.'. 
 
The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924019889702 
 
Cornell University Library 
 PN 2782.R41 
 
 The Spanish stage in the time of Lope de 
 
 3 1924 019 889 702 
 
THE SPANISH STAGE 
 
 IN THE TIME OF 
 
 LOPE DE VEGA 
 
 BY 
 
 HUGO ALBERT RENNERT, Ph.D. (Freiburg i. b.) 
 
 PROFESSOR IN THE UNIVERSITY OF PENNSYLVANIA, 
 
 CORRESPONDING MEMBER OF THE ROYAL SPANISH ACADEMY, 
 
 OF THE ROYAL GALICIAN ACADEMY, 
 
 MEMBER OF THE HISPANIC SOCIETY OF AMERICA 
 
 NEW YORK 
 1909 
 
Copyright, 1909, by 
 
 The Hispanic Society 
 
 of America 
 
TO THE MEMORY OF 
 MY MOTHER 
 
 MAY 19, 1835— JUNE 5, 1899 
 
 Death is the end of life ; ah, why 
 Should life all labour be ? 
 Let us alone. Time driveth onward fast, 
 And in a little while our lips are dumb. 
 Let us alone. What is it that will last ? 
 All things are taken from us, and become 
 Portions and parcels of the dreadful Past. 
 
 Tennyson. 
 
PREFACE 
 
 Little more than a decade has elapsed since the attention 
 of scholars has again been directed to the history of the 
 Spanish stage, and their labors have been rewarded with 
 most unexpected success. While these results have been due 
 to the work of a number of investigators— Sanchez-Arjona, 
 Cotarelo, Restori, and others — it is to the late Dr. Cris- 
 tobal Perez Pastor's patient and unwearying researches 
 that we are especially indebted. The mass of material 
 which he has brought to light will always form the founda- 
 tion upon which others must build. For nearly a cen- 
 tury, or since the appearance of Pellicer's work upon 
 the Spanish stage in 1804 (excepting the very important 
 matter contributed by Schack in the Nachtrdge to his 
 Geschichte der dramatischen Literatur und Kunst in 
 Spanien, 1854), little of importance had been done by 
 scholars in this field until very recent times. About 
 ten years ago Perez Pastor began investigations in the 
 Archives of Madrid and other Spanish cities that have 
 yielded the richest results, and to these the present volume 
 is greatly indebted. The labors of this distinguished 
 investigator have, moreover, shown that the first volume 
 of Pellicer's Tratado Historico sobre el Origen y Pro- 
 gresos de la Comedia y del Histrionismo en Espana, 
 Madrid, 1804, is, upon the whole, trustworthy as far as 
 
VI 
 
 PREFACE 
 
 it goes, and, sincr a number of documents to which Pelli- 
 cer had access seem to have disappeared, his work is still 
 valuable. 
 
 It was with the purpose of utilizing the latest researches 
 of the scholars above mentioned, and such other informa- 
 tion as has come to my knowledge, that the present ac- 
 count of the Spanish stage was undertaken. 
 
 The amount of material for such a work is now large. 
 I have not attempted to chronicle every known fact, and 
 whether I have always chosen what is most important, 
 must be left for others to judge. Frequent references will 
 be found in the course of the succeeding pages to the stage 
 history of other countries, especially of England and 
 France, with the view of throwing some light upon the 
 points under discussion. They may, it is hoped, be not 
 unwelcome to the reader. 
 
 The "List of Spanish Actors and Actresses," which 
 originally appeared in the Revue Hispanique, Tome XVI, 
 1907, is now reprinted in a revised and corrected form. 
 While it is necessarily incomplete, and while further re- 
 searches will undoubtedly add many a detail, the data 
 here collected may render some service pending the ap- 
 pearance of a more satisfactory list, compiled by one to 
 whom all the sources are accessible. 
 
 H. A. R. 
 
CONTENTS 
 
 PAGE 
 
 Chapter I 3 
 
 Early religious representations. The festival of Corpus 
 Christi. The secular drama. Lope de Rueda. Torres 
 Naharro. Early secular representations. 
 
 Chapter II 26 
 
 The corrales of Madrid. The Corral de la Pacheca. The 
 Corral de Burguillos. The Corral de Puente. The founda- 
 tion of the two famous theaters : The Corral de la Cruz and 
 the Corral del Principe. 
 
 Chapter III 47 
 
 The corrales of Seville. Las Ataraxanas. La Alcoba. San 
 Pedro. The Huerta de Dona Elvira. The Coliseo. La 
 Monteria. 
 
 Chapter IV 62 
 
 Music in the corrales. Dancing. Spectators on the stage. 
 Various dances and bayles at Corpus Christi. The Zara- 
 banda, Chacona, Escarraman, etc. 
 
 Chapter V 76 
 
 The staging of the comedia. English court plays. The Enter- 
 taining Journey of Rojas. Alonso Lopez Pinciano on staging. 
 The stage. The curtain. Scenery. Stage machinery. Apa- 
 riencias. Tramoyas. The French stage. Private repre- 
 sentations. 
 
 Chapter VI 104 
 
 Costumes. Their impropriety. Their magnificence. Costumes 
 in the autos sacramentales. Performances in the public thea- 
 ters. Prices of admission. The audiences. The mosque- 
 teros. Women in the caxuela. Ruffianism in the theaters. 
 Seats in the corrales. 
 
 Chapter VII 137 
 
 Women on the stage. In France, England, and Italy. Women 
 on the Spanish stage. The companies of players. Companias 
 
viii CONTENTS 
 
 PAGE 
 
 reales. Cotnpanias de parte. Smaller companies. The Enter- 
 taining Journey of Rojas. The traveling of companies. 
 
 Chapter VIII 159 
 
 The actors. Their hardships. Alonso de Olmedo. Juan de 
 Morales. Roque de Figueroa. Maria de Riquelme. La Cal- 
 derona. Adventures of actors related in the "Entertaining 
 Journey." The term autor de comedias. Relations of dramatist 
 and manager. The stealing of plays. Honorarium of dram- 
 atists. Collaboration. 
 
 Chapter IX 181 
 
 The salaries of actors in the sixteenth and seventeenth centu- 
 ries. Managers turn actors. Corrales in various cities. 
 Valencia as a theatrical center. It is visited by players from 
 Madrid. Sums received by managers for the performance of 
 a cornedia. For autos sacramentales. Receipts of a repre- 
 sentation. The rental of the corrales. 
 
 Chapter X 206 
 
 Character of the actors and 'actresses. Decrees regulating 
 theatrical performances. The opposition of churchmen. De- 
 crees of 1598, 1600, 1603, 1608, and 1615 for the reformation of 
 comedias. 
 
 Chapter XI 229 
 
 Private representations before the King. Philip the Third. 
 Philip the Fourth. The latter's fondness for the theater. Rep- 
 resentations in 1622. Festivals at Aranjuez. The "Buen 
 Retiro." Lope's Selva sin Amor. Dramatic spectacles by Cal- 
 deron. Decree of 1641 regulating plays. The theaters closed 
 in 1646 and again in 1682. 
 
 Chapter XII 252 
 
 The "Partidas" of Alfonso the Learned concerning secular 
 plays. The church and the theater. Public players declared 
 infamous. Opposition of the clergy to the theater. It is mostly 
 due to the players. Character of the actresses. 
 
 Chapter XIII 274 
 
 The term cornedia defined. The various kinds of comedias. 
 The licensing of comedias. The representation of a cornedia. 
 Loas, Entremeses, Jdcaras, Sainetes, Mogigangas. 
 
CONTENTS ix 
 
 PAGE 
 
 Chapter XIV 297 
 
 The representation of autos sacramentales. Description of the 
 autos at Madrid. The carros. Abuse of the representation of 
 autos. Protests of churchmen. Sums paid for the representa- 
 tion of autos. Autos in the theaters. Great expense of these 
 festivals. 
 
 Chapter XV 322 
 
 Contemporary accounts of the representation of comedias and 
 autos. Francis van Aerssen. The Comtesse d'Aulnoy. The 
 behavior of audiences. Scenes in the theaters. Spanish players 
 abroad. Conclusion. 
 
 Appendix A 345 
 
 Appendix B 357 
 
 Appendix C 360 
 
 Index 381 
 
 Addenda 403 
 
 List of Spanish Actors and Actresses . . . .407 
 
INTRODUCTION 
 
 It has been said that the dramatic literature of Spain in 
 the sixteenth and seventeenth centuries exceeded that of all 
 other European nations combined, and this is, perhaps, no 
 exaggeration. Lope de Vega, the great founder of the 
 national drama, who heads the list with about fifteen hun- 
 dred plays, would alone suffice for an entire nation. He 
 is followed by Tirso de Molina and Luis Velez de Gue- 
 vara, with about four hundred plays each, and by other 
 playwrights whose productivity is almost as remarkable. 
 Of the vast dramatic output of this period it has been 
 estimated that fully one half is lost beyond recovery. Of 
 Lope de Vega's repertory- about two thirds has perished; 
 of Tirso de Molina's and Velez de Guevara's about four 
 fifths has disappeared, and of all the great dramatists of 
 the Golden Age perhaps Calderon is the only one whose 
 literary baggage has descended to us almost in its entirety. 1 
 Theatrical representations became exceedingly popular 
 in Spain in the last decades of the sixteenth century, and 
 with the establishment of the first permanent theaters in 
 Madrid — the Corral de la Cruz in 1579 and the Corral 
 del Principe in 1582 — the passion for the theater in- 
 creased, and it was not long before all the larger cities 
 possessed fixed corrales or theaters, and few towns were 
 bo small that they were not occasionally visited by strolling 
 players. In all matters pertaining to the stage, however, 
 
 1 Concerning the drama in England, W.' W. Greg (Henslowe 's Diary, 
 Vol. II, London, 1908, p. 146) says: "We may, I think, conclude with 
 some confidence that the total output of the Elizabethan Age was between 
 2000 and 3000 [plays] and probably not very far removed from the mean. 
 This is, of course, exclusive of masques." He gives about 650 as the 
 total number of plays extant from Elizabeth's accession to the outbreak of 
 the civil war (1558-1642). 
 
xii INTRODUCTION 
 
 Madrid was always paramount. Upon this point the evi- 
 dence is overwhelming. The importance oi Valencia as a 
 theatrical center has been much exaggerated, and while 
 a corral may have existed in that city as early as 1501$, 
 there is no positive record of one till x;S; or 15 S3. As 
 the dramatists of the so-called Valencian school were all 
 followers of Lope de Vega (its activity can be dated back 
 no farther than Lopes residence in that city in i;8$\ 
 so. too, the Valencian stage was at all times ruled by that 
 of Madrid. In the capital all the large companies of 
 players were organized; here all the celebrated managers 
 (a:, tores de comeJias) and actors lived, and from this 
 source all the cities of Spain, as well as the capital of 
 PortugaJ, drew for their theatrical representations. 
 
 After Madrid, the most flourishing theatrical center, on 
 account of its wealth and commercial importance, was un- 
 doubtedly Seville, and hence, in the following account of 
 the Spanish stage. I have confined myself almost exclu- 
 sively to these two cities, not only because of their prime 
 importance, but also for the no less potent reason that here 
 the sources flow much more freely than elsewhere. 
 
 As regards the city of Valencia it may not be out of 
 place to give here such information as is furnished by the 
 rare little book EI TeJtro dc T'alcnaa desde su Ori^ri 
 hjstti niustros Dias, por D. Luis Lamarca, Valencia, 1S40. 
 Concerning theatrical representations in that city Sr. La- 
 marca says that "to Valencia belongs the indisputable glory 
 of having been the first city in Spain in which dramas were 
 represented in the vulgar tongue," and mentions that in 
 April, 1304, there was performed in the Palacio del Real 
 a tragedy entitled L'hor; e'hitnorat y In frmbra sjrisfttj, 
 written by Mosen Domingo Masco, counselor of the 
 King. Don Juan I. 1 
 
 A few years afterward, in 141 2. on the occasion of the 
 
 "See also Wolf, SrsiJisx sir Gfssiu'ktt irr sftwucl.s xtJ fvrtx&r- 
 shrien Xat}9na^:Ur.:t:,-, Berlin, iSjcs p. 5S4. 
 
INTRODUCTION xiii 
 
 festivities celebrated by the city in honor of the visit of 
 the King, Don Fernando, among other things four en- 
 tramesos nuevos were enacted. Lamarca says that these 
 were probably carros triunfales, which are now known by 
 the name of rocas; and upon these carros were represented 
 pasos or mysteries, for in the deliberation of March 7, 
 141 5, it was decreed to pay to "Mosen Juan Sist, pres- 
 bitero, per trobar e ordenar les cobles e cantilenes ques 
 cantaren en los entratnesos de la festhidad de la entrada 
 del Sor. Rey, Reyna e Primogenit," thirty florins, "e igual 
 suma a Juan Perez de Pastrana, per haber de arreglar e 
 donar el so a les dites cantilenes e haber fadrins que les 
 cantasen e ferlos ornar" (p. 10). This, the author says, 
 is proof of the Valencian origin of the term entremes. As 
 early as the middle of the fifteenth century the city had 
 paid juglares (juglares asalariados) to represent the public 
 festivals, as is shown by a deliberation of August 28, 1487, 
 when the city appointed "Juan Alfonso para una plaza de 
 juglar de la ciudad, que se hallaba vacante por muerte de 
 Martin Alfonso; expresando, que se le concedia con los 
 emolumentos y trajes pertenecientes a dicho oficio" 
 (ibid.), and he continues: "Los misterios en lengua lemo- 
 sina que se representan todavia por las calles en la vispera 
 y dia del Corpus y en especial el de Adam y Eva, que 
 antes de salir de la procession se ejecuta sobre el carro 6 
 roca de la Santisima Trinidad, bajo los balcones de la casa 
 de ayuntamiento, son una memoria de aquellas primitivas 
 representaciones." 
 
 As to the playhouses of Valencia, Sr. Lamarca calls at- 
 tention to the fact that Jovellanos was in error in stating 
 that in 1526 the Hospital of Valencia possessed a theater 
 in that city, and states that many years passed before the 
 Hospital had any interest in the casa de Comedias. The 
 evidence for an early theater in Valencia he finds in the 
 circumstance that in 1566 the street now called calle de la 
 Tertulia was called the carrer de les Comedies. The fact 
 
xiv INTRODUCTION 
 
 is, however, that the Hospital, in 1582, finding itself in 
 straits for funds, the Marquis of Aytona, then Viceroy 
 of the kingdom of Valencia, decreed on September 1 5 of 
 that year that the companies of players which came from 
 various parts to Valencia could only represent in the place 
 appointed by the Hospital. This concession was con- 
 firmed by the Cortes of Monzon in 1585. 
 
 From a deliberacion of November 6, 1584, it appears 
 that, for a short time prior to this date, a theater had been 
 established in a house of Ana Campo, "situada cerca dels 
 Santets," in which Alonso de Cisneros had represented 
 for three months (p. 18). 
 
 These, however, were only provisional theaters, and on 
 May 4, 1584, the permanent theater in the Vall-cubert 
 was finished. This, Sr. Lamarca declares, was in the Plaza 
 de la Olivera, now called the Plaza de las Comedias, 
 for a deliberacion of November 6, 1584, shows that 
 N. Velazquez represented "farsas en la casa que te 
 lo dit spital pera dit efecte a la Olivera." At this time the 
 entrance fee was 4 dineros, and a silla cost seven. This 
 famous Casa de la Olivera existed for thirty-four years, 
 until 161 8, when it was torn down and rebuilt. While 
 rebuilding comedias were again represented in the house 
 called dels Santets, over against what is to-day the church 
 of St. Thomas, where performances had formerly taken 
 place. The Teatro de la Olivera was opened on Novem- 
 ber 3, 1619, when the first representation took place in the 
 new structure, and here they were continued until 17 15, 
 when it was rebuilt anew. 
 
 In 1622 the dramatist Jacinto Maluenda was alcaide of 
 this casa de comedias, and moved to the house in the 
 theater called del Autor, "which he was to occupy and to 
 exercise the duties of his office, receiving all the returns 
 and profits from the sale of waters, sweets, fruits," etc., 
 "del modo y manera que fins huy ho han tengut tots sos 
 antepasats." (Ibid., p. 63.) In 1650 representations were 
 
INTRODUCTION xv 
 
 forbidden by royal decree. In June, 1662, we find Jose 
 Carrillo and his company representing forty comedias in 
 Valencia. Performances continued to take place in the 
 Teatro de la Olivera until it was demolished in 1750, at 
 the instance of the archbishop, D. Andres Mayoral. 
 
 With this brief notice of the theater at Valencia we now 
 turn our attention to the stage of Madrid, first casting a 
 retrospective glance over the early religious representa- 
 tions in the peninsula. 
 
THE SPANISH STAGE 
 
THE SPANISH STAGE 
 
 CHAPTER I 
 
 Early religious representations. The festival of Corpus Christi. 
 The secular drama. Lope de Rueda. Torres Naharro. Early 
 secular representations. 
 
 So far as the representation of secular dramas in Spain is 
 concerned, we need go back no further than Lope de Rueda, 
 who is, in fact, the first professional actor-manager whose 
 name has been preserved in the theatrical annals of Spain. 
 To him and to Torres Naharro, Lope de Vega, the great 
 creator of the Spanish national drama, has ascribed the 
 beginnings of the comedia. 1 On the other hand, any dis- 
 cussion of the representations of the religious drama in 
 the peninsula must necessarily revert to a much more re- 
 mote period. 
 
 The earliest definite notices of popular representations 
 in Spain, it may be observed here, all concern the celebra- 
 
 1 In his Loa de la Comedia, Agustin de Rojas tells us that the comedia 
 had its beginning in the city of Granada, at the time when the Catholic 
 kings expelled the Moriscos from Spain (1492), and says that the comedia 
 was begun by Juan de la Enzina, "who was the first and of whom we have 
 three eclogues" (p. 120). And, again, he says that "the use of the comedia 
 began to be discovered" when Columbus discovered the New World (p. 
 121). He states that Enzina himself represented them to "the Almirante y 
 Duquessa de Castilla y de Infantado." But as Canete remarks: "Encina 
 estuvo muy lejos de ser representante, y mucho menos autor de Companias 
 cdmicaj en el sentido que posteriormente ha dado a este frase el tecnicismo 
 teatral. Poetas coetaneos de nuestro salmantino [Encina] como Pedro de 
 Vega, vendian ya sus cologuios pastoriles, que entonces se practicaban 
 mucho, a los representantes que andaban par el reino, que fueron los pri- 
 
4 THE SPANISH STAGE 
 
 tion of the festival of Corpus Christi, which was first insti- 
 tuted by Urban IV. in 1264. 1 Most of our information 
 concerning these festivals has been obtained from the 
 Archives of the larger Spanish cities, and that these 
 notices have been recorded is due to the fact that such 
 festal representations were given at the command and ex- 
 pense of the corporations of the various municipalities. 
 In this respect the Spanish Archives seem to be unusually 
 rich, and they throw much light on the character of these 
 early representations and on the manner in which they 
 were produced. It may not be without interest, therefore, 
 to cast a glance, though it be a very hasty one, at these 
 early religious representations, i.e., before the middle of 
 the sixteenth century. 2 
 
 According to Sanchez- Arjona the Archives of Barcelona 
 contain accounts of the celebrations of the festival of 
 Corpus Christi covering the first two thirds of the fifteenth 
 century, i.e., down to 1462. This festival was first intro- 
 duced into Spain at Gerona by Berenger de Palaciolo, who 
 died in 13 14. It was celebrated with great solemnity in 
 Seville during the fifteenth century, the cathedral chapter 
 
 meros que salieron a recitar publicamente. Asi Io expresa Juan Lopez 
 Osorio, en una obra historica muy anterior a las de Rojas y Mendez, y su 
 dictamen es mas digno de credito en este punto." (Tealro completo de 
 Juan del Encina, Edicion de la Real Academia Espanola, ed. by Manuel 
 Cafiete, Madrid, 1893, p. xxxviii.) Of these actors, however, we have no 
 knowledge. 
 
 1 That representations — secular as well as religious — must have taken 
 place in Spain at a period considerably antedating those mentioned in the 
 text, is evinced by the Siete Partidas of Alfonso X., which were probably 
 written between 1252 and 1257. Partida I, Tit. VI, Ley 34, is a very im- 
 portant document for the history of the early Spanish drama, to which 
 attention has frequently been called. From it Schack has drawn the 
 following conclusions: (1) That in the middle of the thirteenth century 
 religious as well as secular representations were well known in 
 Spain; (2) that they took place as well within as without the church; 
 
 (3) that they were represented not only by clerics, but also by laymen; 
 
 (4) that acting was followed as a profession (Erwerbszweig) ; (5) that 
 the plays were represented not only in pantomime, but were also spoken. 
 (Geschichte der dramatischen Literatur und Kunst in Spanien, Frankfurt 
 am Main, 1854, Vol. I, p. 114.) 
 
 2 For an account of the origin of the religious drama and of the autos 
 
THE FESTIVAL OF CORPUS CHRISTI 5 
 
 defraying the expenses of the representations, which took 
 place on what was called la roca, which the cathedral books 
 (libros de fabrica) describe as a kind of platform (andas) 
 carried by twelve men and on which were those persons 
 who represented Maria, Jesus, Saints Dominick and Fran- 
 cis, and the four evangelists. "There were, besides, six 
 angels and eight prophets, who were playing (tanendo) ; 
 we do not know whether they were upon the roca, but 
 rather presume that they went on foot like the devils and 
 the angels who came forth and performed a sort of dance." 
 As early as 1454, or a hundred years before Lope de 
 Rueda, Sanchez-Arjona gives the names of two of these 
 performers, Beatriz and Diego Garcia, who were paid 
 twenty-five maravedis for dancing (que iban rillendo) . It 
 is very likely that the persons engaged for these early 
 representations were merely mountebanks and strolling 
 players ; in fact, in the same year forty maravedis were paid 
 by the corporation to "Juan Canario, a juglar, and his 
 companion, who appeared on the roca, besides ten mara- 
 vedis for coming to this city." 
 
 In Zaragoza, in 1414, on the car or float for the repre- 
 sentation which Don Enrique de Aragon (generally, but 
 wrongly, called the Marquis of Villena) had arranged to 
 celebrate the nuptials of the King, Don Fernando el Ho- 
 nes to, there was represented "a great castle with four 
 towers at the sides, and in the middle a higher one, with a 
 wheel in its center which gave motion to the whole device 
 (armazon), and showed successively the various alle- 
 gorical personages who graced it." * These castles seemed 
 
 sacramentales, see, in addition to the first volume of Schack, Geschichte der 
 dramatischen Literatur und Kunst in Spanien, the introduction by Eduardo 
 Gonzalez Pedroso to Vol. 58 of the Biblioteca de Autores Espanoles, and 
 Sanchez-Arjona, Anales del Teatro en Sevilla, Seville, 1898. See also 
 Wolf, Studien zur Geschichte der spanischen und portugiesischen National- 
 literatur, Berlin, 1859, pp. 556 ff. 
 
 'For an account of this piece (written in Limousin, not in Castilian), 
 which is ascribed to the Marquis of Villena, see Schack, Nachtrage, p. z, 
 and Wolf, Studien, p. 583 and note. 
 
6 THE SPANISH STAGE 
 
 to have figured largely in these representations, for in 
 1454 "one Pedro Gonzalez, the friend who makes castles," 
 was paid for erecting one on the roca, which must have 
 been a similar device to the one used by the Marquis of 
 Villena. Despite the exalted purpose with which these fes- 
 tivals were celebrated, the earthly needs of the performers 
 were not overlooked, as is evinced by an entry in the books 
 of the cathedral of Seville, in which the expenses of the 
 festival were kept. Here we find, among other items, one 
 "for wine for the angels and prophets." ( Sanchez- Arjona, 
 p. 4.) Again, in 1462, in addition to the item "gloves for 
 Mary," nine maravedis were paid "for another pair of 
 gloves, together with a wound for St. Francis." In 1497, 
 besides an increased number of personages on the roca, 
 other innovations were made. Two reals were paid to 
 each of six trumpeters and to a drummer and a tambourine- 
 player. "A gilded sun was provided at a cost of ten reals, 
 besides twelve diadems for the apostles ; keys for St. Peter, 
 which cost two reals ; eighteen little gilded lamps and two 
 hundred and thirty roses gilded and plated with leaves of 
 tin {lata) to adorn the sky in which is God the Father, 
 the gilding at two maravedis and for the plating one 
 maravedl." In that year "Mary wore a gilded star, God 
 the Father a tiara, Jesus Christ a diadem, and St. Domi- 
 nick a lily." It is very likely, as Sanchez-Arjona remarks, 
 that during the fifteenth century these festivals were chiefly 
 in charge of the various guilds, and he adds that, to judge 
 by the titles of these autos and the notices of them which 
 have been preserved, these representations with which the 
 festival of Corpus Christi was then celebrated "had no 
 direct relation to the sublime mystery which is commemo- 
 rated on that solemn day, and down to the middle of 
 the sixteenth century we find no auto which unites all the 
 distinctive characteristics of the autos sacramentalcs." He 
 refers here to the Farsa llamada Danza de la Muerte, 
 written by Pedraza, a native of Segovia, and cloth-shearer 
 
AUTOS REPRESENTED BY GUILDS 7 
 
 (tundidor) by trade, and first printed in 1551. 1 It was 
 doubtless represented in that city by the guild of tundi- 
 dores, since at that time the cars for representation were 
 in charge of the guilds and officers of the city, who took 
 part in the processions, preceded by a standard, bearing the 
 ensigns of the respective guilds. This was also the case 
 in Seville, where, besides the care of the cars, the well- 
 cleaners had charge of the decoration of the "tarasca," the 
 ganapanes looked after the "giants," and an enormous St. 
 Christopher was furnished by the glovers. {Ibid., p. 8.) 
 In Seville these autos were represented at Corpus by the 
 various guilds and at their expense until 1554, when they 
 were undertaken by the city, which also assumed all the 
 charges of the representations. 2 At this time, says 
 
 1 The earliest auto bearing a definite date, that has survived, is Gil Vi- 
 cente's Auto de San Martinho, written and represented in 1504; "la rnas 
 antigua, entre quantas poseen fecha autentica, de dramas castellanos, 
 hechos para solemnizar la fiesta del Sanct. Sacramento." (Gonzalez 
 Pedroso, in Bibl. de Autores Espanoles, Vol. 58, p. xvii.) That there is, 
 however, much uncertainty concerning the chronology of Vicente's works, 
 has been shown by Stiefel, who makes it apparent that the Auto da Fama, 
 for instance, was written after 1519 and perhaps not before 1525, though 
 the date 1510 is assigned to it. (Archiv fiir das Studium der neueren 
 Sprachen (1907), p. 192.) It should be added that, while the Auto de San 
 Martinho was represented at Corpus Christi, it had nothing to do with the 
 glorification of the doctrine of transubstantiation ; and is not, therefore, an 
 auto sacramental. Fitzmaurice-Kelly says: "Hernan Lopez de Yanguas 
 est peut-etre le premier qui ait ecrit un veritable auto dans sa Farsa sacra- 
 mental en coplas (1520)." (Litterature espagnole, Paris, 1904, p. 174.) 
 The Farsa of Pedraza is republished by Pedroso, loc. cit., p. 41. On 
 Lopez de Yanguas, see Canete, Teatro espahol del Slglo XVI, Madrid, 
 1885, pp. 61 ff. 
 
 * The manuscript collection of Autos, Farsas, etc., of the Biblioteca Na- 
 cional, to which reference is made by writers upon this subject, has been 
 published by Rouanet, under the title Coleccion de Autos, Farsas y Collo- 
 quies del Sigh XVI, Madrid, 1901, in four volumes. It consists of ninety-six 
 pieces. The editor says : "Les diverses compositions du recueil pourraient se 
 diviser en trois classes: i° sujets empruntes a la Bible (Ancien et Nouveau 
 Testament) ; 2 sujets pris dans la legende ou la vie des saints. Les uns et les 
 autres portent le nom d'autos. 3 Sujets allegoriques, designes sous le nom 
 de farsas. II est a noter ici que, vers la fin du XVI e ou le commencement 
 du XVII e siecle, le mot auto n'etait l'equivalent ni d'auto sacramental, ni 
 d'auto al nacimiento, et ne s'appliquait pas exclusivement aux representa- 
 tions en l'honneur de l'Eucharistie ou de la Nativite, mais a toute oeuvre 
 dramatique en un act. Si on voulait chercher dans le Codice de Madrid le 
 
8 THE SPANISH STAGE 
 
 Sanchez-Arjona, it was the custom to place the Holy Sac- 
 rament in the middle of the principal chapel in the church, 
 and the town council and cathedral chapter having occu- 
 pied the stage or platform (tablado), placed between the 
 two choirs, the representation of the auto took place, after 
 which divine service was held. The mass and sermon be- 
 ing concluded, the dances were presented in the same place 
 in which the auto had been given, and there they remained 
 dancing before the Holy Sacrament until evening, when 
 the procession, of which they formed a part, emerged from 
 the church. {Ibid., p. 9.) Meanwhile the deputies ap- 
 pointed by the city to take charge of the festival assigned 
 the places where the representations were to take place, 
 and once designated, fixed the arms of the city over 
 them, so that, the representations within the cathedral and 
 before the chapters being concluded, the players might go 
 in their "cars" to perform the autos in all the places indi- 
 
 prototype des autos sacramentales tels qu'on les concut plus tard, c'est 
 parmi les farsas qu'on le trouverait. Les autos, au contraire, y apparais- 
 sent comme une forme encore rudimentaire des comedias dimnas." {Ibid., 
 p. x.) Forty years before, Wolf, in speaking of this same collection, had 
 said that from their nature these pieces must have been represented outside 
 the church, and that in the farsas sacramentales the special, allegor- 
 ical form of the auto sacramental is already found developed, while the 
 pieces which in this collection are called autos mostly treat of the lives of 
 heroes of the Old and New Testaments, of saints, etc., and may be con- 
 sidered the forerunners of the so-called comedias divinas. "More- 
 over," he says, "it may be confidently asserted that the ancient religious 
 drama in Spain was divided, as in France and England, into two prin- 
 cipal classes: historical representations of sacred history (Mysteries or 
 Miracle-plays) and moral-allegorical pieces (Moralities). From the 
 former the comedias divinas were afterward developed, and from the latter 
 the autos (in the signification which was afterward exclusively con- 
 fined to this name)." (Studien zur Geschichte der spanischen und 
 portugiesischen Nationalliteratur, Berlin, 1859, p. 602, quoting Schack, 
 Vol. I, p. 243.) A piece similar to those contained in the collection 
 edited by Rouanet, and which, moreover, bears a definite date, was 
 written by Sebastian de Horozco of Toledo, and is printed in his 
 Cancionero, Seville, 1874, p. 148. It is entitled "Representacion de la 
 Parabola de Sant Mateo a los veinte Capitulos de su sagrado Evangelio; 
 la qual se hizo y represento en Toledo en la Fiesta del Sanctissimo Sacra- 
 mento por la Santa Iglesia. Ano de 1548 afios." It also begins with an 
 "Argumento" or prefacio, as the author calls it. 
 
