[280] They were published separately in the following century: Lisboa, 1649. [281] Many writers note the large number of priests. The north of Portugal is _chea de muitos sacerdotes_ says Dr. João de Barros in his _Libro de Antiguidades_, &c., a book full of curious information collected by the author when he was a magistrate (_ouvidor_) at Braga, and written in 1549. [A different work, _Compendio e Summario de Antiguidades_, &c., variously attributed to Ruy de Pina and to Mestre Antonio, surgeon to King João II, appeared in 1606.] Gil Vicente was never in India, otherwise he would certainly have borne witness to the devotion and courage of monks and priests in the East and on the dangerous voyages to and from India. [282] The anonymity may have been intentional, to emphasize the fact that there was no personal allusion to any of the poor _escudeiros_ who thronged the capital and Court. [283] _Ep._ ii. 57. [284] Letter from Evora, March 26, 1535. [285] In the same play reappears Vicente’s Spaniard: _Castelhano muy fanfarrão_. [286] According to the _Arte de Furtar_, _decimas_ and sonnets were written on the subject of a poor _fidalgo_ who was in the habit of sending his _moço_ to two shoemakers for a shoe on trial from each, since they would not trust him with a pair. [287] If the _Dialogo da Resurreiçam_ be counted separately we have forty-four in all. [288] Index of 1551. See C. Michaëlis de Vasconcellos, _Notas Vicentinas_, i (1912), p. 31. But here again the _Auto da Vida do Paço_ might be the _Romagem de Aggravados_. [289] Cf. Barros, prefatory letter to _Ropica Pnefma_ (May 25, 1531): _falam tam solto como se estivessem em Alemanha nas rixas de Luthero_. [290] _Notas Vicentinas_, p. 21, where the letter is given in the original Italian and in Portuguese. The Legate had lent a cardinal’s hat for the occasion, little realizing that it was to be worn by one of the actors in such a play (a witness to the realism with which Vicente’s plays were staged). [291] His tolerant spirit, expressed in his letter to the King in 1531, was remarkable in an age not very remote from the day when Duarte de Brito wrote to Anton de Montoro (_c._ 1405-80) that he would have been burnt had he written in Portugal the blasphemous lines addressed to Queen Isabella of Spain: Si no pariera Sanctana hasta ser nacida vos, de vos el hijo de Dios, rescibiera carne humana. [292] As indeed they were to Milton: ‘Mombasa and Quiloa and Melind’. On the other hand, Garcia de Resende in one of the _decimas_ of his _Miscellania_ has twenty-six names: _Tem Ceita_, _Tanger_, _Arzilla_, &c., ordered rather for the rhyme than for harmony. [293] He does not attack them without exception. There is much good sense in the _clerigo_ of Beira, and true charity in the _frade_ of the _Comedia do Viuvo_. [294]