to some theme obviously taken because it bore