LOPE DE RUEDA 9 
 
 cated by the arms of the city. (Ibid.) So the procession 
 moved from street to street and received the name, in 
 popular phrase, of the "Festival of the Cars" — La Fiesta 
 de los Carros. 1 Toward the close of the sixteenth cen- 
 tury the auto received a new and powerful impulse 
 through Lope de Vega, seconded by other writers; an 
 impulse that was epoch-making in the annals of this 
 species of composition, which developed in regularity 
 and brilliancy, at the cost, perhaps, as Sr. Sanchez- 
 Arjona says, of its former tenderness and simplicity, 
 and putting an end to the autos viejos, works of tran- 
 sition between the farces of the fifteenth and early 
 sixteenth centuries and the eucharistic representations of 
 the seventeenth century, in which they constituted one of 
 the richest and most varied manifestations of the dramatic 
 muse. 2 
 
 Throughout the seventeenth century the autos sacra- 
 mentales were represented publicly in the streets of Spain, 3 
 the performances moving from place to place, as directed 
 by the authorities of the cities, under whose auspices and 
 at whose expense they were given. And it is in Benavente, 
 in 1554, that we first hear of Lope de Rueda, when he 
 represented an auto in that city. Lope de Rueda is the 
 earliest autor de comedias (head of a company of players) 
 in Spain of whom we have any knowledge. His is a 
 famous name in the annals of the Spanish theater, of which 
 he was one of the founders. Indeed, his great successor, 
 Lope de Vega, frequently alludes to his illustrious name- 
 sake as the first to bring the comedia, as it was afterward 
 known, upon the public stage. To Lope de Rueda the 
 name autor was rightly applied; he was an author as 
 well as actor and wrote the farces and comedies which 
 he and his little company performed in the public squares. 
 
 'Ticknor, History of Spanish Literature, Boston, 1888, Vol. II, pp. 291 ff. 
 
 2 Sanchez-Arjona, Anales, p. 8. 
 
 3 For the representation of autos in the theaters, see below, Chapter XIV. 
 
io THE SPANISH STAGE 
 
 Born in Seville, probably in the second decade of the 
 sixteenth century, he at first followed the trade of a gold- 
 beater. The earliest documentary notice concerning him 
 is of the year 1554, when, as just stated, he represented 
 an auto at Benevente in honor of Philip the Second, on 
 his passage through that town on his way to England. 1 
 On August 15, 1558, we find him in Segovia performing 
 una gustosa comedia at the dedication of the new cathe- 
 dral of that city. 2 In 1559 his company represented 
 two autos at Seville, El Hijo prodigo and Navalcar- 
 melo, 3 and the instrument dated April 29, 1559, is still 
 preserved in the Archives of Seville, in which Juan de 
 Coronado, the mayordomo of the rents and properties of 
 the city, is commanded to pay to Lope de Rueda, "residing 
 in this city, forty ducats, on account of seventy ducats, 4 
 which he is to receive for two representations, to be given 
 on two cars (carros), with certain figures, on Corpus 
 Christi ; the one Navalcarmelo, the other El Hijo prodigo, 
 with all the costumes of silk and other things that may be 
 necessary," etc. Attached is the receipt of Lope de Rueda, 
 
 'The best account of Lope de Rueda and his works is to be found in 
 Cotarelo y Mori, Lope de Rueda y el Teatro Espanol de su Tiempo, 
 Madrid, 1901, and in the same writer's introduction to the Obras de Lope 
 de Rueda, published by the Spanish Academy, Madrid, 1908, 2 vols. See 
 also Cortes, Un Pleito de Lope de Rueda, Madrid, 1903, and on the sources 
 of Rueda's plays, the excellent article of Professor Arthur L. Stiefel, Lope 
 de Rueda und das Italienische Lustspiel, in the Zeitschrift fiir Romanische 
 Philologie, Vol. XV. 
 
 2 "A la tarde, celebradas solenes visperas en un teatro que estava 
 entre los coros. . . . Luego la compania de Lope de Rueda, famoso come- 
 diante de aquella edad, represento una gustosa comedia." (Diego de 
 Colmenares, Historia de Segovia, Madrid, 1640, Cap. XLI, p. 516.) 
 
 'This auto is still extant and has been published by Rouanet in the 
 Coleccion de Autos, Farsas y Coloquios del Sigh XVI, Vol. II, Madrid- 
 Barcelona, 1901. In the introduction to Vol. I (p. xii), M. Rouanet says: 
 "No. LIX, VAuto de Naval y Abigail est precisement celui que Lope de 
 Rueda composa en 1559 pour la Fete-Dieu de Seville." 
 
 ' For some years after this seventy ducats seems to have been the usual 
 price for an auto. In May, 1580, seventy ducats each were paid for the 
 autos of that year by the chapter of Toledo, Alonso Rodriguez receiving 
 210 ducats for three autos and Melchor de Herrera 140 ducats for two 
 autos. (Perez Pastor, Bulletin Hispanique (1906), p. 78.) 
 
MARIANA AND THE DUKE n 
 
 dated May 9, 1559, acknowledging the payment of forty 
 ducats, and signed by his own hand. 1 
 
 The court having moved from Valladolid to Madrid, 
 we find Lope de Rueda in the latter city on September 24, 
 1 56 1, married to a Valencian woman. After a short stay 
 in Madrid, in which his company seems to have been very 
 unfortunate — for he was obliged to leave part of his theat- 
 rical wardrobe in pawn for a debt — he left for Valencia, 
 whence he returned to Seville, where, on July 18, 1564, 
 Juana Luisa, "daughter of Lope de Rueda and his wife 
 Rafaela Anxela," was baptized. 2 
 
 A very curious document, 3 which throws an interesting 
 light upon the early theatrical career of Lope de Rueda, is 
 a lawsuit brought by "Lope de Rueda and Mariana de 
 Rueda, his wife," on July 6, 1554, in Valladolid, against 
 Juan de la Cerda, the heir and successor of Don Gaston de 
 la Cerda, Duke of Medinaceli, for services rendered by 
 the wife to the latter. It appears that about the year 
 1546, two women, who earned their living by singing and 
 dancing, arrived from Aragon in the town of Cogolludo, 
 where Don Gaston was residing. The Duke was so pleased 
 with one of these singers that he admitted her to his ser- 
 vice. She was called Mariana, and we are told that she 
 fulfilled with extreme solicitude her duty of amusing the 
 Duke. She remained in his service six years, "dedicating 
 herself exclusively to furnishing him with recreation, sing- 
 ing and dancing in his presence whenever it suited his 
 caprice, and giving him always grande placer e contenta- 
 miento." Mariana seems to have been an excellent singer 
 and dancer, and, according to the testimony of one of the 
 witnesses, "es en extremo unica e sola en lo que hace." At 
 all events, she greatly pleased the old Duke, "who ad- 
 mitted her to his chamber, le daba de comer en su propio 
 
 1 Sanchez-Arjona, Anales, p. n. 
 
 ' Cotarelo, Lope de Rueda, p. 38, note. 
 
 * See Cortes, Un Pleito de hope de Rueda, Madrid, 1903. 
 
12 THE SPANISH STAGE 
 
 plato, and lavished gold and silver upon her, and in his 
 solicitude not to be separated from her, he used to take , 
 her with him on his hunting parties." In order the better 
 to accompany the Duke, "now on foot and now on horse," 
 Mariana had her locks shorn and dressed in male attire. 
 While her position, in the circumstances, might be re- 
 garded as rather equivocal, it should be added that one of 
 the witnesses "affirmed under oath, and insisted upon it, 
 that Mariana tried to please the Duke and to serve him 
 in all that she could como muger honrada." It appears that 
 the old Duke died owing Mariana considerable money, 
 and sometime after her marriage to Lope de Rueda she 
 determined to sue for the amount due her. The testimony 
 at the trial shows that when suit was brought (1554) she 
 had been married to Lope de Rueda for about two years. 
 As Mariana entered the Duke's service in 1546 and re- 
 mained six years, she must have married Lope de Rueda 
 directly after she left the Duke. This lawsuit lasted from 
 July, 1554, until March, 1557, during which time Lope 
 de Rueda was living with his wife, Mariana, in Valladolid. 
 .The testimony of some of the witnesses in this case af- 
 fords a glimpse of Lope de Rueda's company at this time. 
 The first witness was Pedro de Montiel, "a silk-spinner 
 (hilador de sieda), being in this court [Valladolid] and 
 a member of the company of Lope de Rueda." Another 
 witness was Gaspar Diez, musico, who testified that 
 "whenever the said Lope de Rueda represents a comedy, 
 he calls him and pays him [the witness] well for playing 
 the biguela in the said comedy," etc. Francisco de la 
 Vega, musico e tanedor of Valladolid, and Alonso Centino, 
 danzante, also testified, the latter saying that he was not in 
 Rueda's company because he [the witness] was married. 
 
 It appears, therefore, that Lope de Rueda was twice 
 married, first in 1552 to Mariana, a strolling singer and 
 dancer, and sometime in 1 563 or earlier to Rafaela Anxela. 
 Two years before this, in 1561, he is said to have repre- 
 
TORRES NAHARRO 13 
 
 sented the autos at Corpus in Toledo, and on October 4 
 and November 28, 1561, he received one hundred reals 
 each for two comedias acted at the instance of the Queen, 
 Dona Isabel de la Paz. 1 He died at Cordoba shortly 
 after March 21, 1565, the date of his testament. 2 
 
 To Bartoleme de Torres Naharro and Lope de Rueda 
 belongs the singular honor of having been the "first in- 
 ventors" of the comedia in Spain ; Torres Naharro was the 
 first Spaniard to write comedias in the manner in which 
 they were afterward taken up and brought to the highest 
 development of artistic form by Lope de Vega. 3 His 
 comedias are in verse, while Rueda's are in prose. Na- 
 harro has been strangely overlooked by those early Spanish 
 writers who touch upon the drama. Juan de la Cueva 
 does not mention him, nor does Agustin de Rojas. Cer- 
 vantes notes him briefly in the "Canto de Caliope" in his 
 Galatea, as does Lope de Vega in the dedication of his 
 comedia Virtud, Pobreza y Muger, in 1624, where he 
 says: "In Spain the rules of art are disregarded; not 
 through ignorance — for the first inventors [of the comedia 
 in Spain], Rueda and Naharro, who have scarcely been 
 dead eighty years, observed them — but through following 
 
 1 Cotarelo, Lope de Rueda, p. 37, note. 
 
 'Ibid., p. 39. 
 
 s The most distinguished of living critics of the Spanish drama, Sr. 
 Menendez y Pelayo, says this of our author: "Bartolome de Torres Na- 
 harro, inferior & otros contemporaneos suyos en dotes poeticas, habia nacido 
 hombre de teatro, y en esta parte les aventaja a todos. Comparense sus 
 obras con cuanto inmediatamente las precedio en nuestra escena: con las 
 eglogas, farsas y representaciones de Juan del Enzina (sin excluir las ulti- 
 mas y mas complicadas) ; con las de Lucas Fernandez, Francisco de Ma- 
 drid, Diego de Avila y Martin de Herrera; y aun con todo lo que Gil 
 Vicente compuso antes de la Comedia del Viudo, que es de 1514, acaso 
 influida ya por los ensayos de nuestro autor; y nos parecera que entramos 
 en un mundo nuevo, y que fue un paso de gigante el que Torres Naharro 
 dio en el camino de la buena comedia" (p. lxxxviii). Again: "Complied 
 ingeniosamente la trama, en tres por lo menos de sus piezas; atendio por 
 primera vez al estudio de las costumbres, y si no llego a la comedia de 
 caracter, fue por lo menos el fundador de la comedia de intriga" 
 (p. xciii). (Introduction to the Propaladia of Torres Naharro, Vol. II, 
 Madrid, 1900.) 
 
i 4 THE SPANISH STAGE 
 
 the bad style introduced by those who succeeded them." 
 Juan de Timoneda, as Schack has observed, is the earliest 
 Spanish writer to couple the names of Torres Naharro and 
 Lope de Rueda as the founders of the Spanish drama, call- 
 ing attention to the fact that the works of Torres Naharro 
 are in verse, while the comedies of Lope de Rueda are in 
 prose. 1 
 
 Lope de Rueda's historic importance lies in his in- 
 vention of the pas'o — a dramatic interlude turning on 
 some simple episode: a quarrel between Torubio and 
 his wife Agueda concerning the price of olives not yet 
 planted, an invitation to dinner from the penniless licen- 
 tiate Xaquima, etc. Mr. Fitzmaurice-Kelly, in his brief but 
 admirable summary of Rueda's achievement, says : "Rueda 
 had clearly read the Celestina to his profit ; and his prose, 
 with its archaic savor, is of great purity and power. . . . 
 Considerable as were Rueda's positive qualities of gay 
 wit and inventive resource, his highest merit lies in this, 
 that he laid the foundation stone of the actual Spanish 
 theater, and that his dramatic system became a capital 
 factor in his people's intellectual history." 2 And Sr. 
 Menendez y Pelayo says : "The positive and eminent merit 
 of Lope de Rueda is not in his dramatic conception, nearly 
 always foreign, but in the art of the dialogue, which is a 
 treasure of popular diction, picturesque and seasoned as 
 well in his pasos and coloquios sueltos as in those which can 
 be culled from his comedias. This episodical part is really 
 the very essence of them. This is what Cervantes admired 
 
 'The works of Lope de Rueda, which Timoneda began to publish at 
 Valencia in 1567, are now accessible in the two volumes edited by the 
 Marques de la Fuensanta del Valle in the Coleccion de Libros Espaholes 
 raros 6 curiosos, Madrid, 1895-96, and in the new edition of the Spanish 
 Academy, just issued in two volumes (Madrid, 1908), edited by Emilio 
 Cotarelo. For the above allusion, see the edition of 1895, Vol. I, p. 
 153. The Propaladia of Torres Naharro has also been reprinted, with an 
 excellent introductory essay by Menendez y Pelayo, in two volumes, in the 
 Libros de Aniaho, Madrid, 1880 and 1900; the second volume containing 
 the introductory essay. 
 
 'History of Spanish Literature, New York, 1898, p. 169. 
 
THE PROPALADIA 15 
 
 and in part imitated not only in his entremeses but also in 
 the picturesque portion of his novels." 1 
 Of Lope de Rueda, Rojas says : 
 
 "Digo que Lope de Rueda, 
 Gracioso representante, 
 
 Y en su tiempo gran poeta, 
 Empecp a poner la farsa 
 En buen uso y orden buena, 
 Porque la repartio en actos, 
 Haziendo introito en ella 
 Que agora llamamos loa," etc. 
 
 {Viage entretenido (ed. 1 603), p. 123.) 
 
 As Pellicer had already observed, 2 Rojas does not seem 
 to have been acquainted with the Propaladia of Torres 
 Naharro, first published at Naples in 15 17, since he 
 ascribes the introduction of the introito or argumento to 
 Rueda, though it had been used by Naharro nearly half 
 a century before. Nor is Rojas correct in saying that 
 Rueda divided his farsas into acts. The only division of 
 his plays is into scenes. Caiiete calls Naharro "padre y 
 fundador de la comedia espafiola." 3 
 
 Of the plays of Naharro numerous editions appeared 
 after the first one at Naples: at Seville in 1520, 1526, 
 1533, and 1545; one at Toledo in 1535, and one at Ant- 
 werp without date, but probably about 1550. According 
 to Menendez y Pelayo, 4 the Propaladia was first placed 
 upon the Index Expurgatorius in 1559, and an edicion 
 castigada was issued at Madrid in 1573, one at Antwerp 
 
 1 Introduction to his edition of the Comedias de Alonso de la Vega, Dres- 
 den, 1905, p. xiv. He says further: "Lope de Rueda, con verdadero instinto 
 de hombre de teatro y de observador realista transporto a las tablas el 
 tipo de la prosa de la Celestina, pero aligerandole mucho de su opulenta 
 frondosidad, haciendole mas rapido e incisivo, con toda la diferencia que 
 va del libro a la escena." 
 
 * Tratado historico sobre el Origen y Progr'esos de la Comedia y del 
 Histrionismo en Espana, Madrid, 1804, Vol. I, p. 22. 
 
 'El Teatro espanol del Sigh XVI, p. 112. 
 
 * Propaladia, Madrid, 1900, Vol. II, p. Ixxv. 
 
16 THE SPANISH STAGE 
 
 in the same year, and again at Madrid in 1590, though, 
 according to the same distinguished critic, other editions, 
 unexpurgated, were published between 1559 and 1573. 
 This list of editions evinces considerable vogue for the 
 Propaladia, though its influence on the Spanish drama at 
 this period does not seem to have been proportionate. 
 Still, those who are most competent to give an opinion in 
 the matter declare that Naharro's influence was wide and 
 immediate. 1 
 
 However this may be, it was in the plays of Xaharro 
 and Rueda that Lope de Vega, with the eye of genius, 
 saw the coming comedia, and in them it had its beginnings, 
 as he himself tells us. Hence the career of Lope de Rueda, 
 who was both actor and playwright, is of especial interest 
 to us. Cervantes, born in 1547, is the most important 
 witness we have among Spanish poets concerning Lope de 
 Rueda. He saw him in the flesh. We can imagine Cer- 
 vantes as a boy of ten or twelve standing in the square of 
 Valladolid gazing with unfeigned delight at the somewhat 
 crude and boisterous farces enacted, with due accompani- 
 ment of horse-play, doubtless, by Lope de Rueda and his 
 little company of strolling players. 2 They made an endur- 
 
 1 Propaladia, Vol. II, pp. cxlv et seq.; Schack, GescUthte der dramati- 
 scAi". Literatur und Kuiui in Spanien, Frankfort am Main, 1854, Vol. I, 
 pp. 194. ft.; Cafiete, El Teatro espahol del Siglo XVI, Madrid, 1885, p. 206; 
 Ticknor, History of Spanish Literature, Boston, 1888, Vol. I, p. 209; VoL II, 
 p. 54. As long ago as 17+9 Bias Xasarre said of our author: "Pero Bartolome 
 de Torres Naharro, que florecio por el mismo tiempo debaxo del Pontificado 
 de Leon X, debe ser tenido por el primero que dio forma a las Comedias vnl- 
 gares; las suyas se representaron en Roma," etc (Comedias j Entremeses 
 de Miguel de Cervantes, Madrid, ^49. \ A list of pieces which were printed 
 in the first half of the sixteenth century, containing several not men- 
 tioned by any writer on the Spanish drama, has been published by Emilia 
 Cotarelo y Mori, Catdlogo de Obras dramaticas impresas pero no conocidas 
 hasta el presenie, Madrid, 1902. See also Anales de la Literature espanola, 
 ed. Bonilla y San Martin, Madrid, 1904, p. 236. A long list of srxreenth- 
 century pieces had been given many years ago by Gayangos in his Spanish 
 translation of Ticknor, Vol. II, pp. 523-550. See also Canete, El Teatro 
 espahol del Siglo XVI, pp. 55 ff. 
 
 3 Lope de Rueda evidently gave a performance whenever an audience 
 could be collected, both in the morning and afternoon, for at the close of 
 
MIGUEL DE CERVANTES 17 
 
 ing impression on his boyish mind. From that time forth 
 he was in the thrall of the stage, and never afterward, 
 through all his long and checkered career, even when in 
 his generous, valiant optimism he must have acknowledged 
 that his plays were failures, was he able to shake off en- 
 tirely the spell of the theater. After the lapse of more 
 than half a century, in the prologue to the volume of his 
 Comedias ( 1 6 1 5 ) , the old hero of Lepanto, whose name 
 was now the greatest in all the literature of Spain, falls 
 into one of his delightfully reminiscent moods and gives 
 us an animated description of the primitive performances 
 of Lope de Rueda's little band of strollers. The account 
 is now much worn by constant usage, but Cervantes is the 
 only eye-witness who has left anything on paper, and his 
 narrative must serve once more here. 
 
 In the time of this celebrated Spaniard [Lope de Rueda] all the 
 properties of a theatrical manager were contained in a sack (costal), 
 and consisted of four white pelices trimmed with gilded leather, 
 and four beards and wigs, with four staffs, more or less. The plays 
 were colloquies or eclogues between two or three shepherds and a 
 shepherdess. They were set off by two or three entremeses, either 
 that of the "Negress," the "Ruffian," the "Fool," or the "Bis- 
 cayan," for these four characters and many others the said Lope 
 acted with the greatest skill and propriety that one can imagine. 
 At that time there were no tramoyas (theatrical machinery) nor 
 challenges of Moors or Christians either afoot or on horse. There 
 were no figures which arose or seemed to arise from the center of 
 the earth through the hollow of the stage, which at that time con- 
 sisted of four benches arranged in a square, with four or five boards 
 upon them, raised about four spans from the ground, nor did clouds 
 with angels or souls descend from the skies. The furnishings 
 (adorno) of the stage were an old woolen blanket drawn by two 
 cords from one side to the other, which formed what is called a 
 dressing-room (vestuario) , behind which were the musicians, sing- 
 
 his Eufemia he invites his audience "only to go and eat their dinners and 
 to return to the square, if they wish to see a traitor beheaded, a loyal man 
 freed," etc. (Obras de Lope de Rueda, Madrid, 1896, Vol. I, p. 88.) 
 
1 8 THE SPANISH STAGE 
 
 ing some old ballad without the accompaniment of a guitar. . - • 
 Lope de Rueda was succeeded by Nabarro, a native of Toledo, 1 
 famous as an impersonator of the cowardly ruffian; he improved 
 somewhat the setting of the comedia (levanto algun tanto mas el 
 adorno de las Comedias), and instead of a bag for the costumes 
 used chests and trunks. He brought the musicians from behind the 
 curtain, where they formerly sang, out upon the stage, removed 
 the beards of the players, for up to that time no actor appeared upon 
 the stage without a false beard, . . . except those who represented 
 old men or other characters which required a facial disguise. He 
 invented stage machinery (tramoyas) , thunder and lightning, chal- 
 lenges and battles, but these never reached the excellence which we 
 see now, etc. 
 
 Continuing, Cervantes mentions his own plays, Los 
 Tratos de Argel, La Destruycion de Numancia, and La 
 Batalla Naual, which were then seen in the theaters of 
 Madrid, and speaks of the innovations introduced by him, 
 such as reducing the comedias from five acts to three; 
 representing for the first time upon the boards the "imag- 
 inations and hidden thoughts of the soul and moral abstrac- 
 tions," etc. 
 
 All this is very interesting, but the accuracy of Cer- 
 vantes's statements has been questioned because they 
 apparently do not agree with facts that are known from 
 other sources. 2 There can be no doubt that Cervantes is 
 mistaken when he says that he first reduced the comedia 
 from five acts to three. This had been done by Francisco 
 
 1 Of this autor, Pedro Nabarro, one play survives, La Marquesa Saluzia, 
 llamada Griselda, a drama in four acts in verse. From a unique copy, 
 dated 1603, Dr. C. B. Bourland has reprinted it in the Revue Hispanique 
 (1905)- 
 
 2 Juan Rufo, another eye-witness of the performances of Rueda, cor- 
 roborates the testimony of Cervantes as regards the rudeness of the stage at 
 that time. In his Seiscientas Apotegmas, y otras obras en verso (Toledo, 
 1596), fol. 266, v., he says: 
 
 "Quien vio, apenas ha treinta anos, 
 de las farsas la pobreza, 
 de su estilo la rudeza, 
 y sus mas que humildes panos." 
 
PRAGMATIC A OF CARLOS V. 19 
 
 de Avendaiio as early as 1553. Besides, Schack cites a 
 rescript promulgated by Charles V. in 1534 against ex- 
 travagance in dress, "which is to extend likewise to players 
 — men and women — musicians and other persons who take 
 part in comedias by singing and playing." 1 Schack observes 
 that this decree not only shows that the representation of 
 comedias in Spain had reached a high degree of refinement 
 at that early date, but that women also appeared upon the 
 stage at that time, while later, under Philip the Second, 
 women's roles were played by boys. 2 
 
 Another curious notice referring to the same period is 
 found in the Ingeniosa Comparacion entre lo antiguo y lo 
 presente, by the Bachiller Villalon, which first appeared in 
 1539. The author says that never since the creation of 
 the world had "the comedias which we call farsas been 
 represented with such subtlety and ingenuity as nowadays." 
 He speaks of six men who are regularly in the pay 
 (asalariados) of the church of Toledo, of whom the two 
 principal ones, named Correa, are such remarkable actors 
 that he says he would spend a large sum of money or go 
 begging in order to see them, "though they should be many 
 miles from here." 3 
 
 It cost but a copper to see the show: 
 
 "Una 6 dos comedias solas, 
 como camisas de pobre, 
 la entrada a tarja de cobre, 
 y el teatro casi a solas." 
 
 (Quoted by Wolf, Studien, p. 606.) 
 
 1 Pragmatica de Carlos V. y Dona Juana, su madre, hecha en Toledo en 
 el afio de 1534 (Lib. VII, Ley 1, Tit. 12 de la Nueva Recopilacion) : "Item 
 mandamos que lo que cerca de los trages esta prohibido y mandado por las 
 Ieyes de este titulo, se entienda asi mismo con los comediantes, hombres y 
 mugeres, musicos y las demas personas que assisten en las comedias para 
 cantar y taner, las quales incurren en las mismas penas que cerca desto 
 estan impuestas. ' ' (Geschichte der dramatlschen Lit. u. Kunst in Spanien, 
 Vol. I, p. 198, note.) 
 
 * See below, Chapter VI. 
 
 * "Pues en las representations de comedias que llamamos farsas, nunca 
 desde la creation del mundo se representaron con tanta agudeza e industria 
 como agora, porque viven seys hombres asalariados por la Iglesia de 
 
2o THE SPANISH STAGE 
 
 However, neither the rescript of Charles V. in i534> nor 
 the account given by Villalon in 1539, seem to me to in- 
 validate in the slightest degree the narrative of Cervantes. 
 The decree of 1534 relates, almost certainly, to the elab- 
 orate representations that were given at public and church 
 festivals, indeed Villalon states explicitly that the players 
 whom he had seen were regularly in the pay of the church 
 of Toledo. So far as we know there were no fixed corrales 
 or theaters in Spain at this early period nor for many 
 years thereafter. We may be quite sure that the little 
 company of Lope de Rueda (he died in 1565) never 
 acted upon a permanent stage. Juan Rufo, quoted above, 
 alludes to the "cruel inn-yard" and its furnace-heat in 
 summer, while the memory of the icy winter blasts still 
 makes him shiver. 1 Surely strolling players, acting even 
 a quarter of a century before this, were not at all likely 
 to be attired in such magnificent costumes as to bring 
 them under the ban of the "Pragmatica" of Charles V. 
 Hence the representations against which the rescript of 
 1534 was directed were undoubtedly the religious dramas 
 that were acted in the public squares or within the 
 churches, or perhaps in the open space without the church. 
 Moreover, all the evidence furnished by the comedia itself 
 tends to corroborate and validate the account given by 
 Cervantes. It may be said with a great degree of proba- 
 bility that the stage accessories in the public theaters of 
 
 Toledo, de los quales son capitanes dos que se llaman los Correas, que en 
 la representation contrahazen todos los descuydos y avisos de los hombres, 
 como si Naturaleza, nuestra universal madre, los representasse alii. Estoy 
 tan admirado de los ver, que si alguno me pudiera pintar con palabras lo 
 mucho que ellos en este caso son, gastara yo grandes summas de dineros 
 6 mendicando fuera por los ver, aunque estuvieran mil leguas de aqui. 
 (Page 180 of the reprint by the Sociedad de Bibliofilos Espanoles, 1898, 
 and quoted by Menendez y Pelayo in his introduction to the Propaladia of 
 Torres Naharro, Vol. II, p. cl, Madrid, 1900.) See also Canete, Teatro 
 espaiiol, p. 95, note. 
 
