Alfonso X reproached Pero da Ponte for not singing like a Provençal but, rather, like Bernaldo de Bonaval (first half 13th c.). King Dinis in the second half of the century viewed the _cossante_ with such favour that he wrote or collected some of the most curious and delightful that we possess. But although King Dinis set his name to a handful of the finest _cossantes_, most of the _cossante_-writers belonged to an earlier period and were men of humble birth. Of NUNO FERNANDEZ TORNEOL[47] (first half 13th c.), poet and soldier, besides conventional _cantigas de amor_ we have eight simple _cossantes_ of which the _alvorada_ (C. V. 242), the _barcarola_ (C. V. 246), and C. V. 245 with its dance rhythm are especially beautiful. PEDR’ ANEZ SOLAZ[48] (early 13th c.) wrote a _cossante_ (C. V. 415) celebrated for its refrain, _lelia doura, leli leli par deus leli_, in which some have seen a vestige of Basque (_il_ = dead). Of MEENDINHO (first half 13th c.) we have only one poem, a _cantiga de romaria_ (C. V. 438), but its beauty has brought him fame;[49] and another _jogral_, FERNAND’ ESGUIO[50] (second half 13th c.), is remembered in the same way chiefly for C. V. 902: _Vayamos, irmana_. Bernaldo de Bonaval, one of the earliest Galician poets, and the _jograes_ Pero de Veer, Joan Servando, Airas Carpancho,[51] Martin de Ginzo,[52] Lopo and Lourenço, composed some charming pilgrimage songs in the second third of the thirteenth century. This was a popular theme, but the two poets who seem to have felt most keenly the attraction of the popular poetry and to have cultivated it most successfully are JOAN ZORRO (fl. 1250) and PERO MEOGO (fl. 1250). The _cossantes_ of Zorro, one of the most talented of all these singers, tell of Lisbon and the king’s ships and the sea. In this series of _barcarolas_ (C. V. 751-60) and in his delightful _bailada_ (C. V. 761)[53] he evidently sought his inspiration in popular sources, as with equal felicity a little later did Pero Meogo,[54] whose _cossantes_ (C. V. 789-97), each with its biblical reference to the deer of the hills (_cervos do monte_), are as singular as they are beautiful. MARTIN CODAX at about the same time was singing graceful songs of the _ondas do mar_ of Vigo (C. V. 884-90). But the real poet of the sea was the Admiral of Castille, PAY GOMEZ CHARIÑO[55] (†1295). He belonged to an ancient family of Galicia, was prominent at the Courts of Alfonso X (between whose character and the sea he draws an elaborate parallel in C. A. 256) and of his son Sancho IV, played an important part in the troubled history of the time, and fought by land and sea in Andalucía, at Jaen in 1246 and Seville in 1247. On the lips of his _amiga_ he places a touching _cantiga de amigo_ (C. V. 424: she expresses her relief that her _amigo_ has ceased to be _almirante do mar_; no longer will she listen in sadness to the wind, now her heart may sleep and not tremble at the coming of a messenger) and the two sea _cossantes_ C. V.