The mysterious fourteenth-century chronicler known as is universally recognized as having exerted considerable influence on medieval Spanish historiography. His Sumas de historia troyana (= Sumas)dating from the first half of the century-constitutes the first entirely prose treatment devoted exclusively to the Troy material. In addition, Leomarte is credited with the introduction of Guido della Colonna's Historia destructionis Troiae to Spain. Finally, the Sumas are the source for the fifteenth-century Cr6nica troyana, which is in turn an important text in the development of Spanish chivalric romance. Despite these notable achievements, however, this work has received surprisingly little attention since the 1932 edition by Agapito Rey. Even recent literary histories accord Leomarte and the Sumas barely a full sentence. Moreover, what is stressed in this minimal coverage is not literary but biographical in nature-namely, the fact that Leomarte's identity remains shrouded in mystery. Although in all likelihood, nothing will ever be known about the historical Leomarte-he himself inscribes quite a detailed literary self-portrait within the text. More precisely, the identity which he discloses is that of a counterfeit chronicler, and, in so doing, Leomarte participates in a long and impressive tradition of Troy-related impostors. We have only to recall the Greek chroniclers of the first century A.D. Dares and Dictys (who claimed to be eye-witnesses to the events of the Trojan war), their Latin translator (the Roman Cornelius), Benoit de Sainte-Maure (who explicitly relies on Cornelius's translation), Geoffrey of Monmouth (who presents his Historia as a translation of a very old book in the British
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