 1 "Porque era el patio cruel, 
 
 fragua ardiente en el estio, 
 
 de invierno un elado rio, 
 
 que aun agora tiemblan del." 
 
ITALIAN COMEDIES IN SPAIN 21 
 
 Spain down to almost the beginning of the seventeenth cen- 
 tury were of a very simple and elementary kind. Two or 
 three musicians had been substituted for the ballad singers, 
 some simple devices to indicate locality and the introduction 
 of crude stage machinery. Indeed, in spite of the improve- 
 ments introduced upon the stage by Cervantes himself and 
 to which he alludes with evident pride in the Prologue 
 above quoted, we need go no further than his own plays to 
 show the primitive character of the stage machinery of his 
 day. To represent thunder and lightning, we read the 
 following stage direction in his Numancia: "Under the 
 stage they make -a noise with a barrel full of stones and 
 discharge a rocket." x 
 
 That representations were given in Spain, at this early 
 period, in which there was, in all probability, much display 
 of costume, there is other evidence to prove. The come- 
 dias of Torres Naharro, as we have seen, were published 
 as early as 15 17, and Italian comedies were not impossibly 
 known in Spain at this time or not long thereafter. As 
 we shall see (below, p. 29), one Muzio, with his company 
 of Italian players, had taken part in the Corpus festival 
 at Seville in 1538. The earliest known account of the 
 performance of an Italian comedy in Spain is dated 1548, 
 when one of Ariosto's comedies was represented at Valla- 
 dolid on the occasion of the marriage of the Infanta Dona 
 Maria, daughter of Charles V., to Maximilian, Prince of 
 Hungary. It was performed "with such apparatus and 
 scenery as are used at Rome in the representation of come- 
 dies," and was "a royal and sumptuous affair." 2 Creize- 
 nach, commenting on this, says: "This is also the first 
 known instance in Spain of the use of the scenic arrange- 
 
 1 "Hagase ruido debaxo del tablado con un barril Heno de piedras, y 
 disparese un cohete volador." (Numancia, Act II, Scene II, p. 195, ed. of 
 
 1784O 
 
 'Pellicer, Vol. I, p. 31. The latter's authority, as Stiefel (Zeitschrift fiir 
 Roman. Phil., XV, p. 319) remarks, is Caluete de Estrella, Felicissimo 
 Viaje del Principe Phelippe . . . , Anvers, 1552, fol. 2 b . 
 
22 THE SPANISH STAGE 
 
 ments of the Renaissance, the sight of which was evidently 
 a matter of the first importance to the narrator, for he 
 does not even mention the title of Ariosto's comedy. 
 Towards the close of the same year, Philip II., the suc- 
 cessor of Charles, saw a comedy performed at Milan, with 
 the greatest refinement and luxury of scenic decoration, 
 and after he had ascended the throne (1556), according 
 to a later account, Antonio Vignali of Siena, a member of 
 the Academ'ia degli Intronati, is said to have produced 
 Italian comedies at his court. Still, after this time we hear 
 of no great lords or rich corporations in Spain instituting 
 such elaborate productions. These were naturally beyond 
 the reach of the professional actor, but the latter had 
 found, even as Torres Naharro before him, many a useful 
 hint in the Italian comedy." 1 Furthermore, we read that 
 in 1 56 1, on the occasion of the marriage of Guglielmo, 
 Duke of Mantua, to Eleonora of Austria, the celebrated 
 "scultore del re di Spagna," Leon Leoni of Arezzo, was 
 sent to Mantua "a inventare e porre in ordine qualche 
 bellissimo apparato ed invenzione." 2 
 
 These representations, with their wealth of costume and 
 decorations, were Italian comedies, and were performed 
 privately by Italian players, before the King or his great 
 nobles. They had nothing to do with plays in the market- 
 places, for theaters, so far as we have any information, 
 were then unknown in Spain. But during the great 
 church festivals or on other solemn occasions, here, 
 
 1 Geschichte des neueren Dramas, Vol. Ill, p. 167. See also ibid., Vol. II, 
 p. 297. Stiefel (/. c), and after him Creizenach, quotes Scipio Bargagli, 
 Commedie degli Accademici Intronati, Vol. II, p. 494, as follows: ' ' Arsiccio 
 intronato (i.e. Vignali), con onore stato conosciuto infino da 11a remotissima 
 Spagna, mentre in buonissirao grado vi servi Filippo il Secondo la regnante, 
 a diletto di cui fece alia guisa Italiana, ivi non prima conosciuta, rappre- 
 sentare, dal regal tesoro illustrate, piu e chiarissime commedie, dalla ricca 
 e piacevolissima vena del suo f elice e tanto universale ingenio scaturite. ' ' 
 According to this, as Creizenach observes, these representations must have 
 taken place between 1556 and the time of Vignali's death (1559), while 
 "regnante" Philip might be taken as early as 1543. 
 
 ' D 'Ancona, Origin! del Teatro Italiano, Vol. II, p. 416, note. 
 
FESTAL REPRESENTATIONS 23 
 
 doubtless, as in religious or festal representations in 
 other countries, the costumes were often very elaborate 
 and costly. Schack mentions such a representation at 
 Valladolid, on June 5, 1527, at the christening of the 
 Infanta Philip. On this occasion the auto of the "Baptism 
 of St. John" was performed. 1 The same author, quoting 
 Ortiz de Zufiiga, Anales de Sevilla, ed. of 1796, Vol. Ill, 
 pp. 339 ft., mentions a magnificent representation given in 
 Seville in the previous year (1526) in honor of the mar- 
 riage of Charles V with the Princess Isabel of Portugal, 
 and also the autos represented at Corpus in 1532, likewise 
 at Seville. Schack remarks that it is very probable that 
 allegorical figures appeared in these autos, though this 
 fact is not expressly stated. 2 
 
 In 1563 there was represented at Plasencia, at the festi- 
 val of Corpus Christi, the tragedy of Nabuco Donosor, 
 with elaborate scenic display {con gran aparato), "and 
 when the children were thrown into the furnace, it seemed 
 so real that some persons believed that they were actually 
 thrown in." 3 Seven years after this, in 1570, we find the 
 
 1 See the passage from Sandoval, Historia de Carlos V., Valladolid, 
 1604, Bk. XVI, quoted by Schack, Geschichte, Vol. I, p. 200. On page 403, 
 indeed, he mentions some elaborate religious representations which were 
 given a quarter of a century earlier, in 1501, in honor of the Palsgrave, 
 afterward Kurfurst Friedrich II. He quotes from Hubertus Thomas of 
 Luttich, Annates de inta et rebus gestis Friderici II., Francof., 1624 (Ger- 
 man: Spiegel des Humors groszer Potentaten, Schlensingen, 1628). Speak- 
 ing of the "pomphaf ten dramatischen Spielen" given in Barcelona, he says : 
 "Da war angestellt ein gemachter Himmel, dabei man auch die Ilolle sah, 
 sehr schrecklich und grausam. Dabei wurden viele Historien gespielt, 
 welche fast an die vier Stunden wahrten." "In Perpignan sahen wir 
 Stiicke aus dem alten und neuen Testament, Paradies und Holle waren da 
 gleich prachtig zu schauen, und vier Stunden lang gab man da ein 
 schauerliches Stuck zu sehen. Die Engel in weiszen Kleidern, die Teufel 
 in Gold und Silber stattlich angethan stritten mit einander ; unter gewalti- 
 gem Krachen und Platzen sprangen die Raketen und es gab einen Hollen- 
 larm, als bewegten sich Himmel und Erde. Zuletzt kam Judas und erhing 
 sich an einem Fenster, ward auch sobald mit einem Feuerstrahl getroffen 
 und verschwand, dasz ihn Niemand mehr sahe." 
 
 2 Ibid., pp. 202, 203, and p. 205 for a list of early autos. 
 
 " Sanchez- Arjona, Anales, p. 16. See also the account of the elaborate 
 representation in 1578, in the public square of Plasencia, of El Naufragio 
 
24 THE SPANISH STAGE 
 
 students of the college of San Hermenegildo representing 
 a tragedy entitled San Hermenegildo, in which there were 
 thirty-four characters, besides soldiers, pages, etc. While 
 this was a festival performance given under the direction 
 of the Fathers of the Company of Jesus, and not a repre- 
 sentation in a public theater, we have here one of the 
 earliest descriptions of stage scenery, and hence it is of 
 interest. 
 
 The stage was about five feet (un estado) in height and thirty- 
 nine feet square. On the front was a large door of fine architec- 
 ture, representing the city of Seville, on the frieze of which was a 
 shield with the letters S. P. Q. H. At the two sides of this door 
 ran a handsome canvas of a wall with its battlements, forth from 
 which, projecting a distance of three feet, arose towers somewhat 
 higher, of which the tower on the left served as the prison of San 
 Hermenegildo, while the one on the right was the castle for the 
 entertainments. On the sides of these two towers sufficient room 
 remained for the exit of those personages who were represented as 
 belonging outside of Seville, such as the King Leovigildo and 
 others, for through the middle gate only those entered and de- 
 parted who were supposed to be from Seville, like San Hermene- 
 gildo, 1 etc. 
 
 Juan de Malara, the reputed author of this tragedy, 
 was, as is well known, an imitator of the ancient comic 
 poets, as opposed to the popular style of Lope de Rueda. 
 But it were useless to cite other religious or festal repre- 
 sentations. We have already passed beyond the period 
 of Lope de Rueda, and our chief reason for citing such 
 spectacles is (as this is not a history of the drama) 
 to show that, while they were not uncommon during the 
 
 de Jonas prof eta, in Canete, El Teatro Espanol del Siglo XVI, p. 139, and 
 of the Representation of Francisco de las Cuebas in Aleala in 1568. {Ibid., 
 p. 323.) This shows, as Sr. Canete says, that ' ' el aparato escenico de los 
 dramas religiosos era en toda Espana lujosisimo durante el siglo xvi." A 
 copy of this Representation of Cuebas is before me, made by my col- 
 league, Dr. Crawford, who purposes publishing it shortly. 
 1 Sanchez-Arjona, Anales, p. 41. 
 
A TRUSTWORTHY WITNESS 25 
 
 time of Lope de Rueda and even long before, they 
 cannot serve in support of the statements of some writers 
 that during this period the costumes and accessories 
 of the popular theater in Spain were of an elaborate and 
 sumptuous character. For such spectacles as we have 
 mentioned had nothing to do with the performances of 
 strolling players in the market-places, and hence a "prag- 
 matica" of 1534 could not have had them in view. We 
 are therefore safe in accepting the account of Cervantes 
 in regard to Lope de Rueda's performances as essentially 
 true. 
 
CHAPTER II 
 
 The corrales of Madrid. The Corral de la Pacheca. The Corral 
 de Burguillos. The Corral de Puente. The foundation of the 
 two famous theaters : The Corral de la Cruz and the Corral del 
 Principe. 
 
 Madrid became the capital of Spain in 1560. Strolling 
 players had certainly appeared there long before this date, 
 but with the rapid growth of the city in wealth and popula- 
 tion, which naturally ensued when it became the official 
 center of the kingdom, it was necessary to find some fixed 
 place where these companies of players could perform. 
 The establishment of permanent theaters in Madrid was, 
 at the outset, connected with an event that seemed to have 
 but a" remote relation to public amusements. 1 In 1565 a 
 number of charitable citizens of Madrid founded a fra- 
 ternity called the Cofradia de la Sagrada Pasion, the 
 primary object of which was merely to feed and clothe the 
 poor ; but, under the auspices of the King and the Council 
 of Castile, their field was soon widened, and a hospital for 
 poor women suffering from fever, "because there was no 
 other hospital for this purpose in the capital," was founded 
 in the calle de Toledo. In order to increase the funds of 
 the hospital the President of Castile, Cardinal Espinosa, 
 and the Councilors granted to the Cofradia the privilege 
 
 1 Schack, Geschichte der dramatischen Literatur und Kunst in Spanien, 
 Vol. I, p. 264, remarks that such a connection between public amusements 
 and religious or charitable foundations seemed natural enough to the 
 Spanish mind ; that it seemed equally natural to the English mind, we shall 
 see further on. The theater being supported by the public, it does not 
 appear so very strange, after all, that it should contribute to the public 
 charities. 
 
 26 
 
THE COFRADIAS 27 
 
 of providing a place for the representation of all comedias 
 given in Madrid, and of appropriating to their pious 
 purposes the funds thus obtained. 1 Two years after this, 
 in 1567, another fraternity was founded called the Cofra- 
 dia de Nuestra Senora de la Soledad, with charitable aims 
 of greater scope than those of the older fraternity. The 
 Cofradia de la Soledad bought a house near the Puerta del 
 Sol and fitted it up as a hospital. The places designated 
 for theatrical representations by the Cofradia de la Pasion 
 were three : a square or corral in the Calle del Sol ; another 
 belonging to Isabel Pacheco, in the Calle del Principe, 2 and 
 a third in the same street — a corral leased from one Bur- 
 guillos — which afterward passed into the control of the 
 Cofradia de la Soledad. For in 1574 the latter brother- 
 hood also petitioned for the right to furnish a place for 
 the representation of comedias in order to maintain its 
 hospital, 3 and the matter ended in a compromise with the 
 
 1 If now we cast a glance at theatrical affairs .in London, we find that in 
 March, 1573-4, the Lord Chamberlain (Earl of Essex) requested that one 
 Mr. Holmes might appoint places for plays and interludes within the city. 
 "The Mayor and aldermen replied that it would hurt their liberties so to 
 do, and that it was unfitting for any private person to hold such an office. 
 They had had preferable offers of a similar nature, for the relief of the 
 poor in the hospitals; they would accept these, if any." (Fleay, Chronicle 
 History of the London Stage, 1559-1642, London, 1890, p. 45.) And an 
 Act of the Common Council of London provided that all plays performed in 
 the city should first be licensed . . . and that of the money taken there 
 should be applied to the relief of the sick poor such sums as shall be agreed 
 on. (Ibid., p. 46.) Again, on October 8, 1594, Lord Hunsdon wrote to 
 the Lord Mayor asking permission for his players to play at the Cross-Keys, 
 "as they have been accustomed [i.e., before 1592]. They will play from 
 2 P. M. to 4, instead of beginning at 4 or 5, . . . and be contributory to the 
 parish poor." (Halliwell-Phillipps, Illustrations, p. 31. See also Collier, 
 Annals of the Stage, Vol. I, p. 216, and Henslotue's Diary, ed. W. W. 
 Greg, Vol. II, p. 77.) 
 
 2 There is a notice of a performance here in 1568: "En miercoles a 5 de 
 Mayo de 1568 afios entro a representar Velazquez en el Corral desta casa'. 
 ha de dar seis reales cada dia de los que representare. ' ' (Pellicer, Tratado 
 historico, Vol. I, p. 48. El Corral de la Pacheca, by Ricardo Sepulveda, 
 Madrid, 1888.) 
 
 3 Among the reasons on which they based their petition were that "come- 
 dians were people coming and going to the court [Madrid], and as they 
 were not to remain therein longer than eight or ten days, they performed 
 freely wherever they listed, and making use of this and wishing to do a 
 
28 THE SPANISH STAGE 
 
 older fraternity, the Cofradia de la Soledad acquiring the 
 corral of Burguillos. Both brotherhoods finally decided 
 to join forces and petitioned Dr. Antonio de Aguilera, 
 Councilor of Castile and deputy for the administration of 
 the said hospitals, that two thirds of the profits accruing 
 from these corrales should go to the Cofradia de la Pasion, 
 and the remaining third to the Cofradia de la Soledad; the 
 expenses to be shared in the same proportion. This agree- 
 ment of the two brotherhoods was approved by Dr. Agui- 
 lera on June 7, 1574. 
 
 These corrales — a name that down to our own day has 
 remained synonymous with playhouse — were originally, 
 before they were transformed into theaters, the yards of 
 houses. 1 In the rear was the stage ; the larger part of the 
 audience viewed the performance standing in the court- 
 yard, while the windows of the principal building and of 
 the surrounding houses served as boxes for the more dis- 
 tinguished spectators. Arrangements for the comfort of 
 actors and audience were at first, naturally, very crude. 
 The stage, as well as the whole court-yard, had no roof 
 nor any kind of protection against sunshine or rain. If 
 the weather was unfavorable the representation was either 
 suspended or brought suddenly to a close. 2 
 
 As early as 1574 a company of Italian players under 
 
 good work and a charity to the brotherhood of La Soledad, Alonso Rodri- 
 guez and other comedians were' representing corned i as to aid in the bringing 
 up of foundlings, in the Corral de Burguillos, which the brotherhood had 
 provided, and for which it had paid." (Pellicer, Tratado, Vol. I, p. 50.) 
 
 1 So in England the immediate predecessor of the playhouse was the inn- 
 yard. Until 1576, Fleay says, public performances in London were given in 
 inn-yards, of which there were five. (See also Collier, Annals, Vol. I, p. 36.) 
 
 2 Schack, Vol. I, p. 266. Under date of December io, 1579, we read: 
 "No hubo representacion en ningun corral por haber llovido mucho." 
 (Perez Pastor, in Bull. Hispanique (1906), p. 76.) Moreover, when there 
 were but few people in the corral the managers refused to give a perform- 
 ance. "27 de Agosto de 1579. — No hubo representacion en la calle del 
 Lobo (Corral de Puente) porque Cisneros estaba ausente, ni en la Pacheca 
 porque Ganasa no quiso representar al ver que habia poca gente en el 
 corral, y se devolvi6 el dinero a las personas que habian entrado." (Ibid., 
 P- 74-) 
 
THE CORRAL DE LA PACHECA 29 
 
 Alberto Nazeri de Ganassa 1 presented plays at Madrid 
 (mostly in pantomime, as it appears) , and in the same year 
 Ganassa succeeded in having a theater erected in the Corral 
 de la Pacheca. "For while comedias had already been 
 represented in the said corral, it was wholly open, and the 
 stage, raised seats, and patio were exposed to the inclem- 
 ency of the weather, so that when it rained no perform- 
 ance could be given." And in 1574 the theater was built 
 by two carpenters, using the "tablados, lienzos y otros 
 pertrechos del Corral de la Pacheca," and also the awn- 
 ings which had been made to shade the stage of this corral 
 from the sun. 2 
 
 The agreement was that a theater and stage should be 
 built, wholly covered by a roof, and that this theater 
 should be leased for a period of nine or ten years, etc., the 
 
 1 Concerning Ganassa, who had a company of players in France in Sep- 
 tember, 1571, see Baschet, Les Come"diens Haliens, Paris, 1882, pp. 18-25, 
 and Sanchez-Arjona, Anales del Teatro en Sevilla, Sevilla, 1898, p. 47. As 
 Ganassa appeared in Seville in 1575 in the Corral de Don Juan, the 
 corrales of the latter city were probably established as early as those of 
 Madrid. (Sanchez-Arjona, Anales, p. 53, and see below.) Ganassa seems 
 to have been at the head of the company called the Gelosi as early as 1572, 
 and to him is probably due the invention of the second Zanni or Arlecchino. 
 Scherillo says: "La compagnia, che sembra avesse gia allora (1572) il titolo 
 dei Gelosi, era condotta da un bergamasco Alberto, noto pel suo nome o 
 soprannome di Ganassa; al quale, oltre tutto il resto, si deve fors' anche 
 l'invenzione della parte e del nome del secondo Zanni, cioe dell' Arlecchino." 
 (La Commedia dell' Arte, in La Vita Haliana del Seicento, Milano, 1895, 
 p. 451.) It appears that a company of Italian players had visited Spain as 
 early as 1538, when one Muzio, "Italiano de la Comedia," was in Seville, 
 taking part in the festival of Corpus Christi. (Sanchez-Arjona, Anales, 
 p. 47, note.) The petition of Muzio, which is found in Vol. VI of the 
 Escribania de Cabildo of the municipal Archives of Seville, is as follows: 
 "Los Italianos que sacaron los carros en la fiesta del Corpus Cristi supli- 
 can a V. S. que, pues es costumbre de repartir joyas a quien mas buena 
 voluntad y obras mostrare en tal dia, que habiendo ellos hecho todo lo que 
 pudieron, sean V. S. tan benignas que, aunque en ellos haya poca parte de 
 merecimientos, puedan gozar della, y en todo sea, como suplican, con 
 aquella brevedad que el favor de V. S. y sus necesidades requieren, a fin 
 que se puedan ir a su viaje, e quitarse de los gastos, que son muchos, que 
 hasta agora han tenido para aguardar tan seiialada merced." — Muzio, 
 Italiano de la Comedia. (Ibid., p. 47, note.) Stiefel (Zeitschrift fiir 
 Roman. Phil., Vol. XV, p. 320) conjectures that Lope de Rueda may have 
 joined this company of Muzio's, and it is not improbable. 
 
 2 Pellicer, Tratado historico, Vol. I, p. 54. 
 
30 THE SPANISH STAGE 
 
 rent being fixed at ten reals per day. But, in fact, the roof 
 covered only the stage and the sides of the patio; the sole 
 covering of the latter was an awning to shade the specta- 
 tor from the sun. From this patio the rank and file — the 
 vulgo or gente del bronce — viewed the play, standing. On 
 account of the clamor and uproar they made, they were 
 called mosqueteros. So in France "the boisterous and 
 vulgar" stood, as did the "groundlings" in the pit of the 
 inn-yards of London. 
 
 Ganassa further agreed to perform two comedias for 
 the benefit of the theater, to advance 600 reals toward the 
 erection of it — to be returned to him at the rate of ten reals 
 per day (the rental of the playhouse) — and agreed besides 
 to give sixty performances. 
 
 Of the plays performed by Ganassa and his Italian com- 
 pany, Pellicer says: "Representaban comedias italianas, 
 mimicas por la mayor parte, y bufonescas, de asuntos 
 triviales y populares. Introducian en ellas las personas 
 del Arlequino, del Pantalone, y del Dotore." 1 This was 
 the Italian commedia dell' arte. Ganassa seems to have 
 made several journeys to Spain with his company, for 
 after this first visit in 1 574, he appeared again in June and 
 July, 1579 (see below, p. 31), at the Corral de Puente, 
 and also in the beginning of the following year in the 
 Pacheca and again during the years 158 1 and 1582, 2 and 
 in the Corral del Principe in 1584. 3 He seems to have 
 visited Spain again in 1603, according to Pellicer, 4 though 
 his statements are not clear on this point. We may be 
 quite sure that the financial success reaped by Ganassa 
 and his players, to which Ricardo de Turia (Don Pedro 
 
 1 Tratado ktstorico, Vol. I, p. 53. 
 
 2 Under date of December 31, 1581, we find the curious notice that 
 "Saldafia did not perform on this day, because he and his company were at 
 the Teatro de la Cruz to see the Italians." (See Perez Pastor, in Bull. 
 Hispanique, April-June, 1906, p. 149, and Appendix A.) 
 
 3 See below, p. 43. 
 
 4 Vol. I, pp. 57 and 72. 
 
THE VALDIVIESO AND THE PUENTE 31 
 
 Juan de Rejaule y Toledo) 1 alludes many years after- 
 ward, induced other Italian actors to try their fortunes 
 upon Spanish soil. To these we shall recur further on. 
 
 The Corral de la Pacheca, as stated above, was in the 
 Calle del Principe.. The increased demand for theatrical 
 representations, however, now induced the same Cofradias 
 to rent another corral, belonging to Cristobal de la Puente, 
 in the Calle del Lobo, which they furnished with benches 
 and gradas or raised seats, and fitted it up for the per- 
 formance of comedias. Besides, another corral was pro- 
 vided by the fraternities for Francisco Osorio, a theatrical 
 manager, who came to Madrid with his company in June, 
 1579. To Osorio was assigned the Corral de Valdivieso 
 by the then comisario de comedias, Francisco de Prado, 
 "and the said Osorio has bound himself to build a stage 
 and two platforms (tablados) at the sides, at his own cost, 
 and the profits arising therefrom shall be for the hospitals, 
 without any deductions being made, and besides the said 
 Osorio is to give ten reals for every day that he performs, 
 and to-day [June 7, 1579] is the first day that the said 
 Osorio represents, while also on this day Salcedo repre- 
 sents in the Corral de la Pacheca and Ganassa in the 
 Puente." 2 We learn, moreover, that Osorio only gave per- 
 formances on June 7, 8, and 9, when, on account of the 
 small number of spectators, he abandoned the corral. On 
 Sunday, June 7, 1579, the Hospital de la Pasion received, 
 as its two-thirds share from the performances of Ganassa, 
 who was representing in the Corral de Puente, and from 
 Salcedo, in the Corral de la Pacheca, two hundred and 
 twenty-one reals and ten maravedis, and on June 8 and 9 
 these receipts were one hundred and fifty-six reals twelve 
 
 1 In his Apologetico de las Comedias espaholas, prefixed to the second part 
 of Norte de la Poesia Espahola, etc., Valencia, 1616, he speaks of "el famoso 
 comico Ganaca, que en la primera entrada que hizo en ella [Espana] robo 
 igualmente el aplauso y dinero de todos." I possess an excellent copy of 
 this very rare book. 
 
 ."Perez Pastor, in Bull. Hispanique, 1906, p. 72, and see also Appendix A. 
 
32 THE SPANISH STAGE 
 
 maravedis, and one hundred and ninety-five reals ten 
 maravedis respectively. Ganassa and Salcedo also repre- 
 sented on Trinity Sunday, and on June 18 we learn that 
 Ganassa had gone to Toledo for the festival, while 
 Salcedo was engaged in the festival at Madrid, so 
 that there were no representations in the Corral de 
 Puente, where Ganassa had performed, nor in the Pacheca 
 which Saldafia had occupied. On June 24 Ganassa re- 
 turned from Toledo and again performed in the Puente, 
 and on June 28 and 29 in the Pacheca. On July 2 
 Ganassa appeared in the Pacheca "and declared that he 
 had been given a license by the Council of Madrid to 
 perform two days in each week." 1 In these corrales 
 various autores or theatrical managers gave performances, 
 among them Ganassa, Cisneros, Alonso Rodriguez "el 
 Toledano," Jeronimo Velazquez, Francisco Salcedo, 
 Rivas, Juan Granado, Alonso Rodriguez of Seville, Sal- 
 dafia, and others. 2 
 
 Of these directors of companies many wrote farces or 
 comedias, 3 and the term autor was therefore strictly appro- 
 priate to them at this time. It was not till some years 
 afterward that the title autor de comedias came to mean 
 
 'The representations during the three next succeeding years will be found 
 in Appendix A. The list is copied from the very important article by 
 Dr. Perez Pastor, in the Bull. Hispanique, 1906. 
 
 ' Pellicer mentions Alonso Velazquez among these early autores, but ac- 
 cording to Sanchez-Arjona, Anales, p. 98, this autor de comedias was not 
 born till 1572. 
 
 3 Of these autores Antonio de Villegas is said to have written fifty-four 
 comedias and forty entremeses, according to Pellicer, Vol. I, p. 116. The 
 latter quotes Rojas, Viage entretenido, p. 54, as his authority, but Pellicer's 
 mistake was pointed out by Barrera (Catdlogo, p. 493) nearly fifty years 
 ago. Rojas evidently meant that these comedias and entremeses formed the 
 repertory of Villegas, not that he wrote them. None of the comedias at- 
 tributed by Pellicer to Antonio de Villegas was written by him. Callar hasta 
 la Ocasion, which Pellicer ascribes to Alonso de Cisneros, was, according to 
 Barrera, written by Don Juan Hurtado y Cisneros. Pellicer also mentions 
 Gaspar Vazquez, an actor (perhaps the lessee of the Corral del Principe in 
 1583, mentioned below, p. 41), who, in the opinion of Tamayo de Vargas, 
 in his Biblioteca manuscrita, is the author of a comedia entitled La Costanza 
 (Alcala de Henares, por Sebastian Martinez, 1570). 
 
THE CORRAL DE LA CRUZ 33 
 
 merely a theatrical director, an impresario. 1 We have seen 
 that, after paying the autor and his company, the average 
 net proceeds of a single representation varied, at this early 
 period, from 140 to 200 reals, which went to the hospitals 
 of the city. It may be mentioned here that in 1583 Philip 
 
 11. granted to the "Royal House of Incurables" at Naples 
 half the proceeds derived from the public performances 
 of comedias in that city. 2 
 
 Performances in these corrales always took place in the 
 afternoon. At first they were limited to Sundays and feast- 
 days, but with the growing demand for such spectacles, 
 two representations were authorized during the week, on 
 Tuesdays and Thursdays, and sometimes they continued 
 for fifteen or twenty days before Shrovetide. On Ash 
 Wednesday the theaters were closed till Easter, and in 
 1580 plays were not resumed until September 11, when 
 Rivas began in the Pacheca. 3 
 
 All representations took place in these corrales until the 
 Cofradias erected their own permanent theaters, the first 
 one in the Calle de la Cruz in 1579, the other in the Calle 
 del Principe in 15 82.* 
 
 Let us turn now to these permanent theaters. A site 
 having been purchased in the Calle de la Cruz on October 
 
 12, 1579, for 550 ducats, the wood, benches, and other 
 properties were moved from the corral of Cristobal de la 
 Puente. and a new theater was fitted up. 5 It is interesting 
 
 'Caramuel, writing in the latter half of the seventeenth century, says: 
 "Autor de Comedias apud Hispanos non est qui illas scribit aut recitat, 
 sed qui Comicos alit et singulis solvit convenientia stipendia." (Rhythmica 
 (second ed. Campaniae, 1668), quoted by Schack, Nachtrage, p. 25.) 
 
