[231] iii. 275. Pederneira is mentioned again in ii. 390 and iii. 205. [232] The authority is Cristovam Alão de Moraes in his manuscript _Pedatura Lusitana_ (1667) (No. 441 in the Public Library of Oporto). This genealogist, says Castello Branco, _era ás vezes ignorante e outras vezes mal intencionado_. He does not say that Martim Vicente exercised his alleged profession of silversmith at Guimarães, or that Gil was born there. What more probable than for Guimarães, proud of its poetical traditions, to invent a silversmith father for the famous poet-goldsmith? Pedro de Poyares, _Tractado em louvor da villa de Barcellos_ (1672), says that Gil Vicente, _em tempo de D. João o terceiro poeta celebre, foi natural de Barcellos e andam algumas cousas suas impressas_. [233] _Grammatica_, ed. 1871, p. 118. [234] Ibid., p. 81. See J. Leite de Vasconcellos, _Gil Vicente e a Linguagem Popular_, 1902. Feo, _Trattados Quadragesimais_ (1619), f. 10, mentions the _somsonete de pronunciação_ of the _ratinhos_. [235] _Soncas_ occurs no less than seven times in the brief _Auto Pastoril Castelhano_. It occurs twice in the first twenty-eight lines of one of Enzina’s eclogues (_Cancionero de todas las obras_ (Çaragoça, 1516), f. lxxviii, and again f. lxxviii verso and lxxx). [236] A. dos Reis, _Enthusiasmus Poeticus_ (_Corpus Ill. Poet. Lus._, tom. viii, pp. 18-19): _Quem iuvisse ferunt velut olim Polla maritum_. Manuel Tavares, _Portugal illustrado pelo sexo feminino_ (1734), calls her a _discretissima mulher_. [237] _Com muita pena de minha velhice._ Ruy de Pina calls a man _mui velho_ whose father (King João I) would have been but ninety-one in that year (_Cr. de Afonso V_, cap. 105). Cf. Jorge Ferreira, _Ulysippo_, iii. 3: _velho se pode chamar pois vai aos cincoenta anos_. [238] See Barros, _Asia_, 1. vi. 7. Beckford has glowing praise for ‘this gold custodium of exquisite workmanship’: ‘Nothing could be more beautiful as a specimen of elaborate Gothic sculpture than this complicated enamelled mass of flying buttresses and fretted pinnacles’ (_Italy, with Sketches of Spain and Portugal_, Paris, 1834). [239] Reference to gold, jewels, sapphires, pearls, rubies is frequent in his plays. The goldsmith in the _Farsa das Almocreves_ uses the technical word _bastiães_ which occurs in the _Livro Vermelho_ of Afonso V: _E porque alguns Ouriueses tem ora feita algũa prata dourada e de bastiães_. It occurs, however, in the _Cancioneiro Geral_ (_galantes bastiães_), in Resende’s _Miscellania_ (_bestiães_), and other writers. [240] Cf. i. 127, 130; ii. 391, 488; iii. 151, 379. [241] An unfortunate interpolation by the 1834 editors in the rubric of the _Auto da Sibila Cassandra_ was largely responsible for the belief that his patroness was not Queen Lianor but King Manuel’s mother D. Beatriz. Yet the rubric of the _Auto dos Quatro Tempos_ says clearly that _a sobredita senhora_ is King Manuel’s sister.