Eight sacred works are attributed to Anchieta in the manuscript Segovia s.s. This is significant enough in itself, if only because it adds three pieces—two unica and one sole attribution—to his worklist, and because he is by far the most often cited Spanish composer there. More important for our deeper understanding of Anchieta’s life and works, Emilio Ros-Fábregas’s recent and persuasive dating of the Segovia manuscript to 1498 and a bit after enables us to say with gratifying security that these eight compositions fall into the first decade or so of his documented career and thus allows us to divide his works broadly into early and not-necessarily-early. 1 It is a distinction, however rough-hewn, that at the moment cannot usefully be made for any of his Spanish contemporaries, and it is very welcome indeed in Anchieta’s case.