 2 Croce, / Teatri di Napoli, p. 56. 
 
 * For details see Appendix A. 
 
 * Performances continued to take place in the old corrales, however, for 
 some time after the establishment of the two permanent theaters. There is 
 record of a representation in the Pacheca in January, 1583, and in the Corral 
 de Puente on February 18, 1584. See Appendix A. 
 
 ""Martes 8 de Diciembre [1579] :— En este dia se notified a Crist6bal de 
 la Puente, dueno del corral de la Calle del Lobo, que tienen alquilado las 
 cofradias, que cesaba este arrendamiento y que los asientos, tablados y 
 
34 THE SPANISH STAGE 
 
 to note that the building and the expenditures of this new 
 theater, or Corral de la Cruz, as it was called, were in 
 charge of Getino de Guzman, who had been the surety for 
 Cervantes' s mother, Dona Leonor de Cortinas, for his re- 
 demption from Algerine captivity. 1 
 
 The Corral de la Cruz had not yet been completed 
 when the first comedia was represented therein on Sunday, 
 November 29, 1579, by the companies of Juan Granado 
 and Jeronimo de Galvez. 2 
 
 Though on December 8, 1579, as we have just seen, 
 the Corral de Puente had been stripped of its benches, etc., 
 Cisneros again began to represent in it on January 28, 
 1580; and we find him there again on February 11 and 
 i8, s and according to Pellicer 4 on February 1, 1584. 
 It is clear, however, that the new Corral de la Cruz* 
 
 pertrechos que a costa de las cofradias se habian hecho en dicbo corral se 
 trasladarian al nuevo teatro de la calle de la Cruz ya por evitar gastos ya 
 tambien porque Francisco Salcedo, que representaba en la calle del Lobo, se 
 ha ausentado." (Perez Pastor, Bull. Hispanique, Jan., 1906, p. 75.) 
 
 1 Bull. Hispanique (1906), p. 76. Cervantes alludes to the relation exist- 
 ing between the theaters and the "Brotherhoods of the Hospitals" in his 
 Entremes del Retablo de las Maravillas, where Chanfalla says: "Yo senores 
 mios soy Montiel, el que trae el retablo de las marauillas; hanme embiado 
 a llamar de la Corte los senores cofrades de los hospitales, porque no ay 
 autor de comedias en ella, y perecen los hospitales, y con mi yda se re- 
 mediara todo." (Ocho Comedias, etc., Madrid, 161 5, fol. 244.) 
 
 2 "Yo Francisco de Olea doy fee ... en como hoy domingo 29 dias del mes 
 de Noviembre de 1579 afios fue el primero dia que se represent6 en el corral 
 que las cofradias de la Sagrada Pasion y Nuestra Senora de la Soledad tienen 
 en esta dicha villa en la calle de la Cruz, en el qual asi mismo represento 
 la primera vez Juan Granado y Galvez, autores de comedias, esta ultima 
 vez que vinieron a esta corte sin que hubiesen representado en el ni en otro 
 corral donde se acostumbra hacer las dichas comedias otra vez desta postrera 
 venida . . . Francisco de Olea." (Perez Pastor, Bull. Hispanique, Jan, 
 1906, p. 75.) 
 
 1 Ibid., pp. 77, 150. See Appendix A. 
 
 4 Vol. I, p. 80. 
 
 5 In 1576, three years before the building of the Corral de la Cruz, "the 
 first London theater properly so called, the Theatre, was built by James 
 Burbadge, one of Leicester's players. It was situate in Halliwell or Holy 
 Well, in the parish of St. Leonard's, close to Finsbury fields. In 1577 we 
 find another theater called the Curtain erected close to the Theatre, both 
 being in the same fields." (Fleay, Chronicle History of the London Stage, 
 p. 37.) "When Shakespeare came to London (1586?) there were two 
 
THE CORRAL DEL PRINCIPE 35 
 
 and the Corral de la Pacheca now became the favor- 
 ite playhouses, and were leased by the most famous 
 autores: Ganassa, Galvez, Granado, Saldana, Jeronimo 
 Velazquez, Cisneros, Alonso Rodriguez, Salcedo, and 
 others. On October 29, 1580, all representations in 
 Madrid were suspended on account of the death of the 
 Queen, Dona Ana, and the theaters were closed until 
 November 30, 1581, when Ganassa and his Italian players 
 again appeared at the Corral de la Cruz. 1 
 
 The success of the Corral de la Cruz and the desire to 
 be relieved of the rent which they were paying for the 
 Corral de la Pacheca induced the Cofradia de la Soledad y 
 Ninos expositos, in 1582 (February 19), to buy a number 
 
 theaters in London and its suburbs: the Theatre and the Curtain, both in 
 Shoreditch. In February, 1592, a third playhouse, the Rose, was opened by 
 the manager Philip Henslowe. It was situated on the Bankside in South- 
 wark and was doubtless the scene of Shakespeare's pronounced success alike 
 as an actor and dramatist. In 1594 he [Shakespeare] was connected with 
 another theater at Newington Butts [see now Greg, in Hensloiue's Diary, 
 II, pp. 72 and 85]; and later (1595-1599) he returned to the Theatre and 
 Curtain. The latter playhouse was kept up till after his death, but the 
 Theatre was torn down in 1599, and most of the materials were used by the 
 Burbadges in the erection of the Globe on the Bankside. From the opening 
 of this theater until Shakespeare gave up acting, it appears to have been the 
 only one [with the Blackfriars"] with which he was regularly connected. 
 The Blackfriars theater, originally a dwelling-house converted into a theater 
 by James Burbadge in 1596, was in the City, not far from the northern 
 end of Blackfriars bridge. The Times building is now on this site." 
 (Collier, Works of Shakespeare, Vol. I, p. 80.) Between July 22, 1596, and 
 April 17, 1597, Romeo and Juliet was acted at the Curtain by the company 
 known as Lord Hunsdon's servants. (See Ordish, The London Theatres, 
 p. 100.) According to the same writer Shakespeare's Henry V. was first 
 performed at the Curtain in 1599, "presumably by the Burbadge-Shake- 
 speare company." (Ibid., p. 84.) Ordish says that after the accession of 
 James I., in 1603, the Chamberlain's company — which Shakespeare had 
 joined before Christmas, 1594 (ibid., p. 169) — acted only at the Globe and 
 at the Blackfriars. (Ibid., p. 103.) Greg suggests that Shakespeare may 
 have been a member of Lord Strange's company (which became the servants 
 of Baron Hunsdon, Lord Chamberlain, after the death of Lord Strange, 
 then Earl of Derby, in 1594) as early as April, 1593, though Shakespeare's 
 name does not occur in the list of the company, as he was not a shareholder. 
 (Hensloiue's Diary, Vol. II, p. 74.) 
 
 1 "30 Noviembre 1551. — Ganasa represento en la Cruz y fue el primer dia 
 que hubo comedia despues de la muerte de la reina Ana. 'Y de todo el 
 aprovechamiento de la comedia, sin la representacion [i.e., the rental paid by 
 
36 THE SPANISH STAGE 
 
 of houses near the latter corral, in the Calle del Principe, 
 for which they paid the owner, Dr. Alaba de Ibarra, 
 physician to Philip II., the sum of 800 ducats. 1 Here 
 they built a theater after the pattern of the Corral 
 de la Cruz: this was the Corral del Principe, which, with 
 the Corral de la Cruz, were, after 1584, the only public 
 theaters of Madrid. 2 Their glory, in the annals of the 
 modern drama, is surpassed only by the Globe and Black- 
 friars in London. And it is a curious coincidence that the 
 dramatic careers of the great creators of the English and 
 Spanish dramas began at about the same time. Lope de 
 Vega, born in 1562, began to write for the public stage 
 about 1585. Shakespeare, born in 1564.J came to London 
 in I586(?), and became attached to one of the theaters. 
 Each rose to the topmost height in the dramatic art of his 
 country, and while the wide gulf that separates Shake- 
 speare from his contemporaries does not exist in the case 
 of Lope de Vega, the superiority of the latter among the 
 dramatists of his own country is now undisputed. Lope de 
 Vega had his Sessa, and Shakespeare his Southampton, yet 
 neither ever received aid or encouragement from his 
 
 the players], se allegaron doscientos y sesenta reales y medio de que cupo a 
 la cofradia de la Soledad de la tercia parte que lleva noventa reales y cinco 
 maravedis, y a la Pasion le cupo de sus dos tercias partes ciento y ochenta 
 reales y doce maravedis.' " (Perez Pastor, Bull. Hispanique (1906), p. 148.) 
 
 1 "Escritura de venta de dos pares de casas y corrales otorgada por el 
 D r Alava de Ibarra, medico de S. M., por si y como legitimo adminis- 
 trador de su hijo D. Juan, en favor de los diputados de la cofradia de N a 
 S a de la Soledad y Ninos expositos, en la calle del Principe, por precio de 
 800 ducados. Madrid, 19 Febrero 1583. — Venta de las dos tercias partes 
 de las casas de la calle del Principe que fueron del D r Alava de Ibarra 
 otorgada en favor de los diputados de la cofradia de la Pasion por los 
 de la cofradia de la Soledad y Ninos expositos en precio de 200,000 mara- 
 vedises. Madrid, 10 Marzo 1582." (Ibid., p. 152.) 
 
 2 1 prefer to use the term Corral del Principe and not Teatro, because 
 Corral was the only term applied to these theaters for many years after 
 their foundation. Antonio Armona, in his Memorias cronologicas, a 
 manuscript in the Biblioteca Nacional at Madrid, says that these buildings 
 began to be called teatros in 1608. They were still called corrales in 
 1611 (Bull. Hisp. (1907), p. 376) and certainly as late as the middle of 
 the seventeenth century, (Pellicer, Vol. I, p. 108.) 
 
SHAKESPEARE AND LOPE 37 
 
 sovereign. There is no proof at hand of personal patron- 
 age extended to Shakespeare by either Elizabeth or 
 James, 1 nor did Philip the Third or Philip the Fourth be- 
 stow any favor upon Lope. 2 Neither poet seems to have 
 been mindful of the glory he had reaped in the field of the 
 drama, while each took a peculiar pride in his other 
 poetical compositions. Shakespeare polished the verse of 
 his Venus and Adonis and his Rape of Lucrece, and Lope 
 laid the last file on his epics and sonnets, while both 
 strangely neglected those works which have since been the 
 delight of mankind. Lope's achievement in the drama 
 was too stupendously vast to receive much pruning or 
 revision at his hands, while Shakespeare never troubled 
 himself about the fate of his plays after they were once 
 in print. I cannot forbear quoting the words of Collier in 
 this regard: "Shakespeare probably superintended the 
 passage through the press of his two poems, Venus and 
 Adonis and Lucrece, but it is our conviction that, as far 
 as regards any of his plays, he never corrected a line of 
 them after they were in type. Even with respect to the 
 two dramas that with most show of probability may be 
 said to have been published entire, in order to check the 
 sale of imperfect, mutilated, and surreptitious copies — 
 Romeo and Juliet and Hamlet — we feel persuaded that 
 their author was in no way instrumental in the issue of the 
 more authentic copies. . . . After his plays had answered 
 their purpose on the stage, he seems to have been utterly 
 reckless of their fate." 3 
 
 1 Ward, History of English Dramatic Literature, London, 1899, Vol. I, 
 p. 501. 
 
 ' This statement must be mildly qualified in view of a document recently- 
 published by Dr. Cristobal Perez Pastor, Bulletin Hispanique (1908), p. 253 : 
 "Ordenareis que se paguen a Lope de Vega Carpio ciento y cincuenta 
 ducados de que la Reyna Nuestra Senora le hizo merced por el servicio que 
 le hizo de la comedia de El Vellocino dorado, y esto se pagara por donde se 
 acostumbran pagar cosas deste genero. Dios guarde al Sr. Contralor. 
 Madrid, 3 de Noviembre 1626. — El duque y conde de Benavente. (Arch. 
 de Palacio. — Espectaculos publicos y privados.)" But even here it will be 
 seen that the sum was granted by Philip the Fourth's young queen. 
 
 3 Memoirs of Actors, pp. 66, 67. 
 
38 THE SPANISH STAGE 
 
 "If any one should cavil about my comedias and think 
 that I wrote them for fame, undeceive him and tell him 
 that I wrote them for money." 1 So wrote Lope in the 
 autumn of 1604. From all that we know of Shakespeare, 
 it is clear that his plays also were written merely for 
 money, and that for him they had no further interest save 
 the profit to be derived from them. Lope de Vega, indeed, 
 in his later years, when he realized that his chief claim to 
 be remembered by posterity lay in his comedias, did make 
 an attempt to correct his plays for the press, and beginning 
 with Part IX (1617), they were printed under his super- 
 vision. 2 
 
 On the other hand, Shakespeare's indifference to the 
 fate of his plays continued till the end of his life. The 
 Tempest was probably the latest drama that he completed, 
 and it was written, as it appears, early in 161 1 — at all 
 events, it was well known in the autumn of that year. 
 Moreover, Lee says : "While there is every indication that 
 in 161 1 Shakespeare abandoned dramatic composition, 
 there seems little doubt that he left with the manager of 
 his company unfinished drafts of more than one play which 
 others were summoned at a later date to complete. His 
 place at the head of the active dramatists was at once filled 
 by John Fletcher, and Fletcher, with some aid possibly 
 from his friend Philip Massinger, undertook the working 
 up of Shakespeare's unfinished sketches." 3 
 
 Shakespeare lived five years after this date, in retire- 
 ment at Stratford. We are told that until 16 14 he made 
 frequent visits to London, but he does not seem to have 
 had sufficient regard for his plays to revise and correct 
 them. He continued to draw his income from them, and 
 in his quiet days at "New Place" his thoughts must often 
 
 1 See my Life of Lope de Vega, Glasgow, 1904, p. 154, note. 
 ' In the following year, in Part XI of his Comedias, Lope gives the num- 
 ber of plays he had then written as eight hundred. 
 ' Sidney Lee, Shakespeare's Life and Work, p. 135. 
 
THE ACTOR AND THE PRIEST 39 
 
 have reverted to the scenes of his great dramatic tri- 
 umphs, yet he allowed the plays on which his great fame 
 rests to go through the world, not in the perfection in 
 which they issued from his pen, but lame and halt and 
 disfigured, as chance might change and shape them, re- 
 gardless of their fate. 1 So there is some justification, it 
 would seem, for Pope's couplet on Shakespeare : 
 
 For gain, not glory, wing'd his roving flight, 
 And grew immortal in his own despite. 
 
 While it has not been without interest, perhaps, to thus 
 point out coincidences and parallels in the careers of the 
 two greatest dramatic geniuses of the modern stage, the 
 comparison closes with a contrast. Lope de Vega was a 
 priest, Shakespeare an actor,— almost the two extremes of 
 the social scale in their day. Lope was the lion of Madrid, 
 the "Phenix of Spain," whose fame had spread far and 
 wide, and whom men came from distant lands to see. 
 Shakespeare enjoyed no such renown among his fellow- 
 countrymen. In the fullness of his powers, at the age of 
 forty-seven, he withdrew from the theater, well provided 
 with the goods of this world, to lead a life of ease and 
 retirement in the quiet of his birthplace. Lope remained 
 in harness, a veteran of seventy-three, battling till the end, 
 on the scene of his early triumphs. His generous hospi- 
 tality, his unstinted charity, kept his purse-strings ever 
 open, and the last years of his life found him often de- 
 pendent upon his patron for the necessities of his humble 
 household. 
 
 In 1582, as we have seen, the second of the famous thea- 
 ters of Madrid— the Corral del Principe— was erected in 
 
 1 "He allowed most mangled and deformed copies of several of his great- 
 est works to be circulated for many years, and did not think it worth while 
 to expose the fraud, which remained in several cases undetected, as far as 
 the great body of the public was concerned, until the appearance of the 
 folio of 1623." (Collier, Shakespeare's Works, Vol. I, p. 142.) 
 
4 o THE SPANISH STAGE 
 
 the Calle del Principe. The deputies of the brotherhoods 
 seem to have proceeded with great circumspection in the 
 building of this new theater. An expense-book was kept, 
 and the work was begun on Monday, May 7, 1582. Of 
 these building expenses the Cofradia de la Pasion paid 
 two thirds and the Soledad one third, just as they shared 
 the profits, the former contributing 200 ducats and the 
 latter 100 ducats toward the expense. Pellicer gives the 
 following description of the theater: "A platform or stage 
 was built, a green-room, raised seats {gradas) for the 
 men, portable benches to the number of ninety-five, a 
 gallery for the women, stalls and windows with iron grat- 
 ings, passageways, and a roof to cover the gradas. Finally 
 the patio was paved and an awning was stretched over it 
 which protected against the sun, but not against the rain." 
 Four stairways were also erected, "one to ascend to the 
 women's gallery, with its balustrade of brick and plaster, 
 its wooden steps and its partitions of plaster around the 
 lower part, and the same above, so that the women who 
 went up the said stairway and were in the balcony could 
 not communicate with the men," etc. 1 In addition three 
 other stairways were built, "ascending to the seats of the 
 men [in the galleries?] and to the green-room (vestua- 
 rio), 2 and also a stall or box in the corral, whereby 
 women entered to a window which looked upon the stage." 
 
 1 Andres Aguado [the builder of the theater] "se obligo a hacer quatro 
 escaleras, una para subir al corrector de las mugeres, con sus pasamanos de 
 ladrillo y yeso, y sus peldanos de madera labrados, y sus cerramientos al 
 rededor de yeso por la parte de abaxo, y por la de arriba ni mas ni menos, 
 de manera que las mugeres que subiesen por la dicha escalera y estuvieseu 
 en el dicho corredor, no se puedan comunicar con los hombres: y de la 
 mesma manera otras tres por donde se sube a los asientos de los hombres y 
 al vestuario: y asimcsmo un aposento en el Corral por donde entran las 
 mugeres para una ventana que cae al dicho Teatro . . . y un tejado a dos 
 aguas encima de la dicha ventana hasta el caballete del tejado del aposento 
 de la calle." (Tratado Historico, Vol. I, p. 68.) 
 
 1 From this it appears that the green-room was on the floor above the 
 stage. If this were so, a change must have been made later, for an exam- 
 ination of the comedias of Lope de Vega shows that the vestuario must 
 have been at the back of the stage and on both sides of it, i.e., on the same 
 
THE CORRAL DEL PRfNCIPE 41 
 
 So impatient was the public for these spectacles that the 
 theater was opened before its completion, on September 
 21,1 5 83, when [Antonio ?] Vazquez and Juan de Avila rep- 
 resented therein. 1 The proceeds of this performance, in- 
 cluding the ten reals paid by the players for the rent of the 
 theater for that day, amounted to seventy reals,"for neither 
 the gradas, nor the ventanas, nor the corredor were yet 
 finished." {Ibid., p. 69.) Adjoining the Corral del Prin- 
 cipe on one side was the house of Dona Juana Gonzalez 
 Carpio, afterward the wife of Francisco Alegria, one of 
 the lessees of the theaters of the city. To Dona Juana the 
 brotherhoods paid one hundred ducats annually for allow- 
 ing a passage to be made through her house for a women's 
 entrance to the theater. Payment was made by giving her 
 two aposentos, one in the Cruz and one in the Principe? 
 
 The proceeds of a single representation at this time 
 generally amounted to about three hundred reals, after 
 deducting expenses. Seeing the large pecuniary gains de- 
 rived by the two fraternities from the theaters, the Council 
 of Castile in December, 1583, decreed that the General 
 Hospital of Madrid should henceforth have a share in the 
 proceeds. Besides the charge for admission to the theater 
 or corrales, the privileges for the sale of water, fruit, 
 aloja, and confections were an additional source of income 
 to the fraternities. 3 
 
 Schack 4 gives the following description of the corrales 
 or theaters of that time : 
 
 floor. See my article "On the Staging of Lope de Vega's Comedias," in 
 the Revue Hispanique, 1907. Concerning the Coliseo of Seville, Sr. 
 Sanchez-Arjona (p. 152) says: "En su origen el vestuario del Coliseo 
 estaba lindando con la casa de D. Diego Davalos, y las puertas que daban 
 paso a los espectadores muy proximas al tablado y vestuario." 
 
 1 Pellicer, Vol. I, p. 69. 
 
 2 Ibid., p. 70. 
 
 " The privilege of selling water, fruit, etc., in the two theaters of La Cruz 
 and El Principe was granted to Francisco Briceno on March 23, 1587; he 
 paying on each day that a comedia was acted Ave reals for each theater, 
 until St. Michael's day of the said year. (Pellicer, Vol. I, p. 82.) 
 
 * Geschichte, etc., Vol. I, p. 369. 
 
42 THE SPANISH STAGE 
 
 The corrales were, as we have said, court-yards where the backs 
 of several houses came together. The windows (ventanas) of the 
 surrounding houses — provided, as is the Spanish custom, with iron 
 railings or latticework, and then called rejas or celosias — served as 
 boxes or stalls ; a much larger number of these windows than origi- 
 nally existed in the buildings were especially constructed for this 
 purpose. If these boxes were situated in the upper stories, they 
 were called desvanes (attics) ; the lowest row of windows above the 
 ground, however, were called aposentos, a name that, in a wider 
 sense, seems also to have been applied to the desvanes. These 
 aposentos (apartments or rooms) were really spacious rooms, as 
 the name implies. The windows were, like the houses to which 
 they belonged, sometimes the property of others, and if not rented 
 by the fraternities, were entirely at the disposition of their owners, 
 who, however, had to pay annually a specified sum for the privilege 
 of seeing the plays from them. 1 Beneath the aposentos was a row 
 of seats, raised like an amphitheater, and called gradas; in front of 
 these was the patio, a larger open space whence the vulgo saw the play 
 standing. In front of the patio, and nearest the stage, stood rows 
 of benches called bancos, presumably also under the open sky, like 
 
 1 In 1635 permission was given to Don Rodrigo de Herrera to open a 
 window looking into the Corral del Principe, he paying to the lessees of 
 the theater the sum of thirty ducats (330 reales vellon) annually. (Pellicer, 
 Vol. I, p. 70; Sepulveda, El Corral de la Pacheca, p. 89.) This privilege 
 was also granted in the same year to Don Pedro de Aragon, who, having 
 purchased in the Calle del Principe a house which already had two apo- 
 sentos looking upon the Corral de las Comedias, wished to open another 
 window between the two. (Sepulveda, p. 90.) This notice is interesting 
 in view of a picture published by Sepulveda (p. 18), representing the 
 Teatro del Principe in 1660. I do not know the provenance of this picture, 
 but it corresponds in every detail to the description in the text as given by 
 Schack. It represents a rectangular space inclosed on the two longer sides 
 by houses with grated windows, and with a raised stage occupying the 
 further end. The whole space is open to the sky, except the portion over 
 the stage and extending some distance beyond it, which is covered by a 
 canvas awning. In the middle space or pit are a number of benches, which 
 cover about half the ground immediately in front of the stage. The rest 
 of the open space or patio is free, and is the place from which the ground- 
 lings or mosqueteros saw the play, while standing. On the left, beginning 
 level with the ground, are rows of terraced seats — the gradas mentioned 
 above. These are protected by a small roof supported by pillars. These 
 seats were partitioned off from the pit. The stage seems to have had a 
 slightly projecting roof. Of course the women's gallery (cazuela) does 
 not appear in the picture. 
 
GANASSA AND THE ITALIANS 43 
 
 the patio, or protected only by a canvas covering. The grades were 
 under a projecting roof at the sides. In the rear of the corraies, 
 i.e., in the part furthest from the stage, was the gallery set apart 
 for women, especially of the lower classes, and called the cazuela 
 or stewpan, also called corredores de las mugeres or gallery for 
 women. The more refined women patronized the aposentos or 
 desvanes. 1 
 
 Women were, apparently, no less eager to see a comedia 
 than men, and when Jeronimo Velazquez, in February, 
 158.6, determined to give a morning performance for 
 women only, no less than seven hundred and sixty flocked 
 to the theater, but on hearing of this the Council of Castile 
 stopped the performance and confiscated the proceeds for 
 the benefit of the hospitals. 
 
 We have seen above (p. 33, n. 4) that representations 
 continued in the older corraies even after the new theaters 
 — the Cruz in 1579, and the Principe in 1583 — had been 
 opened. On February 1, 1584, according to Pellicer, 2 
 Saldaria performed in the Corral de Puente, Cisneros 
 in the Cruz, and Ganassa in the Corral del Principe, and 
 on Sunday, February 5, Ganassa appeared in the Principe, 
 Velazquez in the Cruz, and Cisneros in the Corral de 
 Puente. It seems to result from a document published by 
 Pellicer 3 that before 1587 all the other corraies had 
 passed out of existence, except the Corral de la Cruz and 
 the Corral del Principe. The success of Ganassa and his 
 Italian company, to which we have already alluded, doubt- 
 less induced other Italian players to visit Spain. Ganassa 
 had appeared in the Corral de la Cruz on February 23, 
 
 1 Malone, speaking of the London theaters, says: "What was called the 
 pit in the private theaters, like the one in Blaclcf riars, was called the yard 
 in the public ones, as the Globe. The former theaters were inclosed by a 
 roof, and the latter were open, except the stage, which was covered by a 
 thatched roof. In the pit were benches for the spectators, while in the yards 
 the groundlings stood." {Historical Account of the English Stage. See 
 also Collier, Annals of the Stage, Vol. Ill, p. 335.) 
 
 'Vol. I, p. 80. 
 
 ' Ibid., p. 81. 
 
44 THE SPANISH STAGE 
 
 1582. Four days afterward, on February 27, we find a 
 notice that Ganassa did not represent because he had been 
 put in prison. 1 On June 29, 1582, we find that "an Italian 
 performed acrobatic feats in the Pacheca and continued 
 performing with his tumblers until St. James' day," and on 
 August 24, 1582, los Italianos nuevos represented a 
 comedia at the Pacheca. 2 They again appeared on Sep- 
 tember 29 and 30, on October 17 and 18, and on Novem- 
 ber 1. From the fact that they are called "the new Ital- 
 ians," it is very probable that this company was not 
 Ganassa's. In 1587 and 1588 we find another company 
 of Italian actors in Madrid (or was it the company of 
 1582?) under the management of the brothers Tristano 
 and Drusiano Martinelli. 3 This is undoubtedly the Italian 
 company that was performing at the Corral del Principe 
 in November and December, 1587, and for some time 
 thereafter. Lope de Vega was a frequent visitor at this 
 time to these plays by the "Italians," or the "Comedia of 
 the Harlequin." 4 
 
 It is, moreover, very probable that in his early career as 
 a dramatist Lope was much influenced by the commedie 
 dell' arte which he saw represented by these Italian 
 companies. The name of the male lover in these com- 
 medie, Fulvio, Valerio, Ottavio, Leandro, Fabricio, Cin- 
 thio, etc., and of the female lover, la comica accesa, 
 
 1 See Appendix A. 
 
 2 It is not likely that two companies of Italians were acting in Madrid at 
 the same time, and I presume that these Italianos nuevos were the same 
 as the company called Los Corteses (1 Cortesi), who represented in the 
 Pacheca on August 26, 1582, and again on September 2, 8, 9, 16, 21, 23, 29, 
 and 30, and at various times down to November 15 of the same year. 
 (Bulletin Hispanique (1906), p. 152. See Appendix A, under year 1582.) 
 
 3 D'Ancona, Origini del Teatro Italiano, Vol. II, p. 479. Drusiano Mar- 
 tinelli was in England with a company of players in 1577. Collier says: 
 "There was an Italian commediante named Drousiano, and his company, 
 in London, in January, 1577-78. The nature of their performances is not 
 anywhere stated, but it is possible that they might represent some extem- 
 pore comedies." (Annals of the Stage, Vol. Ill, p. 398, note.) 
 
 * Rennert, Life of Lope de Vega, pp. 27 ff. Drusiano Martinelli was a 
 famous Arlecchino. (See D'Ancona, Origini del Teatro Italiano, Vol. II, 
 
LA COM MEDIA DELL' ARTE 45 
 
 Isabella, Lucinda, Leonora, etc., we find very frequently in 
 the comedias of Lope. Besides, there is much similarity in 
 the situations in many of Lope's comedias de capa y espada, 
 or comedies of intrigue, and the ordinary commedia dell' 
 arte. In the latter they recur from piece to piece with in- 
 considerable changes, each with the same mistakes, the 
 same quarrels, the same night scenes, where one person is 
 taken for another in the darkness; the same misunder- 
 standings — scene equivoche, 1 etc. 
 
 Lope de Vega, seeing these plays almost daily, at the 
 very beginning of his dramatic career, could hardly have 
 failed to be influenced by them. Indeed, Clemencin re- 
 marks that the comic figure, Trastulo, in these farces of 
 the Italians may have suggested to Lope the character of 
 the gracioso? 
 
 One of the members of Martinelli's company whom 
 Lope saw in 1587 was undoubtedly the "Madama An- 
 gelica," wife of Drusiano, a celebrated actress and at that 
 time a member of the company called / Confidently In a 
 letter of Drusiano Martinelli, published by D'Ancona, 4 he 
 
 p. 497, and Scherillo, La Commedia dell' Arte, in La Vita ltaliana net 
 Seicento. Milano, 1895, p. 475.) 
 
