TSF, 1, 1; Vervliet, Sixteenth-century Printing Types, p. 268.

For the Haultin Augustine, see TSF, 1, 14 (396). The earliest known version of this face was in use in 1559.

For Van den Keere's original capitals (cut by 1570), see Vervliet, Sixteenth-century Printing Types, pp. 330-33. The copy was in use in Spain by the 1580s, but I know of no published specimen.

See A. F. Johnson, «The Italic Types of Robert Granjon», The Library, IV, 21 (1940-41), 291-97, no. 5.

For these arguments, see D. W. Cruickshank, «The First Edition of El burlador de Sevilla», Hispanic Review, 49 (1981), 443-67.

Professor H. W. Hilborn, in his Chronology of the Plays of D. Pedro Calderón de la Barca (Toronto, 1938), deals with the play under the heading «comedias of the period 1633-36», and dates it «1633 or very slightly earlier» (p. 24). Professor S. F. Wexler, in his edition of the play (Salamanca, 1966), p. 15, suggests that La cruz en la sepultura dates from 1623-28, and the slightly different La devoción de la cruz from 1629-31. Given that he did not then know of our Parte 23, this seems a good guess.

For example, La cisma de Ingalaterra, once plausibly dated after the execution of Charles I of England (January 1649), must come back to 1627 because of a performance record; and La hija del aire, dated 1650 or 1653 from either a dubious early edition or a performance record, must come back to 1643 at least, on the basis of another recorded performance.

I refer to the revised Spanish edition, i. e. S. Griswold Morley and Courtney Bruerton, Cronología de las comedias de Lope de Vega (Madrid, 1968).

A. Paz y Melia, Catálogo de las piezas de teatro que se conservan en el Departamento de Manuscritos de la Biblioteca Nacional, 2 vols (Madrid, 1934-35), 1. 540. no. 3579.

For a list, see Edward M. Wilson and Don W. Cruickshank, Samuel Pepys's Spanish Plays (London, 1980), pp. 131-35.