forrado en blanco cendal sembrado de lunas llenas señal de casta final en la cabeça le puso una corona real guarnecida de castañas cogidas del castañal lo que dize la castaña es cosa muy de notar las cinco letras primeras el nombre de la sin par murio de veynte y dos años por mas lastima dexar la su gentil hermosura quien quel sepa loar qu’es mayor que la tristura del que la mando pintar en lo qu’ el passa su vida es en la siempre mirar cerro la puerta al plazer abrio la puerta al pesar abrio la para quedarse pero no para tornar. All the songs attributed to Don Juan Manuel in the _Cancionera_ have a form and structure, which render it probable that they belong to the age in which _El Conde Lucanor_ was written; one, for example, begins thus: Quien por bien servir alcanza Vivir triste y desamado, Este tal Deve tener confianza, Que le traera este cuydado A mayor mal. Another which belongs to the class, called _Villancios_ possesses more poetical merit. It commences thus:-- Muerto es ya, muerto, Señora, El triste que en ley de Amor Era vuestro servitor. La muerte pudo matalle, Pues le distes ocasion, Pero no pudo quitalle De teneros aficion. O pena sin redemcion, Que pena el triste amador En los infiernos de Amor. [45] Sarmiento only briefly notices this arch-priest, and Nicolas Antonio has entirely overlooked him. But Velasquez pays particular attention to him, and gives a long extract from his work. [46] As a specimen by which justice will be done the author, it is sufficient to quote the following passage, which is printed by Velasquez. Don Amor says:-- Entrada de quaresma viume para Toledo; Cuidé estar vicioso, plasentero e ledo. Fallé y gran santiadad, e fisome estar quedo. Pocos me recibieron, niu me ficieron del dedo. Estaba en un palacio pintado de Almagra. Vino a me mucho Dueña de mucho aguno magra Con muchos paternostres e con oracion agra, &c. [47] The celebrated letter of the Marquis de Santillana, which must be more particularly noticed hereafter, contributes its part in illustrating the history of this period. Much however is not to be learned from the letter itself. The commentary on it by Sanchez, in the first volume of the before-mentioned _Coleccion_, is far more instructive. [48] Whoever wishes to become acquainted with the controversies on the early literature of knight-errantry, should resort to Nicolas Antonio, and compare what he says with Eichhorn’s learned view of the subject, including the necessary references, in his Allg. Gesch. der Cult. u. Litt. Theil I. p. 136, &c. Nunez de Liaõ, in his _Origem de Lingoa Portugueza_, also mentions Lobeira as the author of _Amadis de Gaul_.