 1 See Mantzius, History of Theatrical Art, Vol. II, p. 228. 
 
 J Cervantes, Don Quixote, ed. Clemencin, Madrid, 1833, Vol. IV, p. 126, 
 note. See also his very interesting note on the hobo of the comedia, ibid., 
 p. 64. That Lope de Vega was an assiduous visitor of the theater, care- 
 fully observing the striking situations, is also asserted by Ricardo de 
 Turia in his Apologetico de las Comedias Espanolas, prefixed to the Norte 
 de la Poesia espahola, Valencia, 1616. He says: "EI Principe de los Poetas 
 Comicos de nuestros tiempos, y aun de los pasados, el famoso y nunca 
 bien celebrado Lope de Vega, suele oyendo asi Comedias suyas como agenas, 
 aduertir los pasos que hazen marauilla y grangean aplauso; y aquellos 
 aunque sean impropios imita en todo, buscandose ocasiones en nueuas Co- 
 medias, que como de fuente perenne nacen incesablemente de su f ertilissimo 
 ingenio," etc. 
 
 3 See below, p. 143. That both Drusiano and Tristano Martinelli were 
 in Spain in this and the following year is shown by a letter which the 
 former wrote to his mother, dated August 18, 1588, in which he says: 
 "Staremo tutto quest' anno qui in Spagna." (Rasi, / Comici Italian!, 
 Firenze, 1897, Vol. II, p. 104.) For his wife Angela or Angelica, see also 
 ibid., p. 16. 
 
 ' OrHgini del Teatro Italiano, Vol. II, p. 479. 
 
46 THE SPANISH STAGE 
 
 signs himself "husband of M? Angelica," and from an- 
 other letter 1 it appears that M? Angelica was quite as frail 
 as most of her sister-actresses. In a document of 1587 2 
 her name is given as Angela Martineli ; she, Angela Salo- 
 mona, and La Francesquina (Silvia Roncagli) seem to 
 have been the only women then in the company of the 
 Confidenti. 3 
 
 1 Origini del Teatro Italiano, Vol. II, p. 523. 
 * See below, p. 143. 
 
 'Perez Pastor, Nuevos Datos, p. 21. This company had been in Paris 
 in 1584-85. (Moland, Moliire et la Comedie Italienne, p. 41.) 
 
CHAPTER III 
 
 The corrales of Seville. Las Atarazanas. La Alcoba. San Pedro. 
 The Huerta de Dona Elvira. The Coliseo. La Monteria. 
 
 Turning now to another city, to Seville, we find more 
 detailed information concerning the public theaters or 
 corrales than was available in the case of Madrid. In 
 Seville, as already noted, corrales seem to have been estab- 
 lished at about the same time that we first find them in 
 Madrid. The Corral de Don Juan was in existence as 
 early as 1575 ; here the Italian Ganassa performed in that 
 year, "and those who went to see the comedias of Ganassa 
 in the Corral de Don Juan paid an entrance fee of half a 
 real; a real for each chair (silla) and a cuartillo (=^4 
 real) for each seat on the bancos." 1 In 1578 the Corral 
 de las Atarazanas was built, followed by that of the Huerta 
 de la Alcoba and the San Pedro (the latter apparently 
 ceased to exist after 1610), besides one mentioned by 
 Rodrigo Caro, which was in the Collacion de San Vicente, 
 and lastly, and perhaps the most famous of all, that of 
 Dona Elvira. 2 During the seventeenth century two others 
 
 1 Sanchez- Arjona, Anales del Teatro en S 'evil la, 1898, p. 51. From this 
 ■work the account in this chapter is taken. 
 
 2 There were other corrales in Seville besides those here mentioned, ac- 
 cording to Sanchez-Arjona. "Mateo de Salcedo y Juan Cano arrendaron 
 en 1600 unas casas que hubieron de servir de posada para los comediantes, 
 y en cuyo patio hicieron un teatro con algunos aposentos de tablas, 'sin 
 otra mezcla que la trabazon,' y los autores que venian a Sevilla 'negociaban 
 representar sus comedias en el dicho teatro y casa de Salcedo, sin haber 
 habido otra licencia de la Ciudad.' " Besides this corral there were "las 
 casas del coliseo del Duque de Medina Sidonia (situadas en la plaza del 
 Duque)" and "el corral de San Pablo, proximo sin duda al convento de 
 este nombre, de cuyos corrales no tenemos mas noticias que esta ligera refe- 
 renda." (Ibid., pp. 502, 503.) 
 
 47 
 
48 THE SPANISH STAGE 
 
 were built: the Coliseo and La Monteria, "notable for 
 their construction and famous in the annals of the 
 theater." 
 
 "With the establishment of fixed corrales de comedias," 
 says Sanchez-Arjona, "as well in the capital as in Seville 
 and other cities of importance, and with the increased 
 fondness of the people for theatrical representations, the 
 number of professional actors also continued increasing, 
 and as, down to this time, those who furnished the text for 
 the autos 1 also represented them, or, at all events, in- 
 trusted their representation to persons who were not pro- 
 fessional players, from this time there began to take 
 charge of these representations autores de comedias, as the 
 chiefs or directors of the companies were called, and a 
 distinction was established between the writer and the 
 player." 2 
 
 Of the Corral de Don Juan nothing seems to be known 
 beyond the fact just stated, that Ganassa acted therein 
 with his company of Italians in 1575. 3 The Corral de las 
 Atarazanas, which was built in 1578, was of wood and was 
 constructed by Diego de Vera, lessee of the huerta de las 
 Atarazanas, at a cost of two thousand ducats, upon a spot 
 once occupied by a rubbish-heap in the huerta. It passed 
 out of existence in 1585, when a mint was built on its site. 
 On petition to the city, the builder and lessee, Diego de 
 Vera, who had had a lease for eighteen years, at an annual 
 rental of 1 50 ducats, was permitted to erect a new corral 
 with the wood and materials of the old one, in the huerta de 
 
 'The word auto was first applied to any and every play; then, the mean- 
 ing becoming narrower, an auto was a religious play, resembling the me- 
 dieval Mysteries (Gil Vicente's Auto de San Martinho is probably the 
 earliest piece of this type) . Finally, a far more special sense was developed, 
 and an auto sacramental came to mean a dramatized exposition of the Mys- 
 tery of the Blessed Eucharist, to be played in the open on Corpus Christt 
 day. (Fitzmaurice-Kelly, History of Spanish Literature, p. 327.) 
 
 2 Anales del Teatro en Sevilla, p. 54, sub anno 1575- See above, p. 32. 
 
 ' It stood upon the site of what is to-day the Iglesia de los Menores, and 
 derived its name from its owner, Don Juan Ortiz de Guzman. {Ibid.,p. 51.) 
 
LA CORRAL DE DONA ELVIRA 49 
 
 la Alcoba, likewise upon a spot that had once been a dung- 
 heap. It was in the Corral de las Atarazanas that two 
 comedias by Juan de la Cueva, La Libertad de Espaha por 
 Bernardo del Carpio and La Libertad de Roma por Mucio 
 Scevola, were first performed, the former by Pedro de 
 Saldafia, the latter by Alonso de Capilla. 1 
 
 The Corral de Dona Elvira was in existence as early as 
 1579, for in that year, according to the same writer, three 
 plays by Juan de la Cueva were first represented therein 
 by the company of Alonso Rodriguez. Their titles are: 
 La Muerte del Rey Don Sancho y Reto de Zamora por 
 D. Diego Ordonez; El Saco de Roma y Muerte de Borbon 
 y Coronacion de nuestro invicto Emperador Carlos V., and 
 the tragedy Los siete Infantes de Lara. Besides, the fol- 
 lowing four plays, also by Juan de la Cueva, were repre- 
 sented this year in the same corral by the company of 
 Pedro de Saldafia : El Degollado, El Tutor, La Constancia 
 de Arcelina, and the tragedy La Muerte de Ayax Telamon 
 sobre las armas de Aquiles, in which, Cueva says, Saldaha 
 played the part of Ajax admirably. 2 
 
 The Corral de Dona Elvira was situated in the parish 
 of the Sagrario, near the residence of the Count of Gelves, 
 at the mouth of the Borceguineria, with an entrance through 
 two small streets (callejas) near the Plazuela del Pozo 
 Seco. 3 The corral was- so called because it was built on 
 the property of Dona Elvira de Ayala, wife of the admiral 
 
 1 Sanchez-Arjona, p. 60. 
 
 2 Ibid,, p. 64. This corral was originally called La Huerta de Dona Elvira. 
 ' It may not be without interest to note that in 1619 (and doubtless before 
 
 this) the Corral de Dona Elvira belonged to the Counts of Gelves. In 
 that year there was some litigation concerning this corral, and the Count 
 of Lemos is mentioned as administrator (curador) of "la condesa de 
 gelbes dona Catalina de Portugal." [Ibid., p. 196.) Dona Leonor de 
 Milan, wife of D. Alvaro de Portugal, second Count of Gelves, was the 
 divinity of Fernando de Herrera's verses, whom he celebrates under the 
 name "Luz." She died either shortly before or after September 29, 1581, 
 the date of her husband's death. Their eldest son, D. Jorge Alberto de 
 Portugal, born in 1566, died in 1589, "sans laisser de posterite." The 
 Dona Catalina mentioned above was probably his widow. See Coster, 
 Fernando de Herrera (El Divino), pp. naff. 
 
50 THE SPANISH STAGE 
 
 D. Alvar Perez de Guzman, and daughter of the great 
 Chancellor of Castile, Pero Lopez de Ayala. 1 It consisted 
 of a spacious patio surrounded by numerous aposentos 
 (rooms or boxes) and a cazuela, having its entrance 
 through the Calle del Agua, opposite the Calle del Chorro. 
 Perhaps originally the patio was open to the sky, and only 
 the aposentos and the cazuela were covered, as in other 
 corrales of the time. But, if this was the original arrange- 
 ment, the corral was probably completely covered after- 
 ward, for in 1 617 it was directed that "toda la armadura 
 [framework, truss] que cubre el dicho coral de Dona 
 Elvira, juntamente con los colgadizos [shed, shed-roof] de 
 los lados," should be torn down. 2 Still, it is probable that 
 the armadura may have merely protected the stage. 
 
 In a document existing in the Archivo del Alcazar of 
 Seville, dated October 10, 1585, Diego de Vera, lessee of 
 the Corral de las Atarazanas, is described as the gardener 
 of the huerta de la Alcoba, for which he paid a yearly 
 rental of 450 ducats, and in consideration of the permis- 
 sion to build a theater on the grounds he agrees to pay an 
 additional 150 ducats, or 600 ducats annually. 3 The 
 theater, called El Coliseo (the street in which it stood still 
 bears the name), was finished in 1607, and was leased 
 at the beginning of the following year for the term 
 of six years to Diego de Almonaci, at a yearly rental of 
 3250 ducats, the city reserving fourteen aposentos, which 
 were leased to Luis de Aguilar, for the same term, at 800 
 ducats annually. The price of the aposentos was fixed at 
 six reals each for every representation. At this time, it 
 seems, there were only two other corrales in Seville, besides 
 
 1 Sanchez-Arjona, p. 65. The corral must have been built on property 
 belonging to the descendants of Dona Elvira de Ayala, for if she was the 
 daughter of Pedro Lopez de Ayala she must have been dead about two 
 hundred years at this time, as her father, the great Chancellor, died in 
 1407. See Salazar de Mendoza, Origen de las Dignidades seglares de 
 Castillo y Leon, Madrid, 1794, p. 278. 
 
 'Ibid., p. 65. 
 
 * See above, p. 48. 
 
THE COLISEO 51 
 
 the Coliseo, namely, the Doha Elvira and the San Pedro. 
 We learn, moreover, that in 1608 less than one hun- 
 dred and fifty comedias were represented in the city, "on 
 account of the rains, the dog-days, Lent, and for lack of 
 theatrical companies." 1 Indeed, it is said that, on an aver- 
 age, the period during which performances were given 
 in a corral did not exceed four months in the year, after 
 deducting Sundays, Lent, the summer months (in which 
 no plays were given), the rainy days, and other occasions. 
 The price of the sillas in the theaters at this time was half 
 a real ; a seat on the bancos one real, and the aposentos six 
 reals each. 
 
 The Coliseo, though the latest and largest of the cor- 
 rales in Seville, was originally without a roof, as we learn 
 from the fact that those living in the immediate neighbor- 
 hood used to gather on the tops of their houses to 
 view the performance, "thus occasioning considerable 
 loss and much noise." 2 It was a wooden structure, 
 which must have been very poorly built, for por- 
 tions of it had to be repaired and rebuilt in 1614. 
 It was, on its reconstruction, provided with 250 seats 
 with backs (sillas de respaldo) and 50 benches cov- 
 ered with leather and having stuffed backs (taburetes con 
 asientos de vaca y los espaldares aforrados de baldana con 
 sits clavos de hierro negros ) . The interior was supported 
 by twenty Doric columns, with bases and capitals of white 
 marble; these were ten feet high, the first gallery hav- 
 ing twenty columns, likewise of marble, seven feet high. 
 In this gallery were the twenty-nine aposentos, the guard- 
 rails of which were of iron, and above this another gallery 
 or corredor. Here the ventanas were situated, each more 
 than two and a half yards high and one and a half yards 
 wide, in the wall in the side of the house of the Marquis 
 of Ayamonte. The object of these ventanas was to give 
 light to the corral, which, unlike other theaters of the 
 
 1 Sanchez-Arjona, p. 133. 'Ibid., p. 152. 
 
52 THE SPANISH STAGE 
 
 time, was covered by a roof and painted ceiling. Besides 
 the patio, in which the representations took place, there 
 was another space, forming an entrance, the floor of which 
 was paved with stone and likewise decorated in marble. 
 The principal entrance was also of marble, surmounted by 
 the arms of the city. In the body of the house (patio de 
 las representaciones) were placed fixed benches (bancos) 
 and the sillas de respaldo and taburetes above mentioned. 
 The work of rebuilding, though begun in 1614, progressed 
 slowly, and the theater was finally leased for 6500 ducats 
 annually, on condition that the lessee should finish it by 
 Easter of 1616. 1 It appears that, in spite of the large 
 amount of money expended in the construction of the 
 Coliseo, its acoustic properties were defective, and the 
 autores coming to Seville preferred the Corral de Doha 
 Elvira, although the latter was now in poor condition and 
 in need of repairs. 
 
 These two corrales were the only ones in Seville in which 
 performances were now given, and so great was the pref- 
 erence for the older of them (Dona Elvira) that in 1617 
 Juan Acacio, after representing for some time in the 
 Coliseo, petitioned that his company might now pass to 
 the Dona Elvira (in which Pedro Llorente's company was 
 then performing) , on account of the few people who visited 
 the Coliseo, and that representations be given alternately 
 by. the two autores for fixed periods in the two corrales. 2 
 Such, however, was the unsafe condition of the Dona 
 Elvira (the roof and other portions of which were in 
 imminent danger of falling, according to an examination 
 made by a commission) that it was resolved to tear down 
 this corral in part and rebuild it. Accordingly, Pedro de 
 Valdes, who was then (February, 161 7) representing with 
 his company in the Doha Elvira, was notified to cease, 
 under a penalty of 200 ducats. Valdes objected on ac- 
 count of the large amount that he had expended for 
 apariencias especially made for a comedia already an- 
 
 1 Sanchez-Arjona, p. 174. "Ibid., p. 183. 
 
AUTOS IN THE CORRALES 53 
 
 nounced, and the threat to close the theater was not carried 
 into effect, though it is to be presumed that some repairs 
 were made in the building, for in the following May, 
 Pedro Llorente was still performing therein. 
 
 At this time the yearly rental of the Corral de Dona 
 Elvira was 3700 reals, plus one half the profits, the other 
 half going to the lessee. 1 
 
 As the residence of the Marquis of Ayamonte, in the 
 Plaza de la Regina, adjoined the Coliseo, the city granted 
 him the privilege of making a private entrance to one of 
 the aposentos, "in view of the fact that his party-wall had 
 been used without expense to the theater; that he had 
 furnished water from one of his private fountains, and had 
 otherwise aided in the construction of the said corral." 
 This aposento was to be enjoyed by him and his successors 
 without cost. 
 
 Lope de Vega's Obras son Amores, an auto written in 
 1 61 5, but not yet performed, was represented in Seville 
 in this year (161 8), he receiving 600 reals for it. 
 
 The number of persons frequenting the theater having 
 greatly diminished, to the serious loss of all concerned, and 
 especially of the city and of the dependent charities, it was 
 resolved to close the Corral de Dona Elvira and to restrict 
 all performances to the Coliseo. No representations were to 
 be given in the Dona Elvira after January 1, 1620, and 
 the rental of the Coliseo was increased 400 ducats an- 
 nually, to counterbalance the loss occasioned by the closure 
 of the Dona Elvira. 
 
 It was customary, says Sanchez- Arjona, to represent the 
 autos of the festival of Corpus Christi in the corrales, 
 which was an additional source of profit to the theatrical 
 managers. This year (161 9) they were represented in 
 the Dona Elvira by the companies of Juan Acacio and 
 Diego Vallejo, and a poster announcing a performance 
 on June 5, 161 9, is still preserved in the Archivo del 
 Ayuntamiento of Seville. 2 
 
 1 Sanchez-Arjona, p. 185. 2 See below, p. 133. 
 
54 THE SPANISH STAGE 
 
 On the afternoon of July 25, 1620, the Coliseo was com- 
 pletely destroyed .by fire during the performance of Clara- 
 monte's comedia San Onofre 6 elRey de los Desiertos, by 
 the company of Juan Bautista and Juan Jeronimo Valen- 
 ciano. Fifteen or sixteen persons, mostly women and chil- 
 dren, lost their lives. The actors all escaped, the one who 
 played the part of San Onofre running into the street 
 almost nude, "with a bunch of ivy (mat a de yedra) for 
 small-clothes (por patios menores). On seeing him in 
 this strange guise, he was pursued by a shouting crowd of 
 little boys until he reached his house, which, unfortunately, 
 was some distance off." 1 
 
 While some of the good citizens of Seville looked upon 
 the burning of the Coliseo as a visitation of the wrath of 
 the Almighty, the municipal authorities, considering the 
 loss which the city had sustained in its revenues, viewed it 
 in a different light and resolved to rebuild the theater. 
 Meanwhile all theatrical performances were confined to 
 the Dona Elvira, which had been condemned and ordered 
 to be torn down after January 1, 1620, as we have seen. 
 As a matter of fact, representations did not cease in the 
 Dona Elvira on January 1, and the lessee at the time, 
 Luis de Leon, 2 continued to give performances in it. 
 
 On March 31, 1621, Philip the Third died, the theaters 
 were closed, and all representations were suspended until 
 July 28, not a castanet being heard at the performance of 
 the autos of that year. 3 
 
 The city, having resolved, in 1622, to rebuild the 
 Coliseo, which had been destroyed by fire in 1620, hit 
 upon a rather novel expedient. The new theater was to 
 be leased for a period of nine years, the lessee to pay 2000 
 ducats annually, to build the theater at his own expense, 
 and to be recouped from the receipts. The lease was ad- 
 judged to Juan Bautista de Villalobos, apparently a man 
 
 1 Sanchez-Arjona, p. 212. 
 
 2 Ibid. In Nuevos Datos, p. 174, this name is given as Luis de Lesa. 
 'Pellicer, Vol. I, p. 161. 
 
SOME STATISTICS 55 
 
 of straw, put up by Diego de Almonacid. The rent 
 was to begin on January 1, 1623; the theater to be fin- 
 ished, according to plans furnished by the city, on the 
 first day of Pascua Florida of 1624. The prices for ad- 
 mission to the various localities in the theater were fixed 
 as follows: one real for each banco (which was to hold at 
 least three persons), 24 maravedis for a Mia, 18 mara- 
 vedis for a taburete, 6 reals each for the aposentos 
 which were entered through the corral, and 12 reals 
 for each aposento entered from the outside of the corral, 
 because persons using the latter were to pay nothing at 
 the entrance. Out of these 12 reals, however, the lessee 
 was obliged to pay the theater's share in the maintenance 
 of the public prison and such other imposts as were payable 
 out of the entrance money. In addition, the lessee was 
 entitled to his share of the takings at the second door. In 
 the patio eight or nine fixed benches were to be placed for 
 those who only paid the entrance fee. 1 
 
 In order to determine the rental to be paid, the 
 following curious statistics were drawn up, showing 
 the amounts produced and the expenses incurred. It is 
 one of the most important documents concerning the early 
 Spanish theater which we possess, and is as follows: 
 Representations can only be given on 198 days out of the 
 365 in a year, since none can be given on the remaining 1 67 
 days, for the following reasons : 
 
 46. days during Lent. 
 
 77 days for the months of July, August, and half of Sep- 
 tember, when no autores come to Seville. 
 
 34 for the Saturdays, on which days no performance can 
 be given. 
 
 10 days to be allowed for the making of apariencias 
 (stage machinery) ; for St. Sebastian's and St. 
 James's day; because of few spectators and on ac- 
 count of rain. 
 167 days. 
 
 1 Sanchez-Arjona, Anales, p. 218. 
 
$6 THE SPANISH STAGE 
 
 There remain 198 days for representations, "rather less 
 than more, for none have been deducted for the time that 
 elapses between the coming and going of the various 
 autores." 
 
 The lessee's share for these 198 days is: From the en- 
 trance fee of each person he receives 5 maravedis, "and 
 as it is notorious that many persons enter who do not pay, 
 it is calculated that, taking one day with another, about 
 350 persons will pay each day, which, at 5 maravedis, 
 amounts to 5 1 l /i reals." 
 
 From each silla he receives 6 cuartos (=24 maravedis) 
 and from each taburete 4^ cuartos (=18 maravedis), 
 and taking into account those for which nothing is received, 
 it is estimated that 40 sillas and 20 taburetes will be paid 
 for daily, which amounts to 39 reals. 
 
 From each banco the lessee receives one real, and count- 
 ing that on an average thirty-two are rented daily, this 
 amounts to 32 reals. 
 
 Of the twenty-eight aposentos, supposing that on an 
 average twelve are rented, and taking these at an average 
 rate of 9 reals each, produces 108 reals daily. 
 
 Estimating the rental of the right to sell water, sweets, 
 fruit, aloja (a kind of mead), etc., at 8 reals per day, it 
 gives a total of 238J4 reals daily, which, for 198 days, 
 amounts to 47,223 reals. Besides, during Lent and at 
 other times it is customary to have in the Coliseo puppet- 
 shows or pantomimes {titer es) and other games, and 
 these produce about 1000 reals yearly. The living-rooms 
 in the residence portion of the Coliseo (which are also 
 one of the benefits accruing to the lessee) are worth 600 
 reals each year. This makes the total annual receipts 
 of the lessee 48,823 reals. 
 
 Payments and expenditures: The amount expended in 
 sending for the various autores, for sums advanced to" 
 them, and for cost of apariencias and other expenses, 5 
 reals for each day of representation. To the person who 
 
LA MONTERIA 57 
 
 takes the money at the first entrance, 8 reals daily; to the 
 person in charge of the sillas and buncos, 6 reals daily; to 
 the person who hires the aposentos on the right-hand side, 
 6 reals ; to the one who hires the aposentos on the left, 6 
 reals daily. To the autor representing, an average of 64^ 
 reals daily as an ayuda de costas. 1 To the poor of the 
 prison, one sixth of the proceeds of the aposentos, sillas, 
 and bancos (together 179 reals), that is, 29 y 2 reals. This 
 makes a total daily expenditure of 125 reals, or in 198 
 days 24,750 reals. Adding to this the interest on the 
 sum expended in the erection of the Coliseo, about 10,000 
 ducats, which amounts to about 10 reals per day, or 3650 
 reals for the year, the total amount of expenditures is 
 about 28,400 reals. Deducting this from the receipts, 
 48,823 reals, leaves a profit of about 20,423 reals annually. 
 If, therefore, the corral were rented for 1600 ducats 
 (17,600 reals), it would leave a sufficient profit to the 
 lessee. We have seen that it had been rented to Juan 
 Bautista de Villalobos for 2000 ducats annually. 
 
 In 1626, in the former Alcazar of Seville, in the spa- 
 cious "patio de la Monteria" a new theater was built 
 called La Monteria. The corral was leased to Diego de 
 Almonaci, the younger {el mozo), "who shall cause to be 
 constructed on his own account, and according to the plans 
 made by Bermudo Resta, a corral for the representation of 
 comedias, he to enjoy the profits for the space of ten 
 years, to begin with the day of Pascua de la Resurreccion." 
 The condition of the agreement was that the amount ex- 
 
 1 Besides this amount the autor received his share of the money taken at 
 the door. This, however, does not seem to have been the usual practice. 
 It was customary for the lessee of the theater to give a fixed sum to the 
 autor of the company for each performance. As an instance we may men- 
 tion that Diego de Almonacid, lessee of the corrales of Seville in 1619, had 
 signed an agreement in that year, whereby Hernan Sanchez de Vargas and 
 his company were to give sixty representations in the Coliseo, the said 
 Sanchez to receive 1000 reals for each performance. These representations 
 were actually given by the company of Cristobal Ortiz de Villazan. (Nue- 
 vos Datos, p. 177.) 
 
58 THE SPANISH STAGE 
 
 pended by the lessee, under the supervision of the oficiales 
 of the Alcazar, was to be deducted from the rent, which 
 was fixed at 850 ducats annually, Almonaci agreeing to 
 finish the corral by the next ensuing Pascua Florida, the 
 contract being dated December 6, 1625. 
 
 As already stated, the theater was to be built at the sole 
 expense of the lessee, "who was to enjoy all the profits 
 there might be from the street entrance to the second door of 
 La Monteria, as well as what might be taken from the ad- 
 missions, bancos, sillas, aposentos, or any other thing which 
 might or ought to be profitable." 1 Only one real was to be 
 charged for each silla as well as for each banco (perhaps 
 this means for each seat on a banco, as they held three 
 persons) ; six reals for the aposentos (boxes or stalls) 
 entered from within, and twelve reals for those entered 
 directly from the street, because persons using the former 
 also had to pay an entrance fee. It was stipulated that 
 there should be two alguaciles, each to be paid ten reals 
 daily, at the joint expense of the lessee and the autor; 
 one of these officers to be stationed at the first entrance, 
 the other at the entrance for women. The building 
 was to be of wood and all the aposentos and passages 
 to be paved with brick; the aposentos to be furnished 
 with partitions and iron railings and lattices or blinds. 
 The whole to be whitewashed and the aposentos to be 
 provided with doors, locks, and keys. The structure 
 was oval, 2 with two rows or series of aposentos, situated 
 on the right and left of the principal entrance. There were 
 thirty-four aposentos, sixteen above and eighteen below, 
 of which four were reserved for the Alcazar. Above the 
 aposentos was the cazuela (stewpan), or place set apart 
 
 1 "Que acabado el corral el arrendador habia de gozar de todos los 
 aprovechamientos que hubiere 6 pudiese haber desde la puerta de la calk 
 hasta la segunda puerta de la Monteria, asi lo que se cobrase de entradas, 
 bancos, sillas," etc. (Sanchez-Arjona, p. 250.) 
 
 'This was the first oval theater, to my knowledge. All others had been 
 rectangular in shape. 
 
A COSTLY THEATER 59 
 
 for women. The patio, in which the sillas and bancos were 
 placed, was of earth firmly rammed, and the whole corral 
 was covered by a wooden roof. The building also con- 
 tained living-rooms for the autor or for the players. Its 
 total cost was over 183,000 reals. 1 This sum, which 
 represents a purchasing power to-day of about $45,000, 
 will give some idea of the character of the new theater, 
 ha Monteria. The first representation in it took place on 
 May 25, 1626. 
 
 The Corral de Dona Elvira, which had its entrance in 
 the Calle del Agua, opposite the Calle del Chorro, had 
 long been in need of repairs. Like the rest of the 
 older theaters of the time, it consisted of a spacious 
 patio open to the sky, surrounded by covered aposentos 
 and a covered cazuela. The more convenient situation 
 of La Monteria (though it was not very far from the 
 Dona Elvira), and the fact that the former was a new 
 and much handsomer structure, gradually caused the public 
 to neglect more and more the Dona Elvira, which was 
 finally closed and torn down. A part of it was converted 
 into a tavern, the remaining ground being used for games. 
 Later, cards and dice were played here, and the place be- 
 came the haunt of ruffians and vagabonds. Finally, in 
 1679, an asylum for poor priests was built on its site. 
 
 In 1629 La Monteria was leased to Domingo de Rogas 
 for six years at 1450 ducats annually. While the Coliseo 
 was to have been finished by Easter, 1624, as we have 
 
 1 The very interesting memorandum, preserved in the Archivo del Alca- 
 zar, is as follows: "Importe de la madera 63,730 reales. Materiales 35,587. 
 La clavazon 18,091. Raspadores, aserradores, traida de maderas y mate- 
 riales, jornales al carpintero Felipe Nieto y sus oficiales y al albanil Gabriel 
 Marin y sus oficiales y peones 50,985. En lucir el frente del teatro y otras 
 paredes, solar los dos aposentos del vestuario de ladrillo, igualar a pison el 
 suelo del patio, hacer unas gradas, tarimas y otras obras de arbanileria y 
 carpinteria, y por ultimo el escudo, columnas y la Fama que se pinto encima 
 del teatro, por cuya pintura solo se abonaron mil reales — 4000. Planchas 
 de hierro y abrazaderas para la seguridad y firmeza de la obra y hierra- 
 mientas, etc., 11,000 reales," making a total of 183,393 reals. (Sanchez- 
 Arjona, Anales, p. 252.) 
 
