camara_, and he continued as a Court official, first, perhaps, in the service of the heir to the throne, Prince João, who died on January 2, 1554, and then in that of King Sebastião. In 1563 he was succeeded as Secretary (_escrivão do Tesouro_) by Luis Vicente, probably son of the poet Gil. The document[380] which nominates his successor by no means implies his death, since, as Menéndez y Pelayo[381] observed, his name is unaccompanied by the formula _que Deus perdoe_ or _aja_. But it is strange, if he did not die till 1585, the date given by Barbosa Machado, that nothing more is heard of him after 1563 (we are told that his son died at the battle of Alcacer Kebir), and that his son-in-law called _Aulegrafia_, written before the death of Prince Luis (1555), his swan-song.[382] Apart from manuscript treatises which were never published, Jorge Ferreira is the author of four works in prose, the three plays, _Eufrosina_, _Ulysippo_, _Aulegrafia_, and the _Memorial da Segunda Tavola Redonda_. The latter is an involved romance of chivalry[383] which describes the adventures of the Knight of the Crystal Arms, emulator of the Knights of the Round Table and Amadis of Gaul. Each chapter commences with a brief sententious reflection, from which the reader is plunged into mortal combats of knights, centaurs, giants, and dragons. It begins by giving an account of King Arthur, his disappearance, and the prosperous reign of Sagramor. It ends with a vivid description of the tournament (August 5, 1552) at Enxobregas (= Xabregas) in which the ill-fated Prince João was the principal figure. Barbosa Machado included among Ferreira de Vasconcellos’ works _Triunfos de Sagramor em que se tratão os feitos dos Cavalleiros da Segunda Tavola Redonda_ (Coimbra, 1554). A passage in the _Memorial_[384] may have led to the belief that this was a second part of the _Memorial_, of which the first known edition is that of Coimbra, 1567, but from the preface[385] it appears that the _Memorial_ _is_ the _Triunfos_. The title _Triunfos de Sagramor_ may have been given to an earlier edition,[386] or it may have been the title of the second half of the work. The author himself declares that his story had been ‘presented’ to Prince João.[387] The editor of _Ulysippo_ in 1618 says that the _Memorial_ had been printed at least twice during the author’s lifetime.[388] Yet it is difficult not to suspect that the date 1554 was a confusion with the year of the death of the prince to whom the work was dedicated. The same uncertainty, as we have seen, prevails as to the date of the first edition of the author’s masterpiece _Eufrosina_. (He published his plays anonymously, partly perhaps for the same reason that made him insist that his characters represented no definite persons but types.) The earliest edition that we have is that of Evora, 1561, that of Coimbra, 1560, having disappeared, if it ever existed.[389] The words on the title-page, _de nouo reuista & em partes acrecentada_, need