The different sensations resulted from Vieira Lusitano garnish and ungarnish drawings observation, registered in a few museums in our country, led us to consider other reasons beyond the painter intentions to promote this creative step in art itself. Painters ennoblement was more dependent in social origins rather in artistic merits, besides they continued to be overshadowed by mechanical overview. Vieira, however, despite ascending to the highest rank that a painter could aspire, among many other achievements, never felt truly recognized in the higher social spheres, yet never had an active voice on trying reversing the situation. In this article, we propose to prove that the garnishes used in Evora Museum drawings served two objectivs: first, to distinctively “perpetuate” his most important works from the social promotion point of view that had been destroyed in Lisbon great earthquake; second, point out the drawings and presenting them as fruit of the intellect – «thoughts».