60 THE SPANISH STAGE 
 
 seen, the building was not actually completed until 1631. 
 Much of what had been built in this long interval by the 
 lessees was so badly done that the city determined to tear 
 it down and build it anew. An agreement was made with 
 Alonso de Vergara to construct a new theater. He 
 was to pay 1400 ducats yearly for ten years, the cost of the 
 new building to be deducted from the rent. A further con- 
 dition was that the structure must be finished by Easter, 
 1632. Rodrigo Caro describes this magnificent and 
 costly building, "worthy of all esteem and praise," as "the 
 finest of its kind in Spain, and capable of holding between 
 four and five thousand spectators, all of whom were 
 equally able to see and hear." 1 
 
 In 1636 La Monteria was leased to Miguel de Molina 
 for six years at an annual rental of 1450 ducats (15,950 
 reals), to be paid in three payments. 2 In the following 
 year Antonio de Prado, autor de comedias, agreed with 
 the lessee of the Coliseo to give sixty performances, from 
 the second day of Easter till Corpus, receiving 200 reals 
 for each performance as an ayuda de costas; of these 
 12,000 reals 4000 were to be paid on signing the contract, 
 and the balance on Palm Sunday. 
 
 On October 4, 1659, the Coliseo was again destroyed by 
 fire, only the front wall and a few rooms (in which actors 
 lived) remaining of the famous edifice. It may be noted 
 that the two companies of players in Seville in the follow- 
 ing year (1660) were managed by women. These autor as 
 were Francisca Lopez and Juana de Cisneros. 
 
 *"El Coliseo tenia tres ordenes de aposentos, de balconeria de hierro, 
 unos sobre otros, trabados en estribos de magnifica y costosa silleria, cubierto 
 el alto de un arteson igual por techo, con rica pintura, para las representa- 
 ciones que se hacen al pueblo, con tanta distincion para dif erentes personas 
 de hombres y mujeres, que no pueden embarazarse unos a otros, y tan capaz 
 su disposition que caben cuatro a cinco mil personas, pudiendo gozar todas 
 igualmente de la vista y oido de su teatro; obra digna de toda estimation 
 y alabanza por la mejor de Espana de las de su genero," etc (Antigue- 
 dades de Seiilla, fol. 25 v, quoted by Sanchez-Arjona, p. 270.) 
 
 ' In 1642 La Monteria was leased to Antonio Correa at a yearly rental 
 of 13,000 reals vellon. 
 
DESTRUCTION OF LA MONTERIA 61 
 
 The Coliseo was rebuilt in 1676. Three years later 
 both theaters were closed on account of the plague. A 
 portion of La Monteria was then used as a stable, in 
 which, on May 3, 1691, a fire broke out, and the whole 
 corral was reduced to ashes, "causing it to disappear for- 
 ever." 1 
 
 How soon after 1679 representations were resumed 
 in the Coliseo is uncertain. It is not likely, however, 
 that any performances were given in it until 1692, 
 when permission . was granted to a company of acro- 
 bats and sleight-of-hand performers to represent therein. 
 These performances found such favor that women used 
 to go to the theater early in the morning to secure a 
 seat. On November 12, 1698, during the performance 
 of Mescua's comedia El Esclavo del Demonio, a woman 
 in the cazuela raised a cry of fire. In the attempt to 
 escape from the building a number of women were killed, 
 and thereafter all theatrical representations in the Coliseo 
 were forbidden, which interdict lasted till after the middle 
 of the eighteenth century. 3 
 
 1 Sanchez-Arjona, p. 495. 
 
 2 Concerning the theater in Valladolid, Sr. Cortes says : "El patio de 
 comedias se hallaba situado en el mismo sitio donde aiin existe el teatro 
 antiguo (plaza de las Comedias). Su administration correspondia a la 
 cofradia de S. Jose, con el directo apoyo del Ayuntamiento, que tenia su 
 aposento propio para presenciar las representaciones." (Noticias de una 
 Corte literaria, Valladolid, 1906, p. 30.) 
 
CHAPTER IV 
 
 Music in the corrales. Dancing. Spectators on the stage. Various 
 dances and baylts at Corpus Christi. The Zarabanda, Ckacona, 
 Escarrttman, etc 
 
 About the middle of the sixteenth century, in the time 
 of Lope de Rueda, as we have seen, the music accompany- 
 ing the plays acted in the public squares was provided by 
 one or two persons "who sang an old ballad without the 
 accompaniment of a guitar," behind a woolen blanket, 
 which served as a curtain, and which separated the dress- 
 ing-room (vestuario) from the stage. 1 It was Pedro 
 Navarro of Toledo, Cervantes tells us, "who brought the 
 musicians, who formerly sang behind the curtain, upon 
 the public stage." 2 Here they played before and after 
 the performance of the farce or between the acts of a 
 
 1 See above, p. 17. Rojas, speaking of the time of Lope de Rueda, says 
 that a guitar was played behind the curtain: 
 
 "Tanian una guitarra 
 Y esta nunca salia fuera 
 Sino a dentro." 
 
 (Fiage entrtttmdt, ed. 1603, p. 1*4.) 
 
 * "Sucedio a Lope de Rueda Nabarro, natural de Toledo, el qual . . . 
 sacd la musica que antes cataua detras de la manta al teatro publico." 
 (Ocho Comrdias, etc., Madrid, 1615, "Prologo al Lector.") "El teatro 
 publico" evidently means the stage. As late as 1671 the musicians of 
 Moliere's troupe were concealed from the spectator: "Jusques icy [15 
 Auril, 1671] les musiciens et musiciennes n'auoient point voulu parroistre 
 en public; ils chantoient a la Comedie dans des loges grillees et treillissees, 
 mais on surmonta cet obstacle, et auec quelque legere despance on trouua 
 des personnes qui chanterent sur le Theatre k visage descouuert, habilles 
 comme les Comediens, scauoir . . ." etc., and he gives the names of eight 
 musicians. (Registrf de la Grangt, Paris, 1876, p. 134.) In the London 
 theaters, the "band," as Malone calls it, "sat in an upper balcony, over 
 
 6:> 
 
THE MUSICIANS 63 
 
 comedia. As I have nowhere found any special place 
 designated for the musicians, it is probable that they 
 occupied the stage during the whole of the best period 
 of the comedia. Indeed, as the principal' part of their 
 entertainment consisted of singing, they could not have 
 been stationed elsewhere. 
 
 In 1593 we find that a comedia was performed "with 
 its entremeses and with its music of a viola and guitars," 1 
 and we are told that later the music consisted of "two or 
 three violins and an oboe." Even in the middle of the seven- 
 teenth century theatrical companies in Spain rarely contained 
 morethanfourorfivemusicians. Most of the actresses were 
 also dancers ( bailarines ) , and every company containedper- 
 sons who were designated especially as dancers, while 
 most players were hired both to act and dance. 
 
 In the company of the famous Alonso Riquelme, a 
 favorite autor of Lope de Vega, we find the following 
 musicians in 1607: Luis de Quinones, musico y repre- 
 sentante; Vega; Francisco Martinez; Leon, musico y 
 bailarin; Marigraviela, musica y representanta; Maria de 
 los Angeles, musica y representanta, and Juan Catalan, 
 musico y representante. 2 Here the term musica, in the 
 case of the actresses, probably meant merely singer. In 
 1 619, when the comedia was almost at its apogee, the 
 company of Diego Vallejo contained but two musicians, 
 and the same number were in the companies of Juan Acacio 
 and Cristobal Ortiz. 3 By 1640 the number of musicians 
 in a company seems to have been greatly increased. In 
 
 •what is now called the stage-box," and was not placed "between the pit 
 and the stage," until 1667. (Historical Account of the English Stage, 
 Basil, 1800, pp. 120, 123.) 
 
 1 Perez Pastor, Nuevos Datos, p. 37. Minsheu says viola is the same as 
 ■vihuela, "an instrument called a viall, sometimes a bandore," and defines 
 Vihuela de drco as "a viall de Gamba, or a great viall that men set be- 
 tween their legs to play on." (Spanish Dictionary, London, 1599.) 
 Clemencin says: "Vihuela en lo antiguo era distinto de guitarra, y habia 
 vihuela de mano y de arco." (Don Quixote, ed. 1833, Vol. V, p. 423.) 
 
 2 Sanchez-Arjona, Anales, p. 126. 
 * Ibid., pp. 203, 204. 
 
64 THE SPANISH STAGE 
 
 that year the first five actresses in the company of Antonio 
 de Rueda have added to their names the word musica, and 
 in two of these cases the word arpa is also used ; four men 
 musicians are also in the company, one of them being 
 maestro de la musica and two being harpists. As this 
 company represented the autos in Seville in that year, the 
 large number of musicians may be due to that fact. 1 
 
 Upon the English stage more attention seems to have 
 been paid to instrumental music, where it was likewise 
 played between the acts; the instruments chiefly used 
 were trumpets, cornets, hautboys, lutes, recorders, viols, 
 and organs. Malone 2 cites the following stage directions 
 from Marston's Sophonisba, acted at the? Blackfriars 
 theater in 1606: "The ladies draw the curtains about 
 Sophonisba; — the cornets and organs playing loud full 
 musicke for the act. . . . Organ mixt with recorders, for 
 this act. . . . Organs, viols, and voices play for this 
 act. ... A base lute and treble viol play for this act." 
 And in Henslowe's Diary 3 we read: "Lent unto Richard 
 Jonnes the 22 of desember 1598 to bye a basse viall & 
 other enstrementes for the companey, x x x x s." 
 
 It is well known that in the Elizabethan theater the gal- 
 lants frequently took seats upon the stage; 4 whether this 
 
 1 In 1631 Luisa de Guevara agreed to play third parts in the company of 
 Juan Martinez and also first musical parts (primera parte de musica) 
 (Perez Pastor, Nuevos Datos, p. 220) ; and in 1633 Alonso Gonzalez Cama- 
 cho agreed to play the violin, dance, and poner los tonos in the company of 
 Fernan Sanchez de Vargas during the octave of Corpus for 500 reals, a 
 very considerable amount. (Ibid., p. 233 ; see also ibid., p. 246.) Every 
 company also contained a prompter (apuntador). 
 
 'Historical Account of the English Stage, Basil, 1800, p. 120, note. 
 
 * Edited by W. W. Greg, London, 1904, Vol. I, p. 100. 
 
 "'Whether therefore the gatherers [Spanish = cobradores~\ of the public 
 or private playhouse stand to receive the afternoones rent, let our Gallant 
 (hauing paid it) presently aduance himself up to the throne of the Stage. 
 I mean not into the Lords roome . . . but on the very Rushes where the 
 Comedy is to daunce. ... By sitting on the Stage, you haue a signed patent 
 to engrosse the whole commodity of Censure; may lawfully presume to be 
 a Girder ; and stand at the helme to steere the passage of scttnes, etc. . . . 
 By sitting on the stage, you may (with small cost) purchase the deere 
 acquaintance of the boyes ; haue a good stiole for six pence," etc (Dekker, 
 
SPECTATORS ON THE STAGE 65 
 
 custom prevailed in Spain in the early period we are unable 
 to determine. 1 I find no evidence of spectators being ad- 
 mitted to the Madrid stage at any time. That they occu- 
 pied seats on the stage in Seville is shown by an incident 
 recorded by Sanchez-Arjona. On May 31, 1635, in the 
 theater La Monteria, the company of Salvador Lara and 
 Maria Candau, his wife, was representing the burlesque 
 comedia Casarse por defender. In the second act there 
 is a passage which necessitates the drawing of swords, 
 and one of the actors, Antonio de Rueda, accidentally 
 wounded in the face a boy who was sitting on the stage 
 viewing the performance, and who promptly ran out of 
 the theater shouting, "Confession, confession, they have 
 
 The Gufs Horne-Booke, London, 1609, chap, vi.) From the three legs of the 
 stools here mentioned, they were called tripos. Wallace says that "the 
 fad of sitting on the stage came into vogue with the Blackfriars in 
 1597. ... It was a custom in no other theater in Elizabeth's reign." He 
 adds that it was imitated afterward by two other private theaters, the 
 Cockpit (1617) and Salisbury Court (1629), but that it was never toler- 
 ated at the Globe or at any public playhouse, and was abolished sometime 
 prior to September 14, 1639. (The Children of the Chapel at Blackfriars 
 159J—1603, Lincoln, Nebraska, 1908, pp. 130 ff.) According to this writer 
 the custom spread from England to France. 
 
 1 From the Argumento which precedes the Auto de la Ungion de David 
 (second half of the sixteenth century), one might infer that at the repre- 
 sentations of the short autos or farces of that time the spectators were in 
 the habit of gathering upon the platform or stage. This Argumento is as 
 follows: "... El acostunbrada atencjon que en semej antes casos se rrequiere 
 pide el autor, para que con ella entiendan claramente la obra; y porque 
 siento qu'el profeta [one of the characters] sale, le quiero desocupar el sitio, 
 suplicando a vs. mds. suplan nuestras faltas." (Coleccion de Autos, Farsas, 
 etc, ed. Rouanet, Vol. I, p. 315.) Bapst says that the custom of the 
 elegants sitting upon the stage was unknown in France in the middle of 
 the sixteenth century. (Essai sur I'histoire du Theatre, Paris, 1893, 
 p. 146.) But it was evidently in vogue in 1661, for in that year Moliere, 
 in the opening lines of Les Facheux, denounces this reprehensible practice, 
 and four years later he again complains of it at the performance of the 
 tragi-comedy La Coquette ou le Favori at Versailles: "Le Vendredy 12 
 Juin, [1665] la Troupe est allee a Versailles par ordre du Roy, oil on a 
 joue le Fauory dans le jardin, sur un theastre tout garny d'orangers, M r 
 de Moliere fist vn prologue en marquis ridiculle qui uouloit estre sur le 
 theastre malgre les gardes, et eust une conuersation risible auec vne 
 actrice qui fist la marquise ridiculle, placee au milieu de l'assemblee." 
 (Registre de La Grange, Paris, 1876, p. 74.) Voltaire also alludes to 
 "la foule des spectateurs confondues sur la seine avec les acteurs" on the 
 
66 THE SPANISH STAGE 
 
 killed me." The wound was a slight one, and the barber, 
 we are told, made "la primera cura." 1 
 
 As early as the beginning of the Christian era Spanish 
 women were celebrated as dancers, 2 and as far as modern 
 times are concerned, Ticknor truly observes that "dancing 
 has been to Spain what music has been to Italy, a passion 
 with the whole population." As Cervantes says : 
 
 There never yet has been a Spanish woman 
 
 Who was not born into this world a dancer. 3 
 
 /•"**■ 
 
 ! From the King down, everybody danced, and it was said 
 of the grave and somber Philip the Third that "he dances 
 very well and it is the thing that he does best and enjoys 
 ' most." 4 
 
 occasion of the first performance of his Semiramis. (Dissertation sur la 
 Tragedie Ancienne et Moderne (seconde partie), in Oeuvres Completes, 
 Paris, 1823, Vol. Ill, p. 111.) According to Despois this practice did not 
 cease in France till 1759. See his interesting note in Oeuvres de Moliere 
 (ed. des Grands IJcrivains de la France), Paris, 1876, Vol. Ill, p. 36, and 
 Fischmann, Moliere als Schauspieldirektor, in Ztft. fiir Franz. Sprache und 
 Lit. (1905), p. 30. 
 1 Sanchez- Arjona, Anales, p. 296. 
 
 1 Spanish dancers were famous among the Romans, the lascivious dances 
 of the women of Cadiz being especially mentioned by Juvenal and Martial. 
 Mariana, in his chapter on the Zarabanda, says: "las mugeres que hacian 
 este baile de deshonestidad las Hamaban en Roma gaditanas, de Cadiz, 
 ciudad de Espafia, donde se debio de inventar en aquel tiempo." (Contra 
 los Juegos publicos, cap. xii.) Martial's words are : 
 
 "Nee de Gadibus improbis puellae 
 Vibrabunt sine fine prurientes 
 Lascivos docili tremore lumbos." 
 See also the eleventh Satire of Juvenal, the passage beginning: Forsitan 
 expectes ut gaditana canoro, etc. 
 
 * "No ay muger Espanola que no saiga 
 del vientre de su madre bayladora." 
 La gran Sultana, Act III. (Ocho Comedias, Madrid, 1615, fol. 130, v.) 
 * See the very interesting Cuadros viejos of Julio Monreal, Madrid, 
 1878, the chapter entitled "Los Bailes de antafio." In Lope's El Maestro 
 de Danzar (written in 1594), Tebano says: 
 
 "Verdad es que es el danzar 
 £1 alma de la hermosura, 
 Que mas que el rostro procura 
 Persuadir y enamorar. 
 
DANCES AT CORPUS 67 
 
 Music and dancing seem to have been indispensable 
 accompaniments of the comedia from the earliest times. 
 They were also a necessary part of all religious festivals 
 and representations, and we may be sure that no auto was 
 performed without music and dancing for the delectation 
 of the spectators. One of the earliest documents pre- 
 served in the Archives of Madrid concerning these 
 dances is dated May 17, 1574, when Alfonso de Silva, 
 dancing-master, agreed to present four dances at the festi- 
 val of the Holy Sacrament; 1 and in 1579 Jusepe de las 
 Cuevas produced a dance "representing the battle of 
 Rodrigo de Narvaez with the Moor Abindarraez" at the 
 festival of Corpus Christi, and also a dance of the "Seven 
 Virtues and Seven Sins." 2 These dancers were frequently 
 Portuguese, and in 1587 one Hurtado, at the Corpus 
 festival in Seville, exhibited a car "with five Portuguese 
 women, with their tamboriles and sonajas 3 and instru- 
 ments, who are to dance, play, and sing along the streets 
 through which the procession is to pass"; 4 and in 1590 
 eight ducats were paid to Leonor Rija, a mulatto, to ap- 
 pear upon a car at Corpus in Seville, and dance, sing, and 
 play the guitar, sonajas and tatnboril, together with four 
 other mulatto women and two men. 5 In the same city at 
 the Corpus festival of 1591, two sleight-of-hand perform- 
 
 Que aquel agil movimiento 
 Muestra con mayor afeto 
 Un sentimiento secreto 
 Que nos muestra sentimiento." 
 
 (Act I, Scene IV, ed. Hartzenbusch, II, p. 73.) 
 
 1 Perez Pastor, Nuevos Datos, p. 9. 
 
 * Ibid., p. 12. 
 
 * Tamboril = timbrel or tabor ; sonajas = "a kind of instrument the country 
 people dance to, being a round, flat frame of wood, with both sides covered 
 with parchment like a drum, not above six inches diameter, and not above 
 two inches between the parchments, and round the frame horse-bells or loose 
 brass plates are set; this they shake with the one hand and strike it with 
 the other to make a rustical musick." (Delpino's Spanish Dictionary, Lon- 
 don, 1758.) 
 
 * Sanchez-Arjona, Anales, p. 77. 
 *Ibid.,y. 81. 
 
68 THE SPANISH STAGE 
 
 ers, with living birds, "according to the custom of the 
 Italians," with music and ballads "in the sacred style," took 
 part. 1 For a dance at the Corpus festival of 1609 the 
 Villa de Madrid paid 1550 reals to Andres de Najera. 
 This was a danza de cascabel, entitled "The dance of Gay- 
 feros and rescue of Melisendra," to consist of nine per- 
 sonages: "four Frenchmen, four Moors, and the infanta 
 Melisendra; also an enchanted castle, a horse of painted 
 pasteboard (papelon), and Don Gayferos." A descrip- 
 tion of the rich costumes of the dancers follows, and we 
 are told that the castle is to be provided with hinges, so 
 that it may be opened where desired. 2 In 161 1 there is 
 mentioned a "Dance of King Alonso," 3 and in 1623 a 
 dance called "The History of the Marquis of Caiiete." 
 
 1 Sanchez-Arjona, p. 82. For other dances at the Corpus festival at 
 Madrid in the closing years of the sixteenth century, see below, pp. 74, 75. 
 
 2 Perez Pastor, Nuevos Datos, p. 113. "Las danzas de cascabel eran para 
 gente que puede salir a danzar por las calles. Y hubiera sido indecente 
 que asistiesen a ellas los maestros. Era danza muy diversa de la de cuenta 
 que era para Principes y gente de reputacion." (Don Quixote, ed. Clemen- 
 cin, Vol. VI, p. 273.) Clemencin's source for this statement was probably 
 Juan de Esquivel, Discursos sobre el Arte del danzado, Sevilla, 1642, who 
 tells us that Philip IV. was extremely fond of dancing: "El Rey nuestro 
 Senor, a cuya obediencia se postran los dilatados terminos del mundo, 
 aprendio este arte, y quando le obra, es con la mayor eminencia, gala y 
 sazon que puede percibir la imaginacion mas atenta." He mentions the most 
 famous dancing-masters of the time, among them Antonio de Almenda, of 
 Madrid, Philip's teacher, Jose Rodriguez Tirado of Seville, Antonio de 
 Burgos, Juan de Pastrana, and others. On fol. 30, v., he says that "jdcara, 
 rastro, zarabanda y tarraga son una misma cosa." He always speaks 
 with contempt of the "bailes populares, a los que llaman danzas," as un- 
 worthy of gentlemen. On fol. 44, v., he says : "Todos los maestros aborrecen 
 a los de las danzas de cascabel, y con mucha razon porque es muy distinta 
 a la de quenta y de muy inferior lugar, y ansi ningun maestro de reputacion 
 y con escuela abierta, se ha hall ado jamas en seme j antes chapandacas y si 
 alguno lo ha hecho, no habra sido teniendo escuela, ni llegado a noticia de 
 sus discipulos, porque el que lo supiese rehusara serlo de alii adelante, 
 porque la danza de cascabel es para gente que puede salir a dangar por las 
 calles, y a estas dancas llama por gracejo Francisco Ramos, la tarasca del 
 dia de Dios," etc. (Gayangos, in the Spanish translation of Ticknor's 
 History, Tomo III, p. 458.) 
 
 'This seems to have been a very ancient dance. Cervantes alludes to it 
 at the close of his entremes El Rufian -viudo as : 
 
 "El Rey don Alonso el Bueno, 
 Gloria de la antiguedad." 
 
BAYLES 69 
 
 In 1634 costumes were hired from Alonso de la Vega, 
 autor de comedias, for a dance in the town of Mejorada, 
 the sum paid being 150 reals, besides a skin (bota) of wine 
 of half a gallon, and a hen, "which are to be presented 
 to the said autor by the mayordomos of the Lady of the 
 Rosary of the said town"; 1 and in 1637 we read of a 
 sword dance (danza de espadas) to be performed in the 
 town of Valdemoro. 2 
 
 Dances or bayles, and short interludes, called erttre- 
 meses, were inseparable from the comedia. Most of the 
 players in a theatrical company, as already observed, also 
 sang and danced, besides acting in the comedia, and many 
 of the contracts between manager and player stipulate 
 that the player is to act, sing, and dance {para representor, 
 cantar y bailar) . Of the nature of these bayles we know 
 very little, except that many of them were deshonestos. 3 
 They were always accompanied by words or by singing; 4 
 the three or four most celebrated bayles, at least, having 
 each its particular air, to which the later ones were often 
 sung. They were frequently of such a loose and licentious «- 
 nature that they caused great scandal and obliged the 
 
 It is mentioned in the Tragicomedia de Lysandro y Roselia (Salamanca (?), 
 1542). See Coleccion de Libros espaholes raros 6 curiosos, Vol. Ill, Madrid, 
 1872, p. 22s, and Pellicer's note to his edition of Don Quixote, Madrid, 
 1797, Vol. IV, p. 102. 
 
 'Perez Pastor, Nuevos Datos, p. 238. 
 
 2 On the danza de espadas, see Leon-Pinelo, Velos antiguos y modernos, 
 Madrid, 1641, fol. 112, v. 
 
 8 Gonzales de Salas makes the following distinction between danzas and 
 bailes: "Dances are measured and grave movements in which the arms are 
 not used, but the feet only. Bailes admit of freer gestures of the arms and 
 feet at the same time." (Nueva Idea de la Tragedia antigua, Madrid, 
 1778, p. 171.) See, however, Pellicer's note to Don Quixote, Pt. II, chap, 
 xlviii, on the distinction between bailar and danzar. 
 
 "'Assi tambien lo vemos en nuestros Theatros, pues unas veces 
 Danzan i Bailan solo al son de los instrumentos, i otras veces al son de lo 
 que con los instrumentos cantan las voces. I lo que mas es, los mismos 
 que danzan i bailan, cantan juntamente, primor i elegancia en estos ultimos 
 aiios [before 1633] introducida, i sumamente dificultosa, siendo fuerza que 
 estorbe, para la concentuosa harmonia de la voz, el espiritu alterado i de- 
 fectuoso con los ajitados movimientos." (Gonzales de Salas, ibid., p. 173.) 
 
70 THE SPANISH STAGE 
 
 authorities to intervene and suppress them. 1 Of these 
 bayles the most famous as well as the most voluptuous and 
 indecent, it seems, was the Zarabanda, first introduced 
 about 1588, according to Pellicer. 
 
 The earliest authentic date that I have found for the 
 Zarabanda is contained in the Cancionero Classense, from 
 which excerpts and a complete list of contents have been 
 published by Professor Restori. 2 This Cancionero was 
 copied by Alonco de Nabarete of Pisa in Madrid, in 1589. 
 On fol. 94, v., we read: 
 
 La Qarabanda: 
 L,a Qarabanda esta presa 
 
 que dello mucho me pesa 
 
 que merece ser condesa 
 
 y tambien emperadora 
 
 "A la perra mora! A la matadora!" 3 
 
 'It is well known that the Elizabethan plays generally began with a 
 prologue and ended with a "jig," which has been described as a "dramatic 
 performance in rime, every part of which was sung by the performers, and 
 one which was frequently exhibited on the stage as an afterpiece, as farces 
 are at present." (Ward, History of English Dramatic Literature, Vol. I, 
 p. 476. See also Collier, Annals, Vol. Ill, pp. 376 flf.) 
 
 2 Cancionero Classense, Roma, 1902. 
 
 * This shows, moreover, that the bayle entitled La Perra Mora and also 
 La Matadora were then well known, and as Professor Restori remarks that 
 there are "30 strofe con vari ritornelli," it is very probable that many other 
 bayles current at the time are mentioned in these refrains. Three bayles 
 by Quinones de Benavente are published among his Entremeses. They 
 generally contain about a hundred verses or less, and are danced by two 
 men and two women and a gracioso, or three men, three women, and a 
 gracioso. A Bayle famoso del Cauallero de Olmedo, compuesto par Lope de 
 Vega, is printed at the end of Lope's Comedias, Part VII, Barcelona, 1617, 
 made up, in no small part, of snatches from the old popular ballads. 
 
 In Cervantes's entremes La Cueua de Salamanca, near the end, we are 
 told that the Zarabanda and other bayles were invented in hell : 
 
 Pancracio: "Digame senor mio, pues los diablos lo saben todo 1 donde se 
 inuentaron todos estos bayles de las zarauandas, zambapalo, y dello me 
 pesa, con el famoso del nueuo escarraman? Barber 0: Adonde ? en el in- 
 fierno, alii tuuieron su origen y principio." (Ocho Comedias y ocho Entre- 
 meses nueuos, etc., Madrid, 1615, fol. 252, v.) Many of the dramatists 
 wrote bayles, and they are found in nearly all the collections of en- 
 tremeses published in the .second half of the seventeenth century. The- 
 little volume called Migaxas del lngenio contains several by Lanini, 
 among them a "baile cantado." 
 
THE Z ARAB AND A 71 
 
 Much has been written about this dance; all agree that it 
 was -pestiferous," and perhaps this ought to suffice. 1 It 
 is therefore most strange that, in spite of its notorious 
 immorality, the Zarabanda should have been danced at 
 the festival of Corpus Christi in Seville in 1593, when 
 the autos were represented by the company of the cele- 
 brated Jeronimo Velazquez. 2 Many were the remon- 
 strances against this dance, especially by churchmen. 3 The 
 Zarabanda was followed by other and, it is to be feared, 
 not much more decorous dances. 4 Among the most cele- 
 
 1 Alonso Lopez gives a description of the Zarabanda as he saw it danced 
 in the house of his friend Fadrique. There he saw "una moca de buen 
 talle, y a una vieja de feo y pesimo. La moca se inclino hazia el un lado 
 del suelo, y alcp una vihuela, y comengo a cantar, y cantando, acabo uno 
 y otro romance viejo; tan bien, que el Pinciano quedo a ella honestamente 
 aficionado, que hasta entonces parecian las mugeres, la una, una sancta 
 Monica; y la otra una sancta Anastasia: pero poco despues descubrieron la 
 hilaza (como dizen) que la que parecia antes Anastasia, se troco en Satha- 
 nas, y la Monica en Demonica fue conuertida: porque se levanto la una, y la 
 otra de la mesa, y la moga con su vihuela dangando y cantando, y la vieja 
 con una guitarra cantando y dangando, dixeron de aquellas suzias bocas mil 
 porquerias, esforgandolas con los instrumentos, y mouimientos de sus cuerpos 
 poco castos. Tal fue la dissolucion, que los tres hombres, que solos eran, 
 estauan corridos y afrentados." (Philosophia antiguq foetica, Madrid, 
 I S9^> P- 4 Z 9-) See also, on the Zarabanda, the interesting note of Bonilla y 
 San Martin in his edition of Guevara's Diablo Cojuelo, Vigo, 1902, pp. 140, 
 141, and the learned dissertation on this and other dances by Rodriguez 
 Marin, El Loaysa de "El Celoso Extremeno" Sevilla, 1901, pp. 256-288. 
 
