The Portuguese poems of ANDRÉ FALCÃO DE RESENDE (1527?-98), born at Evora, nephew of the antiquarian André and of the poet Garcia de Resende, were first published at Coimbra in an incomplete volume _Poesias_ [1865], and consist of the _Microcosmographia_ and some spirited anti-Drake ballads and good sonnets (e.g. _Ó fragil bem_, _Ó breve gosto humano_) and satires. BALTHASAR DE ESTAÇO (born in 1570), Canon of Viseu, and his brother the antiquarian GASPAR DE ESTAÇO, Canon of Guimarães and author of _Varias Antiguidades de Portugal_ (1625), were both born at Evora. The former’s _Sonetos, Eglogas e ovtras rimas_ (1604), published, according to the preface, in the author’s mature age but written in the green, contain some religious sonnets of high merit. A far more celebrated writer than these minor poets was JORGE DE MONTEMÔR (_c._ 1520-61), or _hispanice_ Montemayor, who was early driven by poverty from Montemôr o Velho (where he was born between 1518 and 1528) a few years after Mendez Pinto. Fortunately the latter did not relate his travels in Chinese, but Montemôr, with the exception of a few brief passages[345] in his _Diana_, wrote exclusively in Spanish. In Spain his musical talent gave him a livelihood, and as musician and singer of the Royal Chapel he remained at the Court till 1552, when he accompanied the Infanta Juana as _aposentador_ on the occasion of her marriage with that promising patron of letters, the Infante João. But even before the prince’s death in 1554 Montemôr returned to Spain. In 1555 he may have gone in the train of Philip II to England, and subsequently served as a soldier in Holland and Italy till a duel, perhaps in a love affair, at Turin ended his days in 1561.[346] Despite his brief and restless life Montemôr, who showed in _Las obras de George de Montemayor_ (1554) that he was no mean poet, found time to write one of the most famous books in literature. The date of its publication--it was dedicated to Prince João and Princess Juana--is uncertain, but it was probably an early work. In spirit, since not in the letter, it belongs to Portugal. Its gentle, easy style (Menéndez y Pelayo calls it _tersa, suave, melódica, expresiva_), the sentimental love and melancholy, the introduction of bucolic scenes, the references to Portugal--_cristalino_ applied to the Mondego is no conventional epithet, as only those who have seen its transparent waters can fully realize--mark the _Diana_ as the work of a Portuguese. Its fame soon overleapt the borders of the Peninsula. In Spain it had a numerous progeny, to which Cervantes refused the grace somewhat grudgingly given to Montemôr’s work as ‘the first in its kind’. In Portugal this, the eldest child of Bernardim Ribeiro’s _Menina e moça_, had to wait over half a century before it found a worthy successor in the _Lusitania Transformada_.