Widely known to music history as a theorist, Vicente Lusitano’s compositions—important examples of Portuguese polyphony in the mid-sixteenth century—have not yet been presented to the wider public in a scholarly edition. Lusitano sheds new light on the diversity of people involved in making polyphony in early modern Europe, and his Liber primus epigramatum (Rome, 1551; RISM 990038714) represents the earliest known works to have been brought to print in Europe by a person racialized as Black. This edition presents all of his surviving authenticated works: the twenty-three motets for five, six, and eight voices contained in the Liber primus, a five-voice setting of Psalm 128 preserved at the Württembergische Landesbibliothek (shelfmark Cod. mus. I fol. 3), the four-voice “Heu me, Domine” from the manuscript Tratado de canto de organo (RISM 1001262952), and the three-voice madrigal “Allor ch’ignuda,” anthologized in Il primo libro delle muse (Venice, 1562; RISM1000000576). Transmitted in print and manuscript sources from Italy, France, Germany, and the Iberian Peninsula, these high-quality works reflect the wide geographical range of Lusitano’s career and can enrich our understanding of the development of polyphonic composition after Josquin.