Figures
0.1 Unknown. Initial E: A Priest Celebrating Mass, Pamplona, about 1290â1310, Tempera colours, gold leaf, and ink on parchment. Leaf: 36.5 Ã 24 cm. Image courtesy of The J. Paul Getty Museum, Los Angeles, Ms. Ludwig XIV 6, fol. 9 2
0.2 Biblia latina (Mainz: Johann Gutenberg and Johann Fust, about 1455) (USTC 740039). Image courtesy of the British Library, C.9.d.3,4 3
0.3 Marco Paulo. Ho livro de Nycolao Veneto. Ho trallado da carta de huum genoves das ditas terras (Lisbon: Valentim Fernandes, 1502) (USTC 344209), a1r. Image from the Digital Library, National Library of Portugal,
1.1 Screenshot of Tableau visualisation available at
1.2 Screenshot of Tableau visualisation available at
1.3 Screenshot of Tableau visualisation available at
1.4 Screenshot of Tableau visualisation available at
1.5 Computing vision code developed from Fleuron extracting visual elements of interest from Antonio Fernandez, Arte de musica de canto dorgam, e canto cham, & proporções de musica divididas harmonicamente (Lisboa: Por Pedro Craesbeeck, 1626), A3r. Courtesy of the National Library of Portugal, Lisbon. M. 731. Available at
1.6 The annotation tool LabelImg was used to train the deep learning system with over 10,000 images to offer preliminary and very basic classifications to graphical elements found on a page. The page being trained here is from the Epigrammata in laudem omnium sanctorum, quorum natalem diem sacrosancta celebrat ecclesia, secundum kalendarium romanum (Lisboa: António Ribeiro, 1586) (USTC 351313), A1r. Image digitised by Google from the copy held in the Biblioteca de Cataluña, R(2)-8-501 29
1.7 Trained deep learning model locating and classifying two elements on a page from Novas ordinacions y crides fetes per lo illustrissim y fidelissim cosistori [sic] y oydors de comptes del general del principat de Catalunya y comptats de Rossello y Cerdanya de consell y parer dels magnifichs assessors y advocat fiscal per la bona exaccio dels drets del general y bolla per lo trienni de 1689 (Barcelona: en casa de Rafael Figueró, 1690) (USTC 5108004), I2r 30
1.8 Screenshot of the main Iberian Books bibliographical dataset showing the thumbnails of indexed graphical elements which are displayed. Links are offered from here which take users directly into the Ornamento resource. This record is Enrique de Villena, Los doze trabajos de Hercules (Burgos: Juan de Burgos, 1499) (USTC 333565),
1.9 Advanced search screen in the Ornamento resource at
1.10 Screenshot of the tiled view in the VISE image matching software used in the pilot Ornamento repository, showing the use and reuse of an ornate letter E in Alcalá de Henares. The first recorded instance within the current version of Ornamento is within Juan Hurtado de Mendozaâs Buen plazer trobado en treze discantes de quarta rima castellana segun imitacion de trobas francesas (Alcalá de Henares: Juan de Brocar, 1550) (USTC 339179), with the last recorded use over two decades later in Juna de la Fuenteâs Arbol de la vida cuyo fructo es el amor de Dios y nuestro y del proximo bien ordenado (Alcalá de Henares: en casa de Andrés de Angulo, 1572) (USTC 336376) 34
1.11 Two close but distinct historiated C initials detected by VISE. The left image is extracted from Gonzalo de Illescas, Historia pontifical y catholica (Salamanca: Gaspar de Portonariis, 1577) (USTC 339204), Ii3v. The right image, which VISE recognized as similar but not identical is taken from Gabriel Vázquezâs Commentariorum ac disputationum in primam partem S. Thomae, tomus primus (Alcalá de Henares, ex officina viuda de Juan Gracián, 1598) (USTC 342250),
1.12 Historiated H initial used in Basel by Johannes Oporinus. Image courtesy of Paul Dijstelberge, University of Amsterdam Library 36
1.13 Identifying letters using deep learning. Willem Baudartius, Memorien, ofte Kort verhael der ghedenckuveerdighste gheschiedenissÄ van Nederlandt (Arnhem: Jan Jansz, 1620) (USTC 1026896), Bbb3r. Google digitisation of copy held in the University of Amsterdam, 402 D 16 38
2.1 A sample catalogue entry from the Library of the University of Barcelona 42
2.2 Number of printers active in major European print centres outside Spain listed in the Barcelona database of Printersâ Devices 44
2.3 Number of printers active in major Spanish print centres listed in the database of Printersâ Devices 44
2.4 Chronological overview of printer records in Printersâ Devices 45