 1 Sanchez-Arjona, Anales, p. 85. 
 
 8 See Cotarelo y Mori, Bibliografia de las Controversias sobre la Licitud 
 del Teatro en Espana, Madrid, 1904, pp. 375 ff., an excellent work. 
 
 * The historian Mariana in his treatise Contra los Juegos publicos devotes 
 a whole chapter (xii) to the bade y cantar llamado Zarabanda. He is 
 scathing in his denunciation of this dance, which he says was danced in 
 one of the most illustrious cities of Spain in the procession and festival of 
 Corpus Christi: "Sabemos por cierta haberse danzado este baile en una de 
 las mas ilustres ciudades de Espana, en la misma procesion y fiesta del 
 santisimo Sacramento del cuerpo de Cristo, nuestro Scfior, dando a su 
 Majestad humo a narices con lo que piensan honralle. Poco es esto: despues 
 sabemos que en la raesma ciudad, en diversos monesterios de monjas y en 
 la mesma festividad se hizo, no solo este son y baile, sino los meneos tan 
 torpes, que fue menester se cubriesen los ojos las personas honestas que alii 
 estaban." (Biblioteca de Autores Espaholes, Vol. XXXI, p. 433.) In this 
 Mariana is supported by the evidence of Cervantes, cited in the text. 
 Ticknor also mentions a performance of the Count of Lemos's comedia La 
 Casa confusa, now lost, which was given in the church of San Bias at 
 
72 THE SPANISH STAGE 
 
 brated were the Chacona and the Escarraman. Cervantes 
 and Lope de Vega were both great admirers of the popular 
 dances, and the former has introduced a chacona in his 
 novel The Iltustrious Kitchen-maid, which is danced by 
 muleteers and Galician girls, the refrain of which is : 
 
 The Chacona is a treasure: 
 Makes of life a real pleasure. 
 
 The third stanza is as follows: 1 
 
 Oft that noble dame Chacona, 
 
 With the Saraband allied, 
 Has put our carking cares to rout 
 
 And the black bitch has defied. 
 Oft Chacona makes its entry 
 
 Through the chinks of convent cell, 
 And that tranquil virtue flutters 
 
 Which in sacred haunt should dwell. 
 Often those who most admire it 
 
 Rail against Chacona's charm, 
 For the fool is ever eager, 
 
 And the loose imagine harm, etc. 2 
 
 But the Chacona and the Escarraman were no less vigor- 
 ously opposed by the clergy than the Zarabanda had been. 
 
 Lerma, before Philip III. and his court in 1618, ending with "the scandalous 
 and voluptuous dance of the Zarabanda." (History of Spanish Literature, 
 Vol. II, p. 519, note.) This also shows that the dance continued in vogue 
 despite all opposition. In fact, as Pellicer (Vol. I, p. 138) says: "la Zara- 
 banda quedo tan mal muerta que aun vivia y pirueteaba en los Corrales de 
 Madrid el ano de 1640." 
 
 1 Cervantes, The Exemplary Novels, translated by N. Maccoll, Glasgow, 
 Gowans & Gray, 1902, Vol. I, p. 55. 
 
 2 "Que de veces ha intentado 
 Aquesta noble sefiora 
 Con la alegre Zarabanda, 
 El pesame, y perra mora 
 Entrarse por los resquicios 
 De las casas religiosas," etc. 
 
 It should be observed here that the pesame and the perra mora were also 
 bayles. The Escarraman is danced in Cervantes's entrcmes entitled El 
 Rufian biudo. 
 
THE CHACONA 
 
 73 
 
 In 1 613 we find the Catalan Jesuit, P. Juan Ferrer, 
 speaking of them in these terms: "In a certain city in 
 Spain there was current at one time one of those songs 
 which they call the chacona, of such licentiousness that it 
 created the greatest scandal, and now there are songs which 
 they call escarraman, sung in this city [Barcelona], that 
 have been produced in the theaters with such lewdness that 
 even the admirers of the comedia were scandalized thereby, 
 and many left the theater to avoid hearing them." x 
 
 Besides the three bayles or dances just mentioned, which 
 
 1 Cotarelo y Mori, Controversial, p. 253. The Chacona is defined as a 
 "Son 6 tanido que se toca en varios instrumentos, al cual se baila una danza 
 de cuenta con las castanetas, muy airosa y vistosa, que no solo se baila en 
 Espana en los festines, sino que de ella la han tornado otras naciones, y le 
 dan este mismo norabre." (Die. de Aut.) In the very rare volume, "Norte 
 de la Poesia Espanola ilustrado del Sol de doze Comedias (que forman 
 Segunda Parte) de laureados Poetas ValenAanos, etc. Ano 1616. Impreso 
 en Valencia: En la Impresion de Felipe Mey," there are found, at the end 
 of Ricardo de Turia's comedia La Fe pagada, "tres f amosas Chaconas para 
 cantar," of which the first is as follows : 
 
 "Assi vida, vida bona, 
 vida vamonos a Chacona. 
 Acuerdome un tiempo quando 
 dulce, y amada Senora, 
 la noche me hallo en tus bracos, 
 y en ellos el Alba hermosa. 
 
 Y en medio destos contentos, 
 aunque mejor diria glorias, 
 con la grana de tus labios 
 mescle mis dos amapolas. 
 
 Y aunque acertaron a hallarse 
 dos lenguas en cada boca, 
 
 en un profundo silencio 
 
 pasamos la noche toda. 
 
 Ay quanto un amor se aumenta, 
 
 y una aficion se acrisola 
 
 entre sauanas suaues, 
 
 y entre las obscuras sombras. 
 
 Alii en bonanca tranquila 
 
 olas de estorbos se cortan, 
 
 los uracanes de celos 
 
 su fuerca, y poder aflojan. 
 
 Los escollos de desdenes 
 
 en dulce puerto se tornan, 
 
 y los baxios de ausencia 
 
 del gran Neptuno en la concha. 
 
 Y con tener sesgo el mar, 
 y tener el viento en popa, 
 no nauega mal quien puede 
 nauegar legua por hora. 
 Que del trabajo del vaso 
 por ser materia porosa, 
 Sudan mastiles y jarcias, 
 y los velames se mojan. 
 Que en seme j ante ocasion 
 sudaran hasta las rocas; 
 tal es el dulce trabajo, 
 y la apacible congoja. 
 Los prosperos vientos cesan, 
 y asesan con vozes roncas 
 los pechos que el pecho dieron 
 al agua del amor sabrosa. 
 Falta el viento, y el aliento 
 antes de salir se ahoga, 
 quedando el Vagel rendido 
 en una calma amorosa, 
 hasta que refresca el viento, 
 y la gente se alboroca, 
 continuando el viage 
 hasta arribar a las costas. 
 Asi vida, vida bona," etc. 
 
74 THE SPANISH STAGE 
 
 were the most popular, Pellicer mentions a number of other 
 "bayles antiguos" : the Turdion, Pavana, Madanta Or- 
 liens, Pie de gibao, Rey Don Alonso el Bueno, etc., and of 
 what he calls the "populares y truanescos," he gives a long 
 list, including the Carreteria, Hermano Bartolo, Polio, 
 Perra Mora, Canario, 1 etc. That these dances were in 
 vogue at about the same time is shown by the fact that the 
 Canario, Rey Don Alonso el Bueno, Coscolina, Repulida, 
 Pizpita, Chiquinaque, Mostrenca, Juan Claros el galan, 
 Zambapalo, Pesame dello, Gallarda, Villano, and others 
 are mentioned by Cervantes in the Escarraman which he 
 has introduced into his interlude El Rufian biudo. 2 
 
 Many other curious dances are mentioned by Perez 
 Pastor, which were performed at the Corpus Christi fes- 
 tival in Madrid: in 1584 the Danza de Radamante, 
 Reinaldos, Roldan, Oliveros and Montesinos, and the 
 Llegada de Eneas a Cartago; 3 in 1592 the Danza de seis 
 Abestruces y seis Muchachos zapateadores and the Danza 
 de la Recuperacion de Espana;* in 1596 the Danza del 
 Robo de Elena and Danza de Villanos y Villanas; 5 in 
 
 1 Tratado historico, Vol. I, p. 126, and p. 137 for a long list of bayles that 
 were danced to the air of the Zarabanda. 
 
 2 Lope de Vega laments the disappearance of these old dances, and 
 mentions another, La Alemana: "se van oluidandose ... las dancas 
 antiguas, con estas acciones gesticulares, y mouimientos lasciuos de las 
 Chaconas, en tanta ofensa de la virtud de la castidad, y el decoroso 
 silencio de las damas. Ay de ti Alemana, y Pie de Gibao, que tantos 
 afios estuuistes honrando Ios saraos !" (La Dorotea, Madrid, 1632, Act I, 
 Scene VII, fol. 40.) Gongora, in one of his ballads, says there is no dance 
 like the Gallarda: 
 
 "Que quiere dona Maria 
 Ver bailar a dona Juana 
 Una Gallarda espanola, 
 Que no hay danza mas gallarda." 
 
 The stately gravity with which the Gallarda was danced is described at 
 some length by Calderon in his El Maestro de Danzar, Jornada II, Scene 
 XXV. See Monreal, Cuadros viejos, Madrid, 1878, p. 85. In a French 
 work on dancing, Arbeau's Orchesographie, published at Macon in 1588, 
 the Tordion and Gaillard are described as being danced exactly alike. 
 See Shakespeare's Much Ado about Nothing, ed. by Dr. Horace Howard 
 Furness, Philadelphia, p. 65, note 69. 
 
 * Nuevos Datos, p. 15. * Ibid., p. 33. 'Ibid., p. 43. 
 
DANZAS HABLADAS 75 
 
 1598 a Danza de Portugueses^ in 1599 a Danza de 
 veintequatro Sdtiros y Fdbulas y un Sileno, danced on the 
 occasion of the entrance of the Queen into Madrid. 2 I 
 presume that these were all what were called "Danzas 
 habladas." 3 
 
 It appears that down to the close of the sixteenth cen- 
 tury and perhaps even later, these dances at the Corpus 
 festivals were performed and the expenses were borne by 
 the various guilds. In March, 1599, there was an agree- 
 ment between the company of tavern-keepers (gremio de 
 taberneros) and Jusepe de las Cuevas to represent the 
 "danza de los caballeros para la entrada de la Reina" ; 4 
 and in April of the same year Juan Granado is to give the 
 dance La Boda a lo sayagues by order of the blacksmiths, 
 and the Danza de los Dioses, to be paid for by the shoe- 
 makers, and the Danza de la Pandorga, performed by the 
 joiners and inn-keepers (cajoneros y mesoneros). 6 Be- 
 sides, the "gremios" or guilds of "cabestreros, esparteros, 
 zurradores," and "curtidores" represented dances at 
 Corpus in Madrid in 1599. 6 
 
 * Nuevos Datns, p. 48. 
 ' Ibid., p. 349. 
 
 3 See Don Quixote, Part II, chap. 30c, and Clemencin's note. Delpino de- 
 fines a Danza hablada as "a dance composed of many persons, with dresses 
 suitable to represent any passage in history." {Spanish Dictionary, London, 
 
 1758.) 
 
 4 Nuevos Datos, p. 49. ' Ibid., p. 50. ' Ibid. 
 
CHAPTER V 
 
 The staging of the comedia. English court plays. The Entertain- 
 ing Journey of Rojas. Alonso Lopez Pinciano on staging. The 
 stage. The curtain. Scenery. Stage machinery. Apariencias. 
 Tramoyas. The French stage. Private representations. 
 
 In any discussion of the stage or scenic arrangements of 
 the early Spanish theater the distinction between autos and 
 other festival or court performances, on the one hand, and 
 those which took place in the public corrales, on the other, 
 must always be borne in mind. In the former, as al- 
 ready observed, there was often an elaborate display 
 of scenery and ornamentation even before the middle 
 of the sixteenth century, while the public theaters or 
 Hcorrales were almost destitute of scenery, in our ac- 
 ceptation of the word. And this, we know, was also 
 the case in England in Shakespeare's time. 1 Cunning- 
 ham 2 gives some curious information concerning the 
 private representations at the English court. As early as 
 1 57 1, after mentioning several plays, the last of which is 
 Paris and Vienna, "shewen on Shrovetewsdaie at night by 
 the children of Westminster," we read: "All whiche vi 
 playes being chosen owte of many and ffownde to be the 
 best that then were to be had; the same also being often 
 perused and necessarely corrected & amended by all thaf- 
 forseide officers. Then they being so orderly addressed, 
 were likewise throwghly apparelled & furnished with sun- 
 
 1 See the interesting articles by G. F. Reynolds in Modern Philology, 
 Vols. II and III (1904-5). 
 
 'Extracts from the Accounts of the Revels at Court, London (Shakespeare 
 Society), 184a. 
 
 76 
 
ENGLISH COURT PLAYS 77 
 
 dry kindes and sutes of Apparell & furniture, flitted and 
 garnished necessarely & answerable to the matter, person 
 & parte to be played. Having also apt howses, made of 
 canvasse, fframed, ffashioned & paynted accordingly as 
 might best serve theier severall purposes" (p. 13). 
 
 1573 (it may be noted that in this year Italian players 
 are mentioned at Windsor, ibid., p. 79) : "Mrs. Dane for 
 Canvas to paynte for howses for the players & for other 
 properties as Monsters, great hollow trees & suche other," 
 etc. (p. 54). 
 
 1574: There is frequent mention of frames and canvas 
 as early as this year, and also the following entry: "Pulleys 
 for the Clowdes and curteynes . . . Dubble gyrte to 
 hange the soon in the clowde," etc. (p. 90). 
 
 1578: "For a hoope and blewe Lynnen cloth to mend 
 the clowde that was borrowed and cut to serve the rock 
 in the play of The burnyng Knight," etc. (p. 147). 
 
 1579: "The History of Serpedon shewen at Whitehall 
 on Shrovetewesdaye at night enacted by the Lord Cham- 
 berleyns servants wholly furnyshed in this office whereon 
 was ymployed for head attyres for women and Scarfes xi 
 ells of Sarcenett, a greate Cittie, a wood, a castell and vi 
 payre of gloves" (p. 156). Colors for painting scenery 
 are mentioned in this year: "William Lyzarde for sondry 
 things by him browght into the office. Syse, cullers, pottes, 
 nayles and pensills used and occupyed upon the payntinge 
 of vii Cities, one villadge, one Country howse, one battle- 
 ment, iiii axes, a Braunche, lillyes, and a mount for Christ- 
 mas Hi Holidaies" (p. 162). 
 
 1580: "A Storie of Pompey, enacted in the hall 
 [Whitehall], on twelfnighte whereon was ymployed newe, 
 one great citty, a senate howse, and eight ells of double 
 sarcenet for curtens and xviii paire of gloves" (p. 167). 
 
 1584: " The History of Felix &? Philomena shewed and 
 enacted before her highnes by her Ma tes servauntes on the 
 sondaie next after neweyeares daie, at night at Grenewiche, 
 
78 THE SPANISH STAGE 
 
 whereon was ymploied one battlement & a house of can- 
 vas." Lastly, in the same year we read: "A pastorall or 
 Phillyda £sf Choryn . . . whereon was ymployed . . . 
 one greate curteyne and scarfs for the nymphes, one moun- 
 tayne and one greate cloth of Canvas" (p. 188) . 
 
 All these were court performances and had nothing to 
 do with the public theaters in England, which at this time 
 had probably advanced no further than those of Spain. 
 To these we now return. 
 
 There can scarcely be a doubt that down to about the 
 last decade of the sixteenth century (i.e., even a few years 
 after Lope de Vega had begun to write for the stage) the 
 public theaters of Madrid possessed only the most primi- 
 tive stage machinery and appliances, and no scenery in our 
 sense of the word. This view, however, is not in accord 
 with an opinion expressed by Schack, though this dis- 
 tinguished writer's other statements upon the subject 
 can hardly be reconciled with the assertion to which 
 we refer, which is as follows: "According to Rojas, 
 /therefore, the improvements in scenic arrangements had 
 / progressed to such an extent by about 1580 that come- 
 j dias were performed in which were represented mirac- 
 i ulous visions, artistically contrived scenes, and alarms 
 • of war, and even horses were brought upon the stage." 1 
 Schack bases this statement upon the following lines of 
 the "Loa de la Comedia" contained in the Viage entre- 
 tenido of Rojas: "Now they made inflated verses, wore 
 costumes of cloth, satin, and velvet, and silken stockings. 
 They wrote [comedias] in three acts and introduced 
 challenges; they sang by two and threes, and women 
 acted. The time arrived when comedias de apariencias 
 (i.e., with scenic effects) and lives of saints and plays with 
 
 1 "So war, nach Rojas, die Vervollkommnung der scenischen Vorrich- 
 tungen um 1580 schon so weit gediehen dasz man Comodien rait Wunderer- 
 scheinungen, Coulissenkunsten und Kriegslarm auffiihrte und sogar Pferde 
 auf die Biihne brachte." {Geschichte der dramatischen Literatur u. Kunst 
 in Spanien, Vol. I, p. 308.) 
 
AGUSTIN DE ROJAS 79 
 
 stage machinery came into vogue, and among these, farces 
 in which battles were represented. Pedro Diaz then wrote 
 his comedia El Rosario, which was good, and Alonso 
 Diaz his San Antonio, and finally there was not a poet in 
 Seville who did not write a comedia about some saint. 
 Then they sang by threes and fours ; the women were beau- 
 tiful and dressed in male attire, and gallantly and well 
 made up they stepped upon the stage, adorned with pearls 
 and chains of gold. Now horses were brought upon the 
 stage, a feat never seen until this time, nor was this the 
 least of them. All these things passed away, and then 
 came our day, which may be called the Golden Age, to 
 judge by the point reached by comedias, actors, plots, 
 conceits, epigrams, inventions, novelties. . . . What, that 
 has not already been done, can they do who come after us? 
 What can they invent that is not already invented?" etc. 1 
 Important as the Viage entretenido is in many respects, 
 
 1 After mentioning Artieda's Los Encantos de Merlin (now lost), Luper- 
 cio's tragedies, the Semiramis of Virues, and the Conde Loco of Morales 
 (v. Barrera, Catdlogo, pp. 517, col. i, and 527), Rojas continues: 
 
 "Hacian versos hinchados, Vestianse en habito de hombre, 
 
 Ya usaban sayos de telas Y bizarras y compuestas, 
 
 De raso, de terciopelo, A representar salian 
 
 Y algunas medias de seda. Con cadenas de oro y perlas. 
 Ya se hacian tres jornadas, Sacabanse ya caballos 
 
 Y echaban retos en ellas, A los teatros, grandeza 
 Cantaban a dos y a tres, Nunca vista hasta este tiempo, 
 
 Y representaban hembras. Que no fue la menor de ellas. 
 Llego el tiempo que se usaron En efecto este paso, 
 
 Las comedias de apariencias, Llego el nuestro, que pudiera 
 
 De santos y de tramoyas, Llamarse el tiempo dorado, 
 
 Y entre estas farsas de guerras, Segun al punto en que Uegan 
 Hizo Pedro Diaz entonces Comedias, representantes, 
 
 La del Rosario, y fue buena, Trazas, conceptos, sentencias, 
 
 San Antonio Alonso Diaz, Inventivas, novedades, . . . 
 
 Y al fin no quedo poeta 
 
 En Sevilla que no hiciese i Que haran los que vinieren 
 
 De algun santo su comedia : Que no sea cosa hecha ? 
 
 Cantabanse a tres y a quatro, i Que inventaran, que no este 
 Eran las mugeres bellas, Ya inventado? cosa es cierta," etc. 
 
 (El Viage entretenido, Madrid, 1603, pp. 127, 128.) 
 
 Rojas then mentions the appearance of Lope de Vega, La fenix de nuestros 
 tiempos, and after him El Divino Miguel Sanchez. 
 
80 THE SPANISH STAGE 
 
 it was not the purpose of its author to write a history or 
 the Spanish stage. It was composed, as the title indicates, 
 for the mere entertainment and pastime of the reader. 
 Rojas, in all probability, took no great pains to be precise 
 and accurate in his statements. What he wrote slipped 
 from his pen without much thought of chronology. 
 His statements should not be taken al pie de la letra. 
 Moreover, his experience on the stage was limited, 
 according to his own statement, to about three years. 
 Of Pedro Diaz and his comedia El Rosario, mentioned by 
 Rojas, we know nothing, but Alonso Diaz is said by 
 Sanchez-Arjona {Andes, p. 86) to be the author of an 
 auto entitled Santa Maria Egipciaca, for which he received 
 thirty ducats when it was represented by the company of 
 Gaspar de Porres at Seville in 1594. Alonso Diaz was, 
 therefore, a contemporary of Lope de Vega. His San 
 Antonio was doubtless one of that large class of comedias 
 de santos which greatly depend .for their effect on the use 
 of apariencias and tramoyas, quite primitive stage ma- 
 chinery at that time, we may be sure. As Morel-Fatio 
 says: "Les pieces, en effet, ou etait representee la vie d'un 
 saint se pretaient particulierement au jeu de cette machi- 
 nerie primitive qui enchantait le peuple." The same writer 
 quotes Cristobal Suarez de Figueroa (El Passagero, Alivio 
 iii) , who says: "En las comedias de cuerpo (pieces a grand 
 effet par opposition a celles dites de ingenio ou de capa y 
 espada) que, sin las de reyes de Hungria o principes de 
 Transilvania, suelen ser de vidas de santos, intervienen 
 varias tramoyas o apariencias, singular anagaza para que 
 reincida el poblacho tres o quatro vezes con crecido pro- 
 vecho del autor." 1 That skilful engineers or machinists 
 were employed by the public theaters in staging such plays 
 at the time alluded to by Rojas, is not at all probable. 
 
 1 Bulletin Hispanigue, October-December, 1901, p. 481. See also Cle- 
 mencin's note to his edition of Don Quixote, Madrid, 1833, Vol. Ill, p. 407, 
 and Suarez de Figueroa, Passagero, ed. 1617, ff. 104-106. 
 
HORSES ON THE STAGE 81 
 
 Concerning the assertion of Rojas, "Sacabanse ya caba- 
 llos" ( horses were now brought out upon the stage ) , there is 
 no dramatist prior to 1 602 to whom this could particularly 
 refer, so far as I know, except Lope de Vega. 1 In the 
 latter's La Serrana de la Vera, El Sol parado, and La 
 Varona Castellana, all written before 1603, and in El 
 primer Faxardo, perhaps also before that date, a horse 
 appears on the stage. According to Luis Fernandez 
 Guerra, 2 it was Andres de Claramonte particularly who 
 was fond of bringing horses upon the stage in his plays. 
 He says: "Gozabase en aderezar muchas de sus comedias 
 con desafios a caballo y en pasear sobre hipogrifos de 
 carne y hueso a las hermosuras de bastidores por en medio 
 de lo mas turbulento y alegre de la concurrencia. . . . 
 Esto dio lugar a que Ana Mufioz, obligada en uno de sus 
 dramas a salir a caballo por el patio, alborotado el corcel 
 con la algaraza de los mosqueteros, malpario un varon." 
 As Claramonte is mentioned by Rojas 3 among those actors 
 who had (at least as early as 1602) written farsas, has, 
 bayles, etc., it is not improbable that the allusion may be to 
 him. In any event, it carries us no further back than the 
 time of Lope de Vega, who was a contemporary of Clara- 
 monte's. Moreover, Miguel Sanchez, el Divino, who is 
 mentioned after Lope de Vega, was undoubtedly one of 
 Lope's predecessors. Hence the period to which Rojas 
 refers cannot be "about 1580," as Schack had supposed, 
 but was, in all probability, more than a decade later. 4 
 
 1 In El gallardo Espanol by Cervantes, Act I, is the stage direction: 
 Entra Alimuzel a cauallo, con lanza y adarga. And in La Casa de los 
 Zelos, Act I: ha de entrar por el patio Angelica la bella sobre un pala- 
 fren. These plays may date before 1592. Tirso de Molina also not infre- 
 quently introduced horses upon the stage, though at a much later date. 
 
 'Don Juan Ruiz de Alarcon, p. 186. 
 
 * Fiage entretenido, p. 131. 
 
 * It is interesting here to note the observations of a very acute and learned 
 writer, Alonso Lopez Pinciano, concerning the decorations of the stage, the 
 costumes, etc., written about 1595 or perhaps a little before. From a refer- 
 ence to two of the older Spanish autores de comedias, it has been considered 
 that, though published in 1596, the work alluded to was written at least 
 
82 THE SPANISH STAGE 
 
 We may readily believe that with the appearance of a 
 genius like Lope (who wrote plays at twelve, but perhaps 
 did not begin to write for the public stage until about 
 1585) the progress in the comedia was accompanied by a 
 corresponding advance in staging. Yet it seems reason- 
 ably safe to say that, even for some years after Lope be- 
 gan his career as a playwright, the decorations and scenic 
 effects in the public theaters of Spain were very primi- 
 tive. As Schack observes, any attempt at optical illusion 
 was wholly out of the question. "Nor was there a curtain 
 in front of the stage, from which it follows that, at the 
 beginning of a piece, the stage could not be occupied by 
 groups [of players], but the actors had to enter before the 
 eyes of the spectators." An examination of the comedias 
 
 ten years earlier. (Schack, Vol. I, p. 299, says that it was written shortly 
 after 1580.) The passage is: "When I see the placards of Cisneros or 
 Galvez, I cannot help going to see them, and while I am in the theater I 
 neither feel the cold in winter nor the heat in summer." But we know now 
 that Jerdnimo Galvez was acting at least as late as 1590 and probably later, 
 while Alonso de Cisneros did not die till September 10, 1597. It is probable, 
 therefore, that our author's remarks refer to about the time that his work 
 was published. This work is in the form of a conversation between the 
 author and his friends Ugo and Fadrique, and consists of a number of let- 
 ters written by the author to one Don Gabriel and the replies of the latter 
 thereto. In the thirteenth and last letter "de los adores y representantes," 
 Don Ugo remarks: "So far as the action is concerned, the person, the time, 
 and the place ought to be considered, for it is clear that a different decora- 
 tion and dress or costume is required for a prince than for a servant, and 
 different ones for youths and old men. Wherefore the second consideration, 
 that of time, is very important, for the Spain of to-day demands a different 
 decoration and dress from the Spain of a thousand years ago, and hence it 
 behooves to examine carefully histories which throw light upon the costumes 
 of the times, and we should likewise take note of the various countries, 
 for in each they have different kinds of dress. The actor should observe 
 these matters carefully, for the poet rarely pays any attention to them, 
 generally writing the poem to be read rather than to be represented, leav- 
 ing those matters that refer to the action to the actor, whose business it 
 is to represent. Whence it is to be inferred that the good actor (especially 
 the chief of a company) ought to know much of fiction (fabula) and of 
 history, so that, in accordance with the difference in time, besides the cos- 
 tumes of the persons in the action, there is required a corresponding decora- 
 tion for the theater itself, besides the necessary machinery, which ought 
 to be in conformity with the poem: if it be pastoral, there should be woods; 
 if the action take place in a city, there should be houses; and so in accord- 
 ance with the other differences, the theater should have its various decora- 
 
THE CURTAIN 83 
 
 of Lope de Vega proves the truth of this assertion, as re- 
 gards the theaters of Madrid, and that there was no 
 outer curtain in the theater at Valencia is shown by a 
 number of plays by Valencian dramatists which appeared 
 in a volume entitled Norte de la Poesia espanola, Valen- 
 cia, 1616. 1 This statement seems to be contradicted by a 
 passage at the close of Lope de Vega's Lainocente Sangre, 
 published in Part XIX of his Comedias, the Aprovacion 
 of which is dated 1622. Here one of the characters, 
 Mendo, says: 
 
 "Corre essa cortina, y desse 
 fin a los Carauajales," etc. 
 
 Five players are on the stage, and the curtain is drawn to 
 conceal them from the audience. It is possible, how- 
 ever, that this, too, was a curtain farther back on the 
 stage. Unfortunately, we do not know the date of this 
 
 tions (ornato). And in the machinery there should be much excellence 
 (primor), for there are some machines which are fitting for a miracle and 
 others for different purposes, and they have their differences according to 
 the persons, for an angel must appear to be flying and a saint going 
 through the air with joined feet, and both must descend from on high, while 
 the demon ascends from below. ... In a word, the actor should observe 
 and study the various machinery and artifices, so that suddenly, as if by 
 a miracle, a person be made to appear: by magic art, if terrestrial; without 
 it, if the person be divine." (Philosofhia Antigua, ed. 1596, pp. 522, 523.) 
 1 Lope's El Rey Bamba (written before 1603) shows clearly that there 
 was no outer curtain. At the close of the play the King is lying dead 
 upon the stage, when Atanarico says: 
 
 "Cojamos el cuerpo en ombros 
 
 y luego el entierro se haga, 
 
 dando fin a la comedia 
 
 y vida y muerte de Bamba." 
 
