See M. G. Profeti, «Appunti bibliografici sulla collezione "Diferentes autores"», Miscellanea di studi ispanici (Pisa, 1969-70), pp. 155-57. For Parte 24, see H. C. Heaton, «The Case of Parte XXIV de Lope de Vega, Madrid», Modern Philology, 22 (1924-25), 283-303.

See Sherman W. Brown, «The Sevilla and the Valencia Editions of the Primera parte of Tirso de Molina's Plays», Modern Philology, 30 (1932-33), 97-98. For a full bibliographical description, see A. K. G. Paterson, «Tirso de Molina: Two Bibliographical Studies», Hispanic Review, 35 (1967), 53-57.

See his «El problema bibliográfico de la "Primera parte de comedias" de Tirso de Molina», in Homenaje a Guillermo Guastavino (Madrid, 1974), pp. 85-94.

See note 8 above. For the original Granjon lower case, see H. D. L. Vervliet (ed.), The Type Specimen of the Vatican Press 1628 (Amsterdam, 1967), p. 32, no. 31.

TSF, 11, p. 3, no. 22. One version was in use as early as 1549.

See Johnson, «The Italic Types of Robert Granjon», no. 6; Granjon's first series had the same lower case but different capitals. Series 1 dates from 1547-48, series 2 from 1552.

TSF, II, p. 9, no. 27 shows the original Granjon, in use from at least 1566.

Paterson, «Two Bibliographical Studies», pp. 61-62.

See Vervliet, The Type Specimen of the Vatican Press, p. 31, no. 27. In «Italian Type in Spain and the Spanish Empire in the Seventeenth Century», in Book Production and Letters in the Western European Renaissance: Essays in Honour of Conor Fahy (London, 1986), pp. 47-63, I managed to show that this face was used in Rome as early as 1612, and in Spain as early as 1619. Jaime Moll now tells me that Francisco de Lyra had it as early as 1618, for example, in his Juan de Jáuregui, Rimas.

See Wilson and Cruickshank, Samuel Pepys's Spanish Plays, p. 42, item R7, and illustration, p. 72.