This article examines the last printed romance of the cycle, Martínez’s “Espejo de príncipes y caballeros (Tercera parte)” in particular the metalepsis present in its prologue. It focuses on its precedents in the sixteenth-century Castilian romances of chivalry, in particular “Amadís de Gaula” and “Olivante de Laura” to understand the use and function of metalepsis in terms of tradition and innovation.