11
A. Tinto, «I tipi della Stamperia del Popolo Romano (1561-1570)», Gutenberg Jahrbuch 1967, pp. 26-38; and Il corsivo nella tipografia del Cinquecento (Milan, 1972), pp. 84-87.
12
Vervliet, Sixteenth-Century Printing, p. 301.
13
The Type Specimen of Delacolonge, pp. 50-51 of the introduction and p. 29 of the specimen; also Type Specimen Facsimiles, I, 4, 12, and 13.
14
J. Simón Díaz regards his paternal surname as Martín, not Carmona, so he does not appear among the Cs in vol. 7 of Simón Diaz' Bibliografía de la literatura hispánica (Madrid, 1967); the volume dealing with the MS has not yet appeared.
15
D. W. Cruickshank, «Some Aspects of Spanish Book-production in the Golden Age», Library, 5, No. 31 (1976), 17.
16
That is, as far as Spain is concerned; it also turns up in Lisbon and Coimbra. No doubt printers near the great ports of Seville and Lisbon found it convenient to ship type direct from Antwerp.
17
Vervliet, Sixteenth-Century Printing, pp. 248-49.
18
See D. W. Cruickshank and E. M. Wilson, «A Calderón Collection in Dr. Steevens' Hospital, Dublin», Long Room, 9 (1974), 24 and note 22.
19
Type Specimen Facsimiles, II, 8, no. 8.
20
The Type Specimen of the Vatican Press, ed. H. D. L. Vervliet (Amsterdam, 1967), p. 31 of the introduction and p. 27 of the specimen. This is one of the most modern designs used in Doze comedias; it is apparently unknown in Spain before 1621.