Vervliet, Sixteenth-Century Printing Types, p. 301.

Type Specimen Facsimiles, I, 14 (393) and 15.

For Guyot's médiane romaine, see Vervliet, Sixteenth-Century Printing Types, p. 268.

See Clara Louisa Penney, List of Books Printed 1601-1700 in the Library of the Hispanic Society of America (New York, 1938); and V. F. Goldsmith, A Short-Title Catalogue of Spanish and Portuguese Books 1601-1700 in the Library of the British Museum (Folkestone & London, 1974); but see also Joseph L. Laurenti and Alberto Porqueras-Mayo, The Spanish Golden Age (1472-1700): A Catalogue of Rare Books Held in the Library of the University of Illinois and in Selected North American Libraries (Boston, 1979).

At the time of going to press, the Biblioteca Nacional, Madrid, has announced the publication of Impresos del siglo XVII, to consist of ten volumes, describing about 22,700 books. It is not clear whether the intention is to include books without date and imprint, such as sueltas. Even if not, the catalogue will be of enormous help to investigators.

Most of the bibliographies of particular cities in Spain are very old. Sir Henry Thomas lists these in «The Output of Spanish Books in the Sixteenth Century», The Library, series IV, I (1920-21), 69-94. Suelta enthusiasts will find more modern ones in the bibliography of Professor Mildred Boyer's The Texas Collection of comedias sueltas (referred to earlier), pp. xxxiii-xxxviii (see also pp. 585-99).

The best source of information for the typography of printed plays is more printed plays with dates and imprints, even if these must be used with caution. A very useful tool in this regard is the Pennsylvania microfilm collection, catalogued by José M. Regueiro in Spanish Drama of the Golden Age: A Catalogue of the comedia Collection in the University of Pennsylvania Libraries (New Haven, 1971). In different volumes of plays, the investigator may even hope to find the same typographical style (i. e., the same layout, with the same types used for the same purposes). It should be remembered, though, that what we call «house style» is not a seventeenth-century phenomenon, but an indication of the work of a single compositor, and that even the humblest printing-houses had more than one compositor. Nevertheless, one does find the same style recurring, and sometimes even individual pieces of damaged type.

First used in 1547: see Type Specimen Facsimiles, II, p. 3, no. 2.

See D. W. Cruickshank, «The Types of Pedro Disses, Punchcutter», Journal of the Printing Historical Society, 17 (1982-83), 72-91.

For the original Granjon, see Type Specimen Facsimiles, II, p. 9, no. 27.

Type Specimen Facsimiles, II, p. 9, no. 37; and I, 4, 12 and 13.