2.5 Printerâs device of Johann Herbort, 1481 45
2.6 Printerâs device of Meinardo Ungut and Estanislao Polono, 1492 46
2.7 Initial search screen from Printersâ Devices 48
2.8 A sample results screenshot from Printersâ Devices 48
2.9 Variant forms of printer names displayed during a search in Printersâ Devices 49
2.10 Typical printer record in Printersâ Devices 50
2.11 Printerâs device of Juan GracÃan 51
2.12 Printerâs device of Juan GracÃan 51
2.13 Printerâs device of Juan GracÃan 52
2.14 Printerâs device of Juan MarÃa de Terranova 53
2.15 Percentage of works with printerâs devices in major European print centres outside Spain between 1501 and 1800, based on the catalogue of the Library of the University of Barcelona 56
2.16 Chronological distribution of works with printersâ devices in major European print centres, 1501â1800 based on the catalogue of the Library of the University of Barcelona 56
2.17 Percentage of works with printerâs devices in major Spanish print centres, 1501â1800 based on the catalogue of the Library of the University of Barcelona 56
2.18 Chronological distribution of works with printersâ devices in major Spanish print centres, 1501â1800 based on the catalogue of the Library of the University of Barcelona 57
2.19 Percentage of works carrying printersâ devices in Spain and the rest of Europe, 1501â1800 57
3.1 Lucio Marineo SÃculo, De Aragoniae Regibus et eorum rebus gestis libri V (Zaragoza: Jorge Coci, 1509) (USTC 339794), fol. IIII 64
3.2 Fueros y Observancias de las costumbres scriptas del Reyno de Aragon (Zaragoza: Gabriel de HÃjar, 1576) (USTC 337634), title page 64
3.3 Concordia aromatariorum civitatis Cesarauguste (Zaragoza: Pedro Bernuz, 1546) (USTC 5045342) 67
3.4 Ordinaciones e insaculación de la ciudad de Huesca (Huesca: Juan Pérez de Valdivielso, 1615) 68
3.5 Cárcel de amor (Zaragoza: Hurus, 1493) (USTC 5046497), fol. g2v 70
3.6 Cárcel de amor (Burgos: Fadrique de Basilea, 1496) (USTC 33418), fol. f7 71
3.7 Diego López, Declaración magistral sobre las emblemas de Andres Alciato (Nájera: Juan de Mongastón, 1615) (USTC 5008523): âa costa del autor, vendese en casa del impresorâ 78
3.8 Aristotle, Opus Aristoteles de moribus (Zaragoza: Pablo Hurus, 1492) (USTC 342680), left; Seneca, Epistolas (Zaragoza: Pablo Hurus, 1496) (USTC 333429), centre; Aristotle, La philosofia moral del Aristotel (Zaragoza: Jorge Coci, 1509) (USTC 334786), right. In the first image, the printer does not indicate the names of the figures, in the second, they are identified as Nero and Seneca, and in the third as Alexander the Great and Aristotle. The woodblock used is the same in the three cases and the names are added using metal type 82
3.9 Title page of Fernando Basurto, Florindo (Zaragoza: Pedro Hardouin, 1530) (USTC 334981). The coat of arms of the Conde de Fuentes, the publisher, is included as a form of personal propaganda, while the authorâs own name is omitted 83
3.10 Portrait of Juan Tomás Porcellin Información y curación de la peste de Zaragoza, y preservación contra peste en general (Zaragoza: Viuda de Bartolomé de Nájera, 1565) (USTC 341198). The authorâs portrait is included with the aim of demonstrating his knowledge and at the same time as a form of control against possible fraudulent editions 85
5.1 The printerâs device of Juan de Cánova 101
5.2 Coat of arms on the title page of Leyes del Estilo (1554). Image courtesy of Isabel DÃez Ménguez 103
5.3 Coat of arms featuring on the title page of Las Cortes de Madrid (1557). Image courtesy of Isabel DÃez Ménguez 105
5.4 Coat of arms featuring on the title page of Homiliae clarissimi viri (1556). Image courtesy of Isabel DÃez Ménguez 107
5.5 Coat of arms in Diego de Covarrubias Leyvaâs Sub Carolo. V. Romanorum Maximo Imperatore (1556). Image taken from
5.6 Coat of arms of the Zúñiga family used on the title page of Libro de Cetreria de Caça de Acor (Salamanca, Juan de Cánova, 1565). Image courtesy of the Biblioteca Digital Hispánica 110
5.7 Tabernacle of Diego de Covarrubias Leyvaâs Sub Carolo Quinto Romanorum Maximo Imperatore (1554). Image courtesy of Google Books 113
5.8 Tabernacle of Pedro Núñez de Avendañoâs De exequendis mandatis regum Hispaniae (1554). Image courtesy of Isabel DÃez Ménguez from the copy in the Biblioteca Histórica âMarqués de Valdecillaâ UCM, DER 20222 114
