On 3 May 1386 Bernat participated publicly in a partimen (poetical debate) with Jacme Rovira before the judges Germà de Gontaut and Ramon Galbarra at the Consistori del Gay Saber in Toulouse.
The final segment of the manuscript, completely without decoration, is devoted to the troubadours (many probably contemporary) of the "school of Toulouse", associated with the later Consistori del Gay Saber.
The generic classifications of the Cançoneret follow those of the Doctrina de compondre dictats, possibly of Raimon Vidal, and the "rules" of the Consistori del Gay Saber, codified in the Leys d'amors.
Gai Saber draws its name from a medieval Occitan poetic academy that traces its roots to the regions influential troubadour culture.
At that time he was one of the seven maintainers (mantenidors) of the Consistori del Gay Saber, an Occitan poetric academy in Toulouse.
Some poems vary the metre but it is always intentional: Gilabert is second to none among his generation in the perfection of his metre, which appears to be influenced by the standards of the Consistori del Gay Saber in Toulouse.
Lorenç presented a certain vers figurat (figured verse), Sobre·l pus alt de tots los cims d'un arbre, to the Consistori del Gay Saber in Toulouse, a mystic allegory of Jesus Christ (Ihus lo salvaire), who is the auzel(l)et tot blanch (little all-white bird), and the Jews, who are a corps mot vils (most vile corpse).
The Leys d'amor, the guiding treatise of the Consistori de Tolosa and the Consistori de Barcelona, condemned the maldig especial (regarded as usually a type of sirventes), which attacked a specific individual (alquna certa persona: some certain person).
He was the "last of the troubadours" and represented l'esprit le plus brillant (the most brilliant spirit) of the "Toulousain School".
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The Doctrinal follows the grammar put forward later by the Consistori del Gay Saber of Guilhem Molinier and it is structurally identical to Guilhem's Leys d'Amors.
It was derived from a Provençal expression (gai saber) for the technical skill required for poetry-writing that had already been used by Ralph Waldo Emerson and E. S. Dallas and, in inverted form, by Thomas Carlyle in "the dismal science".
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