See Carmen Bernis, «Las miniaturas de El cancionero de Pero Marcuello», AEA, XXV (1952), 1-24, at p. 4, and María del Carmen Marín Piña, «Composición y cronología del Cancionero de Pedro Marcuello», AFA, XLIV-XLV (1990), 161-76, at pp. 169-76.

«El cancionero de Pero Marcuello». in The Age of the Catholic Monarchs, 1474-1516: Literary Studies in Memory of Keith Whinnom, ed. Alan Deyermond & Ian Macpherson (Liverpool: University Press, 1989), pp. 48-56, at p. 49.

Since I have not examined the manuscript, I am in no position to comment on codicological matters. It may, however, be useful to record the views of scholars on this question. The first description of the manuscript was given by Félix Latassa y Ortín in an extensive account, written in 1775 and published by Toribio del Campillo, «El cancionero de Pero Marcuello», in Homenaje a Menéndez y Pelayo en el año vigésimo de su profesorado: estudios de erudición española (Madrid: Victoriano Suárez, 1899), I, 745-800. In 1952 the art historian Carmen Bernis, studying the miniatures, drew attention to discrepancies between Latassa's account and the present state of the manuscript, concluding that some folios were misplaced between its disappearance in 1835 from the Real Cartuja de Nuestra Señora de Aula Dei in Saragossa, where Latassa examined it, and its reappearance in the Musée Condé. Her opinion is rejected by Michel Garcia (p. 56, notes 8 & 10-12), who concludes that the discrepancies are due to errors in Latassa's account. Since Garcia's article is the fruit of a detailed study of the manuscript, that should be the end of the matter, but the debate was continued by María Carmen Marín Piña in 1990 (surprisingly, the problem is not mentioned in Blecua's edition). Marín Piña had not examined the manuscript (p. 168, n. 21), a fact that seems at first sight to deprive her views of authority. She did, however, examine the partial copy made as part of the ambitious project for a complete collection of cancionero poetry. This project, begun in 1807, was interrupted by the French invasion of the following year, but it already filled eleven volumes (Biblioteca Nacional, Madrid, MSS 3755-65). Marín Piña finds that the copy (which Garcia does not mention) corresponds in important respects with Latassa's description (pp. 164-68), and concludes: «En fecha posterior a 1807, el volumen fue reencuadernado con seis folios desplazados de su posición originaria» (p. 168), though, for reasons given in n. 21, she cannot identify them with any certainty. The question thus remains open.

Poem 6, line 1, and Poem 5, line 1; Blecua, pp. 25 & 23. All quotations of the Cancionero are from this (the only) edition, and references will be given in the form 6.1). Blecua does not number the poems, but his divisions between the poems are revealed by the line-numbers and are usually confirmed by the rubrics and/or the placing of the miniatures. In the quotations, I regularize the use of i/j, u/v, and c/ç. The miniatures were discussed half a century ago in the authoritative article by Carmen Bernis. Compare «tratado ystoriado» with «cest estorie» in the corner of the Hereford Mappamundi: see P. D. A. Harvey, Mappa Mundi: The Hereford World Map (Hereford: Hereford Cathedral; London: British Library, 1996), p. 7.

Its chronology is discussed by Bernis and, developing her work, by Marín Piña, pp. 168-76. Marín Piña's carefully argued study concludes that there were four redactions: poems dedicated to the Catholic Monarchs (1482), a section dedicated to Princess Juana (c. 1488), a revised version dedicated to Juana (c. 1492), and poems written in 1502 when the Cancionero took the form in which we have it.

El cancionero del siglo XV, c. 1360-1520, ed. Brian Dutton, BESXV, Serie Maior, 1-7 (Salamanca: BESXV & Universidad de Salamanca, 1990-91), VII, 391. I first wrote «inexplicably listed [...] as a single poem», but I now see that there is an explanation: Marcuello's use of «tratado» to describe his work. However, although Dutton's decision is explicable, I still believe -for reasons that will emerge in the course of this article- that it is mistaken.

The Cancionero is, disappointingly, not included in Ana M. Gómez-Bravo's indispensable Repertorio métrico de la poesía cancioneril del s. XV, Poetria Nova, Serie Maior, 1 (Alcalá de Henares: Universidad de Alcalá, 1998), since she includes only those poems edited by Dutton.

Whinnom, «Autor and Tratado in the Fifteenth Century: Semantic Latinism or Etymological Trap?», BHS, LIX (1982), 211-18.

«Isabel González and Other Lost Voices of the Cancionero de Baena», La Corónica, XXI. 1 (1992), 59-82.

See Book of Devotions / Libro de devociones y oficios, ed. Constance M. Wilkins, EHT, LII (Exeter: University of Exeter Press, 1990), p. vii. See also the important study by Ana María Huélamo San José, «La dominica Sor Constanza, autora religiosa del siglo XV», RLM, 5 (1992), 127-58.