5.9 Tabernacle of Magistri Michaelis de Palacio, In tres libros Aristotelis De anima commentari (1557). Image courtesy of Google Books 116
5.10 The Visitation, in Horas de nuestra señora (1565), title-page front page and B3r. Image courtesy of Isabel DÃez Ménguez 117
5.11 The Annunciation, in Horas de nuestra señora (1565), A1r. Image courtesy of Isabel DÃez Ménguez 118
5.12 Juan Pérez de Moya, Fragmentos matemáticos (1568), segunda parte, p. 127. Image courtesy of Google Books 120
5.13 Juan Pérez de Moya, Fragmentos matemáticos (1568), segunda parte, p. 202. Image courtesy of Google Books 121
5.14 Woodblock initial âVâ in Antonio de Nebrija, Diccionario (1572), [dos asteriscos1r.] Image courtesy of Isabel DÃez Ménguez 123
5.15 Woodblock initial âAâ in Diego de Covarrubias Leyva, Sub Carolo Quinto Romanorum Maximo Imperatore (1554), H6r. Image courtesy of Google Books 124
5.16 Woodblock initial âPâ in De exequendis mandatis regum Hispaniae (1554), A1r. Image courtesy of Isabel DÃez Ménguez 124
6.1 Decorative initial âAâ 128
6.2 Decorative initial âCâ 128
6.3 Decorative initial âDâ 128
6.4 Decorative initial âLâ 128
6.5 Decorative initial âMâ 128
6.6 Decorative initial âQâ 128
6.7 Decorative initial âVâ 128
6.8 Decorative initial âYâ 128
6.9 Dialectica resolutio, 1554, f. 25r 129
6.10 Manuale sacramentorum, 1560, sheet without a symbol 129
6.11 Decorative initial âDâ 130
6.12 Decorative initial âAâ 131
6.13 Decorative initial âCâ 131
6.14 Decorative initial âLâ 131
6.15 Decorative initial âMâ 131
6.16 Decorative initial âQâ 131
6.17 Decorative initial âVâ 131
6.18 Decorative initial âYâ 131
6.19 1563, Philippvs hispaniarvm, f. 2r 133
6.20 1567, Doctrina cristiana en lengua castellana y zapoteca, f. 13r 133
6.21 1567, Doctrina cristiana en lengua castellana y zapoteca, f. 25r 133
6.22 Decorative initial âAâ (same as 6.12) 134
6.23 Decorative initial âCâ (same as 6.13) 134
6.24 Decorative initial âLâ (same as 6.4) 135
6.25 Decorative initial âLâ (same as 6.14) 135
6.26 Decorative initial âMâ (same as 6.15) 135
6.27 Decorative initial âQâ (same as 6.6) 135
6.28 Decorative initial âQâ (same as 6.16) 135
6.29 Decorative initial âVâ (same as 6.17) 135
6.30 Decorative initial âYâ (same as 6.18) 135
6.31 1574, Arte y dictionario con otras obras en lengua michuacana (USTC 344095) symbol sheet M6r 136
6.32 1577, La vida del bienaventurado sant Francisco (USTC 5111299), f. 2r 136
6.33 1579, Cerimonial y rúbricas generales (USTC 351190), symbol sheet A3r 136
6.34 Series 1 Decorative initial âIâ 141
6.35 Series 1 Decorative initial âNâ 141
6.36 Series 1 Decorative initial âTâ 141
6.37 Series 1 Decorative initial âXâ 141
6.38 Series 1 Decorative initial âYâ 141
6.39 Series 2 Decorative initial âAâ 142
6.40 Series 2 Decorative initial âMâ 142
6.41 Series 2 Decorative initial âRâ 142
6.42 Series 3 Decorative initial âAâ 143
6.43 Series 3 Decorative initial âPâ 143
6.44 Series 3 Decorative initial âVâ 143
7.1 Marqués de Villena, Los doce trabajos de Hércules, Zamora, Antonio de Centenera, 1483, f. 3 r. (Real Biblioteca del Monasterio de San Lorenzo de El Escorial, San Lorenzo de El Escorial. Shelf mark: RBME 29-V-7). Copyright © Patrimonio Nacional 160
7.2 Alfonso DÃaz de Montalvo, Ordenanzas reales de Castilla, [Huete], Castro, c. 1484, f. 18 r. (Capitular Archive of the Cathedral of Segovia, Segovia) 161
7.3 Alfonso DÃaz de Montalvo, Ordenanzas reales de Castilla, Zamora, Antonio de Centenera, 1485, f. a4 r. (Real Biblioteca del Monasterio de San Lorenzo de El Escorial, San Lorenzo de El Escorial. Shelf mark: RBME 34-I-21). Copyright © Patrimonio Nacional 162
7.4 Ximenez de Prexano, Confutatorium errorum contra claues ecclesiae, Toledo, Juan Vázquez, 1486, f. a5 r. (Historical Library of the Complutense University of Madrid, Madrid. Shelf mark: BH INC I-201) 163
8.1 Introductiones Latinae by Antonio de Nebrija. Colophon elaborated by Antonio de Nebrija, 90 Gothic Typography. ISTC ia00902600, GW 2225, USTC 333087 173
8.2 Las Décadas by Tito Livio. Incipit in red ink, 91/92 Gothic Typography. ISTC il00249000, GW M18526, CICLE0075, USTC 333462 174
8.3 Porrasâ printing press: woodcut initial letter 176
8.4 Las Décadas by Tito Livio. Woodcut Capital letter. ISTC il00249000, GW M18526, CICLE0075, USTC 333462 176
8.5 Tractado de la vida y estado de la perfeccion, Woodcut capital letter. ISTC it00411000, GW M47445, USTC 333532 177
