1
The surviving copy, once in the Sedó collection, is now preserved in the Institut del Teatre, Barcelona (see Joaquín Montaner, La colección teatral de Don Arturo Sedó (Barcelona, 1951), p. 64). For a modern edition, see Pedro Calderón de la Barca, Tan largo me lo fiais, ed. X. A. Fernández (Madrid, 1967). The attribution to Calderón is of course false.
I am grateful to the Royal Irish Academy for a grant which made it possible to spend two weeks in London in 1986, examining seventeenth-century Spanish printing.
2
Catalogued by J. M. Regueiro, A Catalogue of the comedia Collection in the University of Pennsylvania Libraries (New Haven, 1971).
3
Clara Louisa Penney, List of Books Printed 1601-1700 in the Library of the Hispanic Society of America (New York, 1938), pp. 874, 106.
4
John Dreyfus (ed.), Type Specimen Facsimiles (hereafter TSF), 1 (London, 1963), 1; also H. D. L. Vervliet, Sixteenth-century Printing Types of the Low Countries (Amsterdam, 1968), pp. 288-89.
5
Vervliet, Sixteenth-century Printing Types, pp. 254-55.
6
TSF, 1, 12 and 13. I must thank Don Jaime Moll for drawing my attention to the identity of this typeface. He tells me that he has seen it as early as 1618 in Seville, and points out that it can hardly therefore be by Van Dijck, who was allegedly born in 1606 or 1607.
7
TSF, 11 (London, 1972), p. 2, no. 2.
8
TSF, 11, p. 8, no. 8.
9
TSF, 1, 1; Vervliet, Sixteenth-century Printing Types, p. 301.
10
TSF, 1, 14 (393) and 15.