See B. Scarfe, «A Role for Watermarks in Bibliographical Description», Bulletin of the Bibliographical Society of Australia and New Zealand, 12 (1978), 85-101. The standard textbooks on watermarks (but which are unlikely to be of much help to Hispanists) include C. Briquet, Les Filigranes (Paris, 1907, and Amsterdam, 1968); F. de Bofarull y Sans, Los animales en las marcas de papel (Barcelona, 1910 and, in English, Hilversum, 1959); W. A. Churchill, Watermarks in Paper in the XVIIth and XVIIIth Centuries (Amsterdam, 1935 and 1967); E. Heawood, Watermarks Mainly of the XVIIth and XVIIIth Centuries (Hilversum, 1950, and Amsterdam, 1970). See also Péligry, «Les difficultés de l'édition castillane», 272-5.

The first was published in Verona in 1976; the second will consist of three volumes, of which two have been published (Kassel, 1979, 1981). No other major author has been treated so comprehensively. Lopistas must make do with the «Bibliografía de las obras dramáticas de Lope de Vega» in Castro and Rennert, Vida de Lope de Vega, pp. 431-503, or with R. L. Grismer's Bibliography of Lope de Vega, 2 volumes (Minneapolis, 1965); S. G. Morley and C. Bruerton, The Chronology of Lope de Vega's comedias (London & New York, 1940; revised Spanish edition, Madrid, 1968), though not a bibliography, is always helpful. There are bibliographies for many other authors, and CA. de la Barrera's Catálogo bibliográfico y biográfico del teatro antiguo español (Madrid, 1860 and London, 1968) is still worth consulting.

P. P. Rogers, The Spanish Drama Collection in the Oberlin College Library - A Descriptive Catalogue (Oberlin, 1940); J. A. Molinaro, J. H. Parker and E. Rugg, A Bibliography of comedias sueltas in the University of Toronto Library (Toronto, 1959); B. B. Ashcom, A Descriptive Catalogue of the Spanish comedias sueltas in the Wayne State University Library and the Private Library of Professor B. B. Ashcom (Detroit, 1965); W. A. McKnight and M. B. Jones, A Catalogue of the comedias sueltas in the Library of the University of North Carolina (Chapel Hill, 1965); J. Moll, Catálogo de comedias sueltas conservadas en la Biblioteca de la Real Academia Española (Madrid, 1966); A. J. C. Bainton, Comedias sueltas in Cambridge University Library: A Descriptive Catalogue (Cambridge, 1977); M. V. Boyer, The Texas Collection of comedias sueltas: A Descriptive Bibliography (Boston, 1978); E. M. Wilson and D. W. Cruickshank, Samuel Pepys's Spanish Plays (London, 1980); H. E. Bergman and Szilvia E. Szmuk, A Catalogue of comedias sueltas in New York Public Library, 2 volumes (London, 1980-81). Karl C. Gregg, An Index to the Spanish Theatre Collection in the London Library (Charlottesville, 1984).

W. F. Hunter, «Métodos de crítica textual», in Hacia Calderón, edited by H. Flasche (Berlin, 1970), 13-28; see also V. Dearing, Methods of Textual Editing (Los Angeles, 1962).

See, for example, E. M. Wilson's «Notes on the Text of A secreto agravio secreta venganza», BHS, 35 (1958), 72-82; «The Text of Calderón's La púrpura de la rosa». MLR, 54 (1959), 29-44; and «La edición príncipe de Fieras afemina amor de don Pedro Calderón de la Barca», RBAM, 24 (1960, for 1955), 7-28.

See H. Love, «The Computer and Literary Editing: Achievements and Prospects», in The Computer in Literary and Linguistic Research, edited by R. A. Wisbey (Cambridge, 1971), pp. 47-56; for a more recent (and more technical) review, see W. Ott, «A Text Processing System for the Preparation of Critical Editions», Computers and the Humanities, 13 (1979), 29-35; for a practical example, see R. L. Widmann, «The Computer in Historical Collation: Use of the IBM 360/75 in Collating Multiple Editions of A Midsummer Night's Dream», in The Computer in Literary and Linguistic Research, pp. 57-63.

See Caroline Monahan, «The Transmission of the Text of Luis Vélez' Los hijos de la Barbuda», The Library, V, 33 (1978), 153-7, especially the stemma on p. 156.

W. W. Greg, «The Rationale of Copy-text», SB, 3 (1950-51), 33.

For example, a variant quintilla whose rhyme-scheme differed from the consistent ababa of all the others in a passage helped Dr. Monahan to reject one possible copy-text in favour of another: «The Transmission of the Text of Luis Vélez'...», 157.

For example: «Para enesto no hay mejor, que recorrer alos estampadores, a quien principalmente el officio y cargo de bien apuntar la escriptura esta encomēdado»: Juan de Yciar, Arte subtilissima, por la qual se enseña a escreuir perfactamente, a facscimile of the 1550 edition, prepared by Evelyn Shuckburgh and Reynolds Stone (Oxford, 1960), L3v. Or consider the title of Francisco Tomás de Cerdaña's booklet: Breve tratado de orthographia latina, y castellana, sacada del estilo de buenos autores latinos y castellanos, y del uso de buenos tipografos (Valencia, 1645).