8.6 Cosmographia by Pomponio Mela. Colophon by Francisco Núñez de la Yerba, 112R Roman Typography. ISTC im00455000, GW M34862, CICLE0059, USTC 333506 178
8.7 Las Décadas by Tito Livio. Colophon: Salamanca: [Juan de Porras], Monday 15 August 1497 [i.e. Monday 15.8.1496]. ISTC il00249000, GW M18526, CICLE0075, USTC 333462 179
8.8 Tractado de la vida y estado de la perfeccion. Colophon: Salamanca: [Juan de Porras], Thursday 27.4.1499 [i.e. error in date, counterfeited edition?]. ISTC it00411000, GW M47445, USTC 333532 179
8.9 Juan de Pastrana, Grammatica (Salamanca: Porras?, c. 1485?). Gothic typography and hand-made illustration. USC, Minerva, [
8.10 Compendium grammaticae, sive Thesaurus pauperum, sive Speculum puerorum by Juan de Pastrana. (Toulouse: Henricus Mayer, about 1492). Gothic typography and woodcut illustration. ISTC ip00148140, GW M29753, USTC 201179 182
8.11 Leyes por la brevedad y orden de los pleitos fechas en Madrid año de 1499 [Salamanca, Juan de Porras]: a expensas de Fernando de Jaén, post 26 June 1499. Title page: The woodcut engraving of the coat of arms of the Catholic Kings, ISTC if00084000, GW 9773, USTC 333934 185
9.1 Title-page of Calderón, Autos (â1701â), showing damage to O and S (inverted) of AVTOS 198
9.2 The 51-sheet version of Calderónâs Autos âof 1690â 201
9.3 â1690â Calderón Autos, vase of flowers 204
9.4 Versions of the vase and bowl of flowers blocks of Antonio González de Reyes 205
9.5 â1690â Calderón Autos, bowl of flowers 206
10.1 Começa-se a Vida de nosso padre S. Domingos (Lisbon: Germão Galharde, 1525). National Library of Portugal; RES. 1541 218
10.2 Liuro da vida admiravel da bẽauenturada Catherina de Genoa (Lisbon: João Barreira, 1564). National Library of Portugal, RES. 4721 P 219
10.3 Livro da vida e milagres do glorioso e bem-aventurado S. Bernardo (Lisbon: LuÃs Rodrigues, 1544). National Library of Portugal, RES. 161-A 221
10.4 Vida, martÃrio e ultima tresladação do Martyr S. Vicente (Lisbon: Pedro Craesbeeck, 1620). National Library of Portugal, RES. 89-P 223
10.5 A vida e martyrio de S. Quitéria e de suas oito irmãs, todas nacidas de hum parto, portuguezas e prothomartyres de Hespanha (Coimbra: Manuel Carvalho, 1651). National Library of Portugal, RES. 866 P 227
10.6 Epitome de la vida, acciones y milagros de San Antonio, natural de Lisboa (Madrid: Julián de Paredes, 1647). National Library of Portugal, H. G. 3477 P 229
10.7 Vida do bemaventurado padre Santo Theotonio primeiro (Coimbra: Manuel de Carvalho, 1650). Municipal Library of Porto, RES-XVII-A-359 [2] 230
10.8 Vida do bemaventurado padre Santo Theotonio primeiro (Coimbra: Manuel de Carvalho, 1650). Municipal Library of Porto, RES-XVII-A-359 [2] 231
10.9 Vida e morte do Padre Fr. Estêvão da Purificação, religioso da Ordem de Nossa Senhora do Carmo da provÃncia de Portugal (Lisbon: Pedro Craesbeeck, 1621). National Library of Portugal, H. G. 1573-V 234
10.10 Vida e virtudes do admiravel Padre João Cardim, portuguez da Companhia de Jesus (Ãvora: University of Ãvora, 1659). National Library of Portugal, R. 26760 P 236
10.11 Vida e virtudes do admiravel Padre João Cardim, portuguez da Companhia de Jesus (Ãvora: University of Ãvora, 1659) National Library of Portugal, R. 26760 P 237
11.1 Private collection. Reproduced with the permission of the owner. Picture © National Library of Scotland 245
11.2 Tentamina 248
11.3 Sapientes 248
11.4 Boethius, The Consolation of Philosophy (Sevilla: por Jacobo Cromberger, 1518). © Biblioteca Nacional de España 251
11.5 Illustration retained in 1534 and 1538 edition of the Siete sabios. © Biblioteca Nacional de España 252
11.6 Illustration retained in 1534 and 1538 edition of the Siete sabios. © Biblioteca Nacional de España. © Biblioteca Nacional de España 252
11.7 Royal scene with the author offering the book to an enthroned king from the Siete Sabios. © Biblioteca Nacional de España 255
11.8 Celestina comedia de Calisto y Melibea ([Burgos: Fadrique de Basilea, 1499â1501]). © Bayerische Staatsbibliothek München, Res/4 Ph.pr. 39 x, fol. B6v, urn:nbn:de:bvb:12-bsb10203457-8 258
12.1 Crónica Troyana (Burgos: Fadrique de Basilea, 1491), fol. 1v, courtesy of Freiburg University Library 263
12.2 Crónica Troyana (Pamplona: Arnao Guillén de Brocar, ca. 1500), fol. 2r, courtesy of the Real Academia de la Historia (Madrid) 266
12.3 Crónica Troyana (Sevilla: Juan Varela de Salamanca, 1509), fol. 2r, courtesy of the Biblioteca Nacional de España 269
