He had a peculiar predilection in the choice of animal pets and was an object of fear and curiosity to the towns people.

His forgery might have been completely successful had he not acknowledged it himself within two or three years after the publication of his brochure.

The fragment will remain a permanent tribute to the excellence of his scholarship, but it is his Ode to Christ Crucified which has made him more generally known, and it is one of the ironies of fate that caused this deformed giant of sarcasm to compose a poem of such tender and touching piety.
Very little is known about Don Joe Antonio Gonzalez de Salas, whose connecting passages, with the exception of one which is irrelevant, are here included.
The learned editors of the Spanish encyclopedia naively preface their brief sketch with the following assertion: "no tenemos noticias de su vida." De Salas was born in 1588 and died in 1654.

His edition of Petronius was first issued in 1629 and re-issued in 1643 with a copper plate of the Editor.

The Paris edition, from which he says he supplied certain deficiencies in the text, is unknown to bibliographers and is supposed to be fictitious.
To distinguish the spurious passages, as a point of interest, in the present edition, the forgeries of Nodot are printed within round brackets, the forgery of Marchena within square brackets, and the additions of De Salas in italics {In this PG etext in curly brackets}.
The work is also accompanied by a translation of the six notes, the composition of which led Marchena to forge the fragment which first appeared in the year 1800.