12.4 Crónica Troyana (Sevilla: Juan Varela de Salamanca, 1509), fol. 2v, courtesy of the Biblioteca Nacional de España 270
12.5 Crónica Troyana (Sevilla: Juan Varela de Salamanca, 1509), fol. 106v, courtesy of the Biblioteca Nacional de España 273
12.6 Crónica Troyana (Sevilla: Heirs of Juan Cromberger, 1545), fol. 1r, courtesy of the Biblioteca Nacional de España 277
12.7 Crónica Troyana (Sevilla: Heirs of Juan Cromberger, 1545), fol. 1v, courtesy of the Biblioteca Nacional de España 278
12.8 Crónica Troyana (Sevilla: Jácome Cromberger, 1552), fol. 2r, courtesy of the Biblioteca Nacional de España 279
12.9 Crónica Troyana (Toledo: Miguel Ferrer, 1562), fol. 1r, courtesy of the Biblioteca Nacional de España 280
13.1 Portrait of João de Barros in Manuel Severim de Faria, Discvrsos Varios Politicos. (Ãvora: Manuel Carvalho, 1624). Inserted before f. 22 285
13.2 João de Barrosâ signature from a letter to King John III dated 26 January 1541. Corpo Cronológico, Arquivo Nacional da Torre do Tombo, Parte I, n. 69, n. 23 287
13.3 The woodcut of the Tree of Virtues from the 1563 edition 294
13.4 The three rotating boards of the game as they are to be set, pointer included 296
13.5 LuÃs Rodriguesâ printer mark, Dialogo em modo de jogo, 1540 298
13.6 Frontispiece from Dialogo em modo de jogo, 1540. Pedro 299
13.7 Frontispiece from the 1563 Dialogo edition 300
13.8 Frontispiece of Incipit Manuale missarum secundu cõsuetudine[m] alme curie romane (Ulixbone: per Germanu[m] Galhard [sic], 1560) 301
13.9 Frontispieces and title page from the Grammatica da lingua portuguesa (Olyssipone: apud Lodouicum Rotorigiu[m], Typographum, 1540) 303
13.10 Frontispieces and title page from Hieronymo Cardoso, Grammaticae introductiones breuiores et lucidiores (Olissipone: [s.n.], calendis Augusti. Anno. M.D.LII) 304
13.11 Frontispieces and title page from Esta he a segunda parte (Coimbra: por Ioão de Barreyra, 8 Dagosto 1554) 305
13.12 Frontispieces and title page from Regra e statutos da ordem de Samtiago (Lixboa: per Germão Galharde, 24 Setembro 1540) 306
13.13 Folio 4 from the 1540 edition 307
13.14 Folio 4 from the 1563 edition 307
13.15 Illustrated capital from Dialogo em modo de jogo, 1540 308
13.16 Illustrated capital from Dialogo em modo de jogo, 1540 308
13.17 Illustrated capital from Dialogo em modo de jogo, 1540 308
13.18 Illustrated capital from Dialogo em modo de jogo, 1540 308
13.19 Illustrated capital from Dialogo em modo de jogo, 1540 308
13.20 Illustrated capitals from Dialogo em modo de jogo, 1563 309
13.21 Illustrated capitals from Dialogo em modo de jogo, 1563 309
13.22 Illustrated capitals from Dialogo em modo de jogo, 1563 309
13.23 Illustrated capitals from Dialogo em modo de jogo, 1563 309
13.24 Illustrated capitals from Dialogo em modo de jogo, 1563 309
13.25 Fleurons used in the 1540 edition 310
13.26 Fleurons used in 1563 edition 310
13.27 Example of one of the pieces of the game: the contrast was enhanced in order to make the printing on the verso of the folio more visible 312
14.1 Stradanus (Jan van de Straet), âTitle Pageâ, Nova reporta (Hans Collart the Younger engraver), 28 Ã 34.4 cm., circa 1590 318
14.2 Christopher Columbus, âOutline of the Coast of Hispanolaâ, drawing in the notebook from the second voyage, ink on paper, colección duques de Alba, Palacio de Liria, Madrid, 1493 319
14.3 Stradanus (Jan van de Straet) âDiscovery of Americaâ, Nova reporta, Theodor Galle, engraver, 28.3 Ã 34.6 cm. circa, 1590 319
14.4 Luis Gerónimo de Oré, âSalvador Mundiâ, Symbolo Cathólico Indiano (Perú, 1598), 70v 322
14.5 Hans Burgkmair, âSalvator Mundiâ, woodcut, 1506 323
14.6 Stradanus (Jan van de Straet), âDiscovery of Copper Plate Printingâ, Nova reporta, engraver unknown, 28.3 Ã 34.6 cm, circa 1590 324
14.7 Anonymous, âCopper Plate of Inca confessionâ, engraving, verso 47 Ã 31 cm, Barbarosa-Stern Collection, Lima, 1612â20 326
14.8 Guaman Poma de Ayala, âVicario General Solo en una prouincia ⦠presenting a document to and Andeanâ, pen and ink drawing, Nueva corónica y buen gobierno, p. 641, manuscript Royal Library, Copenhagen, circa 1515 327
14.9 Juan Iciar, âHoly the Name of Maryâ, Arte subtilissima, por la qual se enseña a escrevir perfectamente, hecho y experimentado, y agora; de nuevo añadido (Zaragoza: Pedro Bernüz, 1550) 329
14.10 Anonymous, âBishopâs Miter with the Holy Name of Maryâ, father mosaic, agave paper, linen, metal embroidery, Museo del Duomo, Milan, mid-sixteenth century 330
14.11 Anonymous, âColonial Inca Tunic (Uncu) for a statue of the Christ Child, with the holy name of Maryâ, llama wool, tapestry weave, seventeenth century 331
14.12a Anonymous, âParadise Mural of Lower Cloisterâ, Augustinian Monastery in Malinalco, Mexico, mid-sixteenth century 333
14.12b Anonymous, âDetail of the Paradise Mural of Lower Cloister, with Holy Names of Jesus and Maryâ, Augustinian Monastery in Malinalco, Mexico, mid-sixteenth century 334
14.13 Anonymous, âDetail of Mural of Church Fathersâ, Apse of the Augustinian Monastery in Alcoman, Mexico, mid-sixteenth century 335
14.14 Anonymous Mexica artists under the direction of Alonso de Veracruz, âDetail of Mural of Church Fathersâ, Staircase of the Augustinian Monastery in Actopan, Mexico, mid-sixteenth century 336
14.15 Diego Valades, âTitle Pageâ, Rhetorica Christiana (Perugia, 1579) 337
14.16 Thomas Harriot, âTitle Pageâ, A Briefe and True report of new found land of Virginia (Frankfurt am Main: Theodore de Bry, 1590) 338
14.17 Diego Valades, âMemory Palace in form of a Franciscan Monastic Compoundâ, Rhetorica Christiana (Perugia, 1579), pp. 206â207 339
14.18 Diego Valades, âDetail of the Memory Palace in form of a Franciscan Monastic Compound with Pedro de Gante teachingâ, Rhetorica Christiana (Perugia, 1579), p. 207 342
14.19 Diego Valades, âFranciscan preaching to the Mexica, using images of the passionâ Rhetorica Christiana (Perugia, 1579), p. 210 343
14.20 John White, âThe Indian village of Secoton; birdâs-eye view of village with huts, lake or river, fire, fields and ceremonyâ, watercolour over graphite, heightened with white (oxidized). 1906,0509.1.7AN25868001, British Museum 346
14.21 Diego Valades, âImaginary view of Tenochitlanâ, Rhetorica Christiana (Perugia, 1579) 347
14.22 Theodore de Bry, âThe Indian village of Secoton; birdâs-eye view of village with huts, lake or river, fire, fields and ceremonyâ, engraving after watercolour of John White (Frankfurt am Main: Theodore de Bry, 1590) 348
14.23 Theodore de Bry, âThe Tombe of their Cherounes or cheife personages, their flesh clene taken of from the bones saue | the skynn and heare of theire heads, wch flesh is dried and enfolded in matts laide at theire | feete. their bones also being made dry, ar couered wth deare skynns not altering | their forme or proportion. With theire Kywash, which is an | Image of woode keeping the deadeâ, Whiteâs text engraving after watercolour of John White (Frankfurt am Main: Theodore de Bry, 1590) 349
15.1 Frontispiece of B.P. Francisci Assisiatis opuscula. Courtesy of Collegio S. Isidoro, Rome 353
15.2 Frontispiece of Presbeia sive legatio Philippi III et IV Catholicorum regum hispaniarum. Courtesy of Collegio S. Isidoro, Rome 361
15.3 Title-Page of Apologeticus de prætenso monachatu Augustiniano sancti Francisci. Courtesy of Collegio S. Isidoro, Rome 365
16.1 Engraved title page from Joseph Pellicer de Ossau Salas y Tovar, Justificación del tratamiento igual con los Virreyes de Nápoles y Sicilia que pretende el PrÃncipe Duque de Montalto y Bivona (Madrid, 1644) 380
16.2 Shift from print to manuscript, from Joseph Pellicer de Ossau Salas y Tovar, Justificación del tratamiento igual con los Virreyes de Nápoles y Sicilia que pretende el PrÃncipe Duque de Montalto y Bivona (Madrid, 1644), paragraphs 38â39 381
16.3 Moncada coat of arms, from Giovanni Agostino della Lengueglia, Ritratti della Prosapia et heroi Moncadi nella Sicilia. Opera historica-encomiastica (Valencia, 1657) 386
16.4a Title page from Giovanni Agostino della Lengueglia, Ritratti della Prosapia et heroi Moncadi nella Sicilia. Opera historica-encomiastica. Parte prima (Valencia, 1657) 387
16.4b Title page from Giovanni Agostino della Lengueglia, Ritratti della Prosapia et heroi Moncadi nella Sicilia. Opera historica-encomiastica. Parte seconda (Valencia, 1657) 388
16.5 Portrait of the author, from Giovanni Agostino della Lengueglia, Ritratti della Prosapia et heroi Moncadi nella Sicilia. Opera historica-encomiastica (Valencia, 1657) 390
16.6 Portrait of Catalina Moncada and beginning of book chapter devoted to her, from Giovanni Agostino della Lengueglia, Ritratti della Prosapia et heroi Moncadi nella Sicilia. Opera historica-encomiastica (Valencia, 1657) 397
16.7a Portrait of Francesco II Moncada, from Giovanni Agostino della Lengueglia, Ritratti della Prosapia et heroi Moncadi nella Sicilia. Opera historica-encomiastica (Valencia, 1657) 398
16.7b Portrait of Luisa Moncada, from Giovanni Agostino della Lengueglia, Ritratti della Prosapia et heroi Moncadi nella Sicilia. Opera historica-encomiastica (Valencia, 1657) 399
16.8 Engraving with allegoric image of the Moncadas â from Giovanni Agostino della Lengueglia, Ritratti della Prosapia et heroi Moncadi nella Sicilia. Opera historica-encomiastica, (Valencia, 1657) 401
16.9 Portrait of cardinal Luigi Guglielmo Moncada, from Alonso de San Jerónimo, Vida, virtudes y milagros de la prodigiosa virgen y madre Aña de San Agustin, Carmelita Descalza, (Madrid, 1668) 403
17.1 Anon., Vision of Afonso Henriques at the battle of Ourique, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 3r, Houghton Library, Harvard University 412
17.2 Agostinho Soares Floriano, The vision of Afonso Henriques at the battle of Ourique, in Antonio Albergariaâs Tropheos Lusitanos, 1632 413
17.3 John Droeshout, The vision of Afonso Henriques at the battle of Ourique, in Antonio Sousa de Macedo, Lusitania Liberata, 1645 414
17.4 John Droeshout, Equestrian portrait of John IV, in Antonio Sousa de Macedo, Lusitania Liberata, 1645 416
17.5 Anon., Elishah on horseback, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. Vr, Houghton Library, Harvard University 417
17.6 Anon., Portrait of Afonso I, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 12r, Houghton Library, Harvard University 419
17.7 Anon., Emblem on Christâs wounds, St Francisâs stigmata and the quinas, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 50r, Houghton Library, Harvard University 420
17.8 Anon., Portrait of John IV, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 117r, Houghton Library, Harvard University 422
17.9 Anon., Portrait of Afonso VI, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 145r, Houghton Library, Harvard University 423
17.10 Anon., Four scenes of colonial ports with naval battles, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 79r, Houghton Library, Harvard University 426
17.11 Anon., Four scenes of colonial ports with naval battles, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 79v, Houghton Library, Harvard University 427
17.12 Anon., Portrait of Luisa de Gusmão, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 170r, Houghton Library, Harvard University 434
17.13 Anon., Portrait of Afonso VI, in Antonio de São Thiago, Episódios Da História de Portugal E Várias Lendas E Profecias Com Ela Relacionadas, c. 1666, f. 147r, Manuscritos da Livraria, nº 2056 PT/TT/MSLIV/2056. Image supplied by the ANTT 435
17.14 Anon., Portrait of John IV, in Antonio de São Thiago, Episódios Da História de Portugal E Várias Lendas E Profecias Com Ela Relacionadas, c. 1666, f. 179r, Manuscritos da Livraria, nº 2056 PT/TT/MSLIV/2056. Image supplied by the ANTT 437
17.15 Anon., Elephant adorned with crown and other regalia, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 40r, Houghton Library, Harvard University 439
17.16 Anon., Arms of Emperor and Patriarch Prester John, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 82r, Houghton Library, Harvard University 440
17.17 Anon., Emblem on the crucifixion, in Antonio de São Thiago, Vizão feita por Xpo a el rey Dom Affonso Henriques no Campo de Ourique, 1659, f. 47r, Houghton Library, Harvard University 441
17.18 Anon., Vision of Afonso Henriques at the battle of Ourique Anon., vision of Afonso Henriques at the battle of Ourique, in Antonio de São Thiago, Episódios Da História de Portugal E Várias Lendas E Profecias Com Ela Relacionadas, c. 1666, f. 3r, Manuscritos da Livraria, nº 2056 PT/TT/MSLIV/2056. Image supplied by the ANTT 442
18.1 Woodcut illustration of two ladies and two knights, main characters of the play, taken from Norte de la poesÃa española (Valencia: Felipe Mey, 1616), Carlos Boylâs, El marido asignado, title page. Bavarian State Library, 1056709 4 P.o.hisp. 51. Digitised by Google Books,
18.2 Woodcut illustration of two knights, a lady and a king, main characters of the play, taken from Norte de la poesÃa española (Valencia: Felipe Mey, 1616), Tárregaâs, El cerco de PavÃa y prisión de Francia, title page, Bavarian State Library, 1056709 4 P.o.hisp. 51. Digitised by Google Books,
18.3 Woodcut illustration of a lady and a knight, main characters of the play, taken from Juan Bautista Diamante, La Magdalena de Roma Santa Engracia (Valencia: AgustÃn Laborda, s.d.), title page. British Library, item no. T28 in volume T.1953. Digitised by Cambridge Digital Library,
18.4 Woodcut illustration of a lady and a knight, main characters of the play, taken from Juan Pérez de Montalbán, Los amantes de Teruel (Valencia: AgustÃn Laborda, s.d.), British Library, item no. T41 in volume T.1953. Digitised by Cambridge Digital Library,
18.5 Woodcut illustration of the play main characters, taken from Las conclusiones, (Barcelona: Mateo Barceló, 1779), title page. Biblioteca Nazionale di Napoli, L.P. Seconda Sala 10. 2. 15 (27). Digitised by Google Books,
18.6 Woodcut illustration of the play main characters, taken from La fantasma (Barcelona: Mateo Barceló, 1779), title page. Biblioteca Nazionale di Napoli, L.P. Seconda Sala 10. 2. 15 (39). Digitised by Google Books,
18.7 Woodcut illustration of the play main characters, taken from Primera parte del entremés del órgano y el mágico (Barcelona: Mateo Barceló, 1779), title page. Biblioteca Nazionale di Napoli, L.P. Seconda Sala 10. 2. 15 (35). Digitised by Google Books,
18.8 Example of size types modification in the middle of the play, taken from Primera parte del entremés del órgano y el mágico (Barcelona: Mateo Barceló, 1779), p.14. Biblioteca Nazionale di Napoli, L.P. Seconda Sala 10. 2. 15 (35). Digitised by Google Books,
18.9 Example of size types modification in the middle of the play, taken from Primera parte del entremés del órgano y el mágico (Barcelona: Mateo Barceló, 1779), p. 15. Biblioteca Nazionale di Napoli, L.P. Seconda Sala 10. 2. 15 (35). Digitised by Google Books,
18.10 Woodcut illustration of a doctor and a neighbour, main characters of the play, taken from El médico sordo, Barcelona: Mateo Barceló, 1779, title page. Biblioteca de Catalunya, 6-V-24/22. Digitised by Google Books,
18.11 Woodcut illustration of Lorenzo, main character of the play, taken from Los cuatro galanes (Barcelona: Mateo Barceló, 1779), title page. Biblioteca Nazionale di Napoli, L.P. Seconda Sala 10. 2. 15 (28). Digitised by Google Books,
18.12 Woodcut illustration of the play main characters, taken from La fantasma (Barcelona: Mateo Barceló, 1779), title page. Biblioteca Nazionale di Napoli, L.P. Seconda Sala 10. 2. 15 (39). Digitised by Google Books,
18.13 Woodcut illustration of the play main characters, taken from El retrato de Juan Rana, (Barcelona: Mateo Barceló, 1779), title page. Biblioteca Nazionale di Napoli, L.P. Seconda Sala 10. 2. 15 (30). Digitised by Google Books,
18.14 Woodcut illustration of the play main characters, taken from El desafÃo de Juan Rana, (Barcelona: Mateo Barceló, 1779), title page. Biblioteca Nazionale di Napoli, L.P. Seconda Sala 10. 2. 15 (25). Digitised by Google Books,
18.15 Woodcut illustration of a king, a lord and a lady, taken from Primera parte de Segismundo y Ardenia (Málaga: Félix de Casas y MartÃnez, s.d.), title page. British Library (item no. T68 in volume 1074.g.24.). Digitised by Cambridge Digital Library,
18.16 Woodcut illustration of Mary and Jesus, taken from Despedimiento de Cristo y de su bendita madre (Málaga: Félix de Casas y MartÃnez, s.d.), title page. British Library (item no. T63 in volume 1074.g.24.). Digitised by Cambridge Digital Library,
19.1 Hermengildo Ugarte, The Toledo Bridge and the Manzanares River, 1756. Engraving 29 Ã 41.3 cm. Reproduced by permission from the Library Archive of the Royal Academy of Fine Arts of San Fernando, Madrid 483
19.2 Jerónimo Antonio Gil after Benito Bails, Diagram, 1776. Engraving, approximately 21 à 14 cm. Item in the public domain reproduced by the Virtual Library of the Ministry of Defence, Madrid 485
19.3 Mariano Brandi, Miguel de Cervantes, 1779. Engraving and etching, 15 à 9 cm. Reproduced by permission from the Colección de Fondo Antiguo, Universidad de Navarra 490
Tables
8.1 Printing presses of Salamanca during the incunabula period: typographies and dates 174
16.1 Historical sources used by Lengueglia (derived from book spines in the authorâs portrait) 391
16.2 Summary of the portraits of Moncada members in the Ritratti della Prosapia 395
16.3 Books formerly owned by Luigi Guglielmo Moncada now in the National Library of Spain 405
18.1 A reconstruction of Barceló and Casas y MartÃnez interludes 472