 (Comedias, Part I, Valladolid, 1604, fol. 116, v.) 
 And in his La Quinta de Florencia, Part II, 1609, we read at the end: 
 "Vanse todos par su orden, con que se da fin a la Comedia." At the close of 
 Aguilar's play, published in the Norte de la Poesia espanola, entitled El 
 Mercader Amante, is the stage direction: Entranse todos, y se da fin a la 
 Comedia del Mercader Amante. Ricardo de Turia's Burladora burlada 
 concludes with the stage direction: Entranse todos cada uno for su puerta, 
 dandose con eslo fin a la famosa Comedia, etc. The same author's La 
 belligera Espanola and Aguilar's La Fuerca del Interes close with similar 
 stage directions. These would, of course, have been unnecessary had there 
 been an outer curtain. 
 
84 THE SPANISH STAGE 
 
 play. Though not printed till 1622, Lope says in his 
 dedication that he had written it years ago : "Anos ha que 
 escriui este suceso." 
 
 There was a curtain at the back of the stage, like the 
 traverses of the Elizabethan theater, which could be drawn 
 aside to represent a tent, bedchamber, chapel, etc. 1 The 
 sides of the stage were also hung with curtains, as the 
 stage directions abundantly show. 2 
 
 Cervantes even tells us that the curtains were of green 
 baize, and they must have been arranged, upon occasions, 
 in such a manner that the spectator could see behind 
 them. 3 
 
 In the background, raised some distance from the 
 stage, was a gallery (lo alto del teatro), which served for 
 
 "In the first act of Lope de Vega's El As alto de Mastrique (Comedias, 
 Part IV, 1 614), we read the stage direction: Corrase una tienda, o cortina, 
 y veanse sentados el Duque de Parma, etc. . . . los soldados se arrimen al 
 Teatro. Afterward: Cierrese la tienda, y los soldados digan: 
 
 "Soldado: Parece que ya se van 
 de la tienda." 
 
 In El Marmot de Felisardo, Act III (written before 1604), occurs the stage 
 direction: Corre Tristan la cortina, detras de la qua! estd Elisa, etc., and in 
 Las Pobrezas de Reynaldos (also before 1604), Act II: Corren una cortina, 
 y descubrese una Capilla con tin altar, etc. So near the close of Act III of 
 Guillen de Castro's La Tragedia por los Celos (1622) the curtain that was 
 drawn to show the dead body of Margarita de Hijar was doubtless at the 
 rear of the stage. And in Ricardo de Turia's La Burladora burlada 
 (printed in 1616), Act III, Laura says: 
 
 "Detras deste tapiz rico 
 pienso escuchallas." 
 
 This is followed by the stage direction: quedase detras de la cortina. 
 
 2 See La Burladora burlada, cited in the previous note. Also in Alarcon's 
 El Desdichado en fingir (one of his earliest plays, written probably before 
 1600), at the close of a scene in Act II, is the direction: Vanse, y escondense 
 detras de una cortina. In Act III of Tirso de Molina's La fingida Arcadia, 
 a stage direction seems to show that a curtain sometimes covered the whole 
 rear of the stage. The direction is: Tocan trompetas, etc. Cdese aba jo todo 
 el lienzo del teatro y quede un jardin lleno de flares y yedra. This is a late 
 play, however, certainly after 1621, for in it Tirso mentions Lope de Vega's 
 La Filomena, which appeared in that year. For further examples see my 
 article "The Staging of Lope de Vega's Comedias," in the Revue His- 
 panique, Vol. XV, 1907. 
 
 * In La Gran Sultana we find the stage direction : Parece el Gran Turco 
 
WINDOWS AND BALCONIES 85 
 
 various purposes ; for example, to represent the walls of a 
 city, the balcony of a house, a tower, a mountain, etc. 
 In the above article I have collected many examples under 
 the various headings: "A wall or tower at the back of the 
 stage," "A window," "A balcony," etc., which show that 
 the "balcony" was merely a gallery at the upper part of 
 the back of the stage, which was covered by a hanging 
 curtain, so that there was no essential difference in the 
 representation of a wall, a tower, a window, or a balcony. 
 That a gallery ran along the back of the stage, perhaps a 
 continuation of the gallery occupied by the spectators, ap- 
 pears from stage directions in a number of plays. 1 
 
 The stage, Schack observes, was not nearly so deep as 
 that of the modern theater, but was rather wide. "Its 
 decorations consisted of curtains of a single color, hung 
 at the sides and in the background, leaving the various 
 entrances free. These represented now a room, now a hall 
 or a street, now a garden or a forest, without any visible 
 change." 2 Continuing, the same writer observes: "With 
 this simple arrangement those pieces were played the 
 action of which was supposed to take place in ordinary 
 domestic and civil life, chiefly therefore the comedias 
 de capay espada, but especially those in which the stage 
 did not essentially enter into the action of the play and 
 where the imagination of the spectator could be relied 
 upon. Whether more machinery was to be used or not 
 
 delras de unas cortinas de tafetan verde . . . descubrese la cortina: parece 
 el Gran Turco. (Comedias, etc., Madrid, 1615, fol. 121.) 
 
 'In Tirso de Molina's Dona Beatriz de Silva, Act I: Tiros de Artilleria; 
 musica de todo genero; fiestas de dentro, y saca Silveria sobre los corredores 
 de arriba, a un lado una bandera con las armas de Portugal y Castillo. 
 Afterward we read: Al otro lado saca arriba Olivenza otra bandera, etc. 
 Finally: Eniranse los de arriba. This comedia was written about 1618, 
 according to Cotarelo. See additional cases cited below, p. 94, note 1. 
 
 * These statements require some modification. That there were at least 
 two doors at the back of the stage, always called puertas, is shown by every 
 comedia. In the above article on the staging of Lope's plays, numerous 
 instances are given to show that trees were represented on the stage either 
 painted on canvas hanging at the sides, or single trees or groups of trees 
 on frames standing on the stage. Some examples are cited below. 
 
J 
 
 86 THE SPANISH STAGE 
 
 was left to the discretion of the theatrical manager. This 
 depended especially upon whether the play in question, 
 from its subject-matter, necessitated scenery and was such 
 that all could not be left to the imagination. In such cases 
 the objects which would otherwise have to be imagined 
 were actually brought before the eye, and the plays in 
 which such apparatus had to be employed, beyond the 
 I simple curtains, and in which the costumes were richer and 
 costlier, were called comedias de teatro. Decorations, 
 however, in the modern sense of the word, or a regular 
 change of scene, were wholly unknown." 1 
 
 For most scenes, as just remarked, a simple curtain 
 sufficed, and this was used to represent the most diverse 
 localities. "If the stage was unoccupied for a moment and 
 persons came upon it through another entrance, a change 
 of scene had to be imagined by the spectator, though none 
 was visible on the stage, and this was irrespective of the 
 entrances or exits of the characters." Schack cites several 
 instances of this : Act II of Calderon's El Alcayde de si 
 
 1 Schack, Geschichte der dram. Lit. u. Kunst in Spanien, Vol. II, p. 120. 
 Spaniards, according to Caramuel, considered changes of scene super- 
 fluous, as neither the exactness of the thought, nor the elegance of the dic- 
 tion, nor the splendor of the production, depended upon them. He says: 
 "Scenarum mutationes Hispani superfluas judicant: quas tamen Itali esse 
 necessarias supponentes in theatri fabrics pro unica interdum Comoedia 
 magnam summam ducatorum impendunt. Et hie, si loquamur sincere, incon- 
 sequenter Hispani laborare videmur: quoniam hinc leges scribendi Comoe- 
 dias ab Antiquis latas fastidimus, inde scenarum mutationes quasi super- 
 fluas judicamus, cum tamen haec duo non subsistant. Cur non volumus ut 
 nostrae Comoediae subsint Veterum legibus? Quia falsae hypothesi leges a 
 Veteribus prolatae insistunt. Putabant ipsi Comoedias Viris tantum doctis 
 scribi, et coram doctis tantum agi, cum tamen certum sit et nos supponimus, 
 illas scribi vulgo et coram numeroso vulgo representari. Et cur non vo- 
 lumus mutare Scaenas? Quia ab earum mutatione conceptuum subtilitas, 
 verborum elegantia et nitor prolationis non dependent. Ecce severas 
 scribendi Comoedias leges negligimus, nam illae representantur propter 
 vulgus, qui illas leges non capit: et ecce Scenarum mutationes negligimus, 
 nam docti, quorum est, de conceptuum et versuum nitore judicare, ut bona 
 laudent carmina, hoc impendio non indigent. Ego hoc auderem discurrere. 
 Seu doctis seu indoctis scribantur Comoediae, debent Scenae mutari et ap- 
 parentiae quas vocant admitti: illarum enim varietate doctorum et indoc- 
 torum oculi dilectantur." (J. Caramuelis, Primus Calamus, Tom. II, quoted 
 by Schack, Nachtrage, p. 28.) 
 
LOS EMBUSTES DE FABIA 87 
 
 mismo opens in a park; the second scene is a forest; enter 
 three peasants and Antona, who says that Benito has as- 
 sured her that on her return to the forest she will find his 
 love "more firm than this oak." Nothing has been said to 
 intimate a change of scene when Federico enters, and in a 
 dialogue with Roberto says: "Is not some one knocking? 
 Roberto: Yes. Federico: Then go and open the door," 
 and the stage direction follows: "Federico sits down in a 
 chair; enter Marguerite," whereby a change to the interior 
 of the castle is to be supposed by the spectator. 1 
 
 In Lope de Vega's Los Embustes de Fabia, Aurelio has 
 been in the chamber of his mistress and has not left the 
 stage, when he says: "Here is the palace and there Nero, 
 our Emperor, appears, for the poet has permitted this ex- 
 pedient to be employed, since, if the Emperor should not 
 enter now, the narrative would be so vague that nobody 
 would understand it." 2 A better example to illustrate the 
 point under discussion could hardly be found. We do not 
 know when Los Embustes de Fabia was written, but it was 
 one of Lope's early plays, for it is mentioned in the list 
 in the first edition of his Peregrino en su Patria, and hence 
 must be earlier than 1604. A notable instance of where 
 a change of scene is indicated merely by the actor's going 
 
 'Schack, Geschichle, etc., Vol. II, p. 121. It should be noted that this 
 incident was first referred to by Damas Hinard, that excellent scholar to 
 whom Spanish literature owes so much. In his Chejs-d' cewure du Thidtre 
 Espagnol, Calderon, 2 e Serie, Paris, 1841, note to p. 316, he says: "Nous 
 etions tout-a-1'heure dans le pare, et tout-a-coup nous voila transported dans 
 1'interieur du chateau. Comme Frederic et Roberto n'ont pas quitte le 
 theatre, il nous est impossible d'indiquer un changement de scene. Mais 
 enfin le lecteur est averti, nous sommes maintenant dans le chateau de Bel- 
 flor, ou de Miraflor." 
 
 3 "Este es el palacio, aca sale 
 
 Neron, nuestro Emperador, 
 
 Que lo permite el Autor 
 
 Que desta industria se vale; 
 
 Porque si aca no saltera 
 
 Fuera aqui la relacion 
 
 Tan mala y tan sin razon 
 
 Que ninguno lo entendiera." 
 
 (Comedias, Part XXV, Zaragoza, 1647, fol. 537.) 
 
88 THE SPANISH STAGE 
 
 in one door and coming out of another is furnished by La 
 Espanola de Florencia, a comedia wrongly ascribed to Cal- 
 deron. The example is of especial interest because of the 
 comparatively late date of the play, which was probably 
 written between 1630 and 1635. 1 Schack further remarks : 
 "That the stage did not always realize what one should sup- 
 pose, even in the so-called comedias de teatro, results from 
 the speeches of the characters, who frequently indicate the 
 locality, which would have been unnecessary if it had been 
 actually brought before the eyes of the spectator. Only 
 when the progress of the action could not well be otherwise 
 indicated was recourse had to such expedients of the scenic 
 art as were available. Such cases were mostly left to the 
 judgment of the theatrical manager, inasmuch as the poets 
 only gave directions in the most necessary cases. The 
 
 1 "Salen Carlos y Gerardo. 
 Gerardo: Ya hemos Uegado a casa. 
 Carlos: | Ay, Gerardo, que el pecho se me abrasa! 
 Lucrecia: Cavalleros, si el cielo 
 
 a piedad os inclina, tened duelo 
 
 de una muger, si noble, desdichada, 
 
 que llega de su suerte atropellada 
 
 a pedir vuestro amparo. 
 
 Valgame vuestra casa de reparo, 
 
 que en tanta desventura 
 
 mi honor vuestra noble'za me assegura. 
 
 Entranse Carlos y Lucrecia. 
 Carlos: Entrad, Senora en ella. 
 Gerardo: j Por Dios, que la muger parece bella! 
 
 No seria en mi amo dicha poca, 
 
 si por esta oluidasse [a] la otra loca. 
 
 Entranse, y salen por la otra puerta todos tres. 
 Carlos: Ya estamos en la posada." 
 (Comedias Escogidas, Vol. XII, Madrid, 1658, Jornada II, fol. 105.) 
 
 Jornada III furnishes a similar instance: 
 
 "Salen Cesar y Valeria. 
 Cesar: Ya a casa a buscaros me boluia, 
 
 Carlos ; yo os hallo, j que gran dicha es mia ! 
 
 Lleguemos a la entrada. 
 LUcrecia: Lida, aquesta ocasion es apretada. 
 Carlos: Ya en vuestra casa estamos." 
 
 I quote these passages at length on account of the scarcity of this comedia. 
 Dr. M. Rosenberg purposes publishing a critical edition of it shortly. 
 
SIMULTANEOUS SCENERY 89 
 
 staging of plays was therefore very arbitrary." 1 A deco- 
 ration which happened to be at hand was sometimes used 
 in cases where it was not necessary, while in other in- 
 stances, where the required apparatus was lacking, an 
 appeal was unreasonably made to the imagination of the 
 spectator. 
 
 Moreover, the freedom exercised in the matter of 
 scenery can hardly be exaggerated. "There was no thought 
 of any actual illusion — of any deception of the senses. 
 The painting of scenery according to the rules of perspec- 
 tive, so that the stage should have some appearance of 
 reality, was wholly unknown. A few houses or trees 
 painted on pasteboard or linen did duty for a street or a 
 forest, while the simple curtain in the background or the 
 sides remained unchanged. After such a decoration had 
 been set upon the stage, no particular care was taken to 
 remove it at the end of the scene, and frequently it had to 
 suffice to indicate another similar place." 
 
 There can scarcely be a doubt that simultaneous scenery 
 was used upon the Spanish stage, as it was used at the same 
 period in the Elizabethan theater. In the representation of 
 Calderon's El Alcayde de si mismo it is very probable that 
 a tree was represented upon the stage at the opening of 
 the second act and was not removed until its close. 
 
 In Alarcon's El Dueno de las Estrellas (1618?), toward the close of 
 Act III, the scene is supposed to represent a street at night. The King and 
 Palante appear before the house of Marcela. Palante gives a sign, and 
 we have the stage direction : Asomase Marcela a una ventana. 
 
 "Marcela: ;Es Palante? Palante: Si. Marcela: Ya voy. 
 
 (Vase a abrir la puerta.)" 
 Presently Palante says : "Ya esta a la puerta Marcela. 
 
 (Aparece Marcela en la calle.) 
 Marcela: Entrad. Rey: Marcela querida, etc. 
 Marcela: Seguidme. (Vanse de la calle, y dando la vuelta por 
 detras del teatro, entranse despues en la sala \de Marcela].)" 
 That is, the actors merely pass out on one side of the stage and enter on 
 the other, and the scene is supposed to change from a street to a room in 
 Marcela's house. 
 
 1 For a detailed account see my article already referred to, in the Revue 
 Hispanigue for 1907. 
 
9o THE SPANISH STAGE 
 
 "Sometimes a change of scene was indicated by simply 
 drawing a curtain aside, whereby the essential object be- 
 came visible, the rest of the stage remaining unchanged, 
 only a small scene, as it were, stepping out of the larger 
 one. In this way it is frequently supposed that from the 
 foreground, which represents a street or a room, one can 
 look into the interior of a house or into another apartment. 
 How little attention was given to the probability of a scene 
 may be observed from the fact that not seldom the stage 
 represented a field of great dimensions, in which the 
 personages traverse long distances, so that the scene was 
 actually to be considered movable. Thus, in the first act 
 of Calderon's Dos Amantes del Cielo, 1 one of the charac- 
 ters, Chrysanthus, is represented as being in the grove of 
 Diana ; then it is supposed that he goes thence deeper into 
 the mountains ; he describes the wild, mountainous country 
 which he is now approaching, without leaving the stage 
 for a moment. A change of scene could not have taken 
 place here ; the same trees and perhaps hills which had at 
 first served for a grove were afterward taken to represent 
 the wilder mountain region." 
 
 Another and similar case is the following : "when the per- 
 sonages upon the stage are supposed to be moving forward 
 and have reached an object which attracts their attention 
 and which enters into the action of the play, a back or side 
 curtain is drawn in order to permit this to appear. Exam- 
 ples are frequent. At the beginning of Lope's Arauco 
 dotnado a number of soldiers are wandering in the neigh- 
 borhood of a South American seaport. They are on their 
 way to the public square, where a Corpus Christi proces- 
 sion is to pass under a triumphal arch ; when they arrive at 
 the spot, the scene is opened by withdrawing a curtain, 
 and a glimpse is afforded of the arch and the holiday 
 crowd." 2 So in Tirso de Molina's El Burlador de Sevilla 
 
 1 The date of this play is unknown: it was written before 1651. 
 
 a Schack, ibid., p. 123. For a similar scene, see Lope's La Prueba de los 
 
THE PLACE OF ACTION 91 
 
 (written before 1630), Don Juan and his servant are 
 roarffirig the streetsoT Seville, and after they have been 
 upon the stage a considerable time, the statue of the 
 Comendador, Don Gonzalo de Ulloa, is suddenly dis- 
 closed. 
 
 Sometimes the place of action is mentioned in the dia- 
 logue at the beginning of a scene; more rarely by a stage 
 direction. 1 But the stage remained the same, there was 
 no visible change, whether the action was transported to 
 Florence, Rome, or Hungary. Indeed, there is often great 
 difficulty in distinguishing interior from exterior scenes. 
 Many scenes, in fact, are entirely unlocalized, and here, as 
 in the Elizabethan drama, "vagueness of localization" is 
 a fundamental fact. 2 
 
 Besides, it must be borne in mind that costume was a 
 
 Amigos (1604.), Act III, in the article above mentioned on The Staging of 
 Lope de Vega's Comedias, p. 7, and La Fe rompida (before 1604), Act I, 
 ibid., p. 9. 
 'In Lope de Vega's Rey Bamba (Part I, 1604), Act II: 
 
 "Rodrigo: Esta es la Vega famosa, 
 del Tajo la placa liana 
 y aquesta de Galiana 
 la morada deleytosa." 
 
 In Lope's Comedia del Molino (Part I, 1604), Act III: 
 
 "Rey: Que gente es esta que camina al bosque," 
 
 showing that a grove is intended. 
 
 Lope's La Quinta de Florencia (Part II, 1609), Act I: 
 
 "Alexandra: Hermosa ciudad Florencia." 
 
 Coello's El Conde de Sex (a late play, probably about 1635), Act II, at 
 the beginning: 
 
 "Cosme: Aora, a Londres llegaraos, 
 y ya a palacio venimos?" 
 
 Place indicated in stage direction: Lope de Vega, La Escolastica zelosa 
 (Part I, 1604), Act III: "Sale Marico solo de camino en Alcala." Lope, 
 La Burgalesa de Lerma (1613), Act I: "Salgan en Madrid Clauela y Lu- 
 cia." Lope, De Cosario a Cosario (Part XIX, 1623), Act I: "Salen en la 
 calle Mayor Celia, dama," etc. Lope, Peribanez y el Comendador de Ocana 
 (Part IV), Act I: "El Comendador en casa con ropa, y Luxan lacayo." 
 Numerous cases could be cited; see the above-mentioned article in the 
 Revue Hispanique for 1907. 
 
 ! See an excellent article by William Archer in the Quarterly Review 
 
92 THE SPANISH STAGE 
 
 very important means, and frequently the only one, or 
 indicating a change of scene. Many examples could be 
 quoted. In Lope de Vega's La Fe rompida, 1 at the open- 
 ing of Act I we find the stage direction: "[Enter] Luzinda 
 as a huntress with a javelin and Alberto, peasant," show- 
 ing that a wood is to be imagined by the spectator. In 
 Los Comendadores de Cordoba , 2 Act I, near end: "Enter 
 D. Fernando with cloak and buckler, as if at night." 
 
 In the rear of the stage were two doors. It is quite 
 probable, indeed, that there were three, the middle 
 door being in a recess (nicho) in front of which a curtain 
 could be drawn. This was certainly the case later, as 
 Calderon's El Encanto sin Encanto 3 shows. While the 
 exact date of this play is unknown, it was performed, 
 in all probability, before 1635. 
 
 The dressing room, or vestuario, occupied the two sides 
 and the back of the stage. It is evident from a number 
 of stage directions that an actor could enter upon the 
 stage directly from the vestuario. In fact, when a man 
 was killed upon the stage he generally managed to fall 
 into the dressing-room. In Cervantes's El gallardo Es- 
 pahol, Act III, we read the stage direction, "They fall 
 
 for April, 1908, p. 447, who very pertinently says: "The category of place 
 imposed itself but faintly and intermittently on the mind of the Elizabethan 
 play-goer: a fact which the believers in the habitual indication of scenes 
 by placards, and even by painted cloths, would do well to note. . . . We 
 believe that -vagueness of localization of the Elizabethan drama to be a 
 fundamental fact which cannot be fully realized until the student has dis- 
 missed modern editions from his mind, and gone back to the original texts." 
 
 1 Comedias, Part IV, Madrid, 1614. 
 
 ' Comedias, Part II, Madrid, 1609. 
 
 * Jornada I, stage direction : Escondense los dos en la puerta de en 
 medio, y sale el Gobernador, etc. Jornada II, Los dos se pasen, y sale al 
 patio Serafina, Libia, etc. Jornada III, Arrimanse al nicho, suena ruido 
 en la otra puerta, etc. That painted canvas was then used, is evinced 
 by the following direction: Jornada II: Vanse las dos, y abriendose una 
 puerta, que estard pintada de muralla, y que convenga con lo demas. The 
 term bastidores also occurs in this piece. While I have seen no edition 
 of this play earlier than 1760, the stage directions are probably unchanged, 
 as this edition is not divided into scenes. For the date of this play, see 
 Schmidt, Die Schauspiele Calderon's, Eberfeld, 1857, p. 59. 
 
THE VESTUARIO 93 
 
 within the dressing-room"; 1 in Lope de Vega's La Oca- 
 sion perdida (written before 1604) : "Enter Leoncio 
 . . . then the Princess ... all come close to the can- 
 vas (liengo) of the vestuario." 2 
 
 That the vestuario was separated from the stage by a 
 canvas (liengo) results from a number of stage directions, 
 and also that it contained doors, for it is very probable 
 that the doors mentioned in these stage directions some- 
 times referred, not to the two doors at the back of the 
 stage, but rather to doors at the sides, for it is clear that 
 the stage could be entered from the two sides, which were 
 provided with hangings at first and afterward were evi- 
 dently of canvas. 3 
 
 Many of Lope de Vega's earliest comedias, being come- 
 dies of intrigue, required no theatrical accessories of any 
 kind except a balcony or window. These balconies, which 
 served also for windows or towers, seem to have been, as 
 already stated, a continuation of the gallery or corredor 
 of the theater, and extended behind the hangings or parti- 
 
 * Comedias, Madrid, 1615, fol. 26. In Lope's El Capellan de la Virgen 
 (printed in Part XVIII, 1623), Act II, is the stage direction: Vase desati- 
 nado a caer en el vestuario. 
 
 2 Entra Leoncio, Pinabelo, . . . y la Princessa detras, llega Doriclea a 
 besarle las manos, y arrimanse todos al lienco del vestuario, descubiertos. 
 (Comedias, Part II, Madrid, 1609, fol. 37, v.) 
 
 8 In Lope de Vega's La Obediencia laureada (Part VI, 161 5), Act I, stage 
 direction : Mira hacia el vestuario. 
 
 "Carlos: A cielos, dos bultos veo, 
 mas parece, yo lo creo, 
 liengo de Ninfas pintadas" (fol. n). 
 
 Lope de Vega, La Imperial de Oton (Part VIII, 1617), Act III, stage direc- 
 tion: Entrense, y con musica descubran el lienco del vestuario . . . y Mar- 
 garita en lo alto. Lope, El Amante agradecido (Part X, 1618) : Veanse dos 
 medias barcas con sus ramos a la puerta del vestuario, etc. La bella Aurora 
 (printed in Part XXI, 1635), Act II: Las dos huyendo se pongan en dos 
 tramoyas, que estaran en dos partes del lienco del vestuario, etc. In Alar- 
 con's La Cueva de Salamanca (perhaps the first of his works, and written 
 about 1599, according to Hartzenbusch), Act I, a cord is stretched across the 
 stage to trip an alguacil, and the stage direction reads: A tan el cordel atra- 
 vesando el vestuario, where evidently the back of the stage only is meant. 
 But near the close of Act II is the stage direction: Sale Lucia y un Gana- 
 pan, con un cajon de la estatura de un hombre; ponelo en pie a raiz del 
 
94 THE SPANISH STAGE 
 
 tion which separated the sides of the stage from the 
 auditorium. 1 
 
 It is, perhaps, needless to remark that Lope de Vega 
 did not divide his comedias into scenes, nor did any of the 
 older dramatists. The only division that they made was 
 into three acts. These scenes are the work of later 
 editors. It is equally superfluous to add that, for the pur- 
 poses of an examination like this, the editions of these 
 later editors are absolutely useless. Recourse should be 
 had only to the original editions, and these only have been 
 consulted in the present examination. 2 
 
 The appeal to the imagination of the spectator for a 
 change of scene is sometimes made in words, by the poet. 
 Cervantes, in his Rufian dichoso, Act II, says : 
 
 To the auditor it matters 
 Little that I in a moment 
 
 vestuario. Afterward we read: Abre el cajon, y sale del Don Diego; que 
 el cajon ha de tener la espalda tambien hecha puerta, que se abre hacia el 
 vestuario, de suerte que la gente no lo eche de ver; y asi, cuando dona Clara 
 cierra el cajon, abren la puerta trasera, y quitan la estatua y entra don 
 Diego. In the same author's La Manganilla de Melilla (written in 1616- 
 17), Act III, is the stage direction: Coge Acen del vestuario un hombre 
 iiestido como Pimienta [one of the characters of the play], y echalo par un 
 escotillon, y Pimienta aparece luego en lo alto del vestuario. These stage 
 directions, it should be added, however, are taken from the edition of 
 Harteenbusch in the Bibl. de Autores Espanoles. The existence of a side 
 curtain is shown very clearly in Lope's La Reina Doha Juana de Napoles 
 (Part VI, 1615), Act I. The Queen, Ludovico, and Tancredo are in a 
 garden; as Isabela enters, the stage direction reads: Escondese la Reyna 
 detras del pano y sale Isabela, a strange confusion. For other examples, 
 see above, p. 84, note, Ricardo de Turia's La Burladora burlada, and the 
 article mentioned above. 
 
 1 See the previous note. But other cases may be cited : In Lope de Vega s 
 Los Torneos de Aragon (Part IV, 1614), Act III, is the following stage 
 direction: Chirimias y sientanse en un corredor, que tome todo lo alto del 
 Teatro, el Rey de Aragon, etc. In Alarcon's El Examen de Maridos, writ- 
 ten at the beginning of 1625 or earlier, Act III, is the direction: Sale 
 Ochauo en el corredor mas baxo, y salta al teatro. So it reads in Lope's 
 Comedias, Part XXIII, £aragoca, 1633, fol. 59. In the Comedias de Alar- 
 con, ed. Hartzenbusch, we find: Desde un tejado muy bajo salta al suelo y 
 caese. See also Lope's El Amor Vandolero, Act II, and El Favor agrade- 
 cido, Act II. 
 
 " The one exception is especially noted above. 
 
EL RUFIAN DICHOSO 95 
 
 Pass from Germany to Guinea, 
 Though from off this stage I move not. 
 Human thought, indeed, is nimble ; 
 Well may they accompany 
 Me with it, where'er it may be, 
 Without losing me or tiring. 1 
 
 Yet it must not be inferred from what has just been said 
 that no attempt at verisimilitude was made — that nothing 
 was done to aid the imagination of the spectator. There is 
 abundant and indisputable evidence to the contrary. A 
 garden was represented on the stage; of this there are 
 numerous instances; 2 or a fountain, 3 or rocks and moun- 
 tains. 4 Trees were represented on the stage, either painted 
 on canvas or by set pieces. Many examples might be cited. 5 
 
 1 "Muy poco importa al oyente 
 Que yo en un punto me passe 
 Desde Alemania a Guinea 
 Sin del teatro mudarme. 
 £1 pensamiento es ligero ; 
 Bien pueden acompanarme 
 Con el, do quiera que fuere, 
 Sin perderme ni cansarse." 
 
 Comedias, Madrid, 1615, fol. 97. See also the closing lines of his comedia 
 Pedro de Urdemalas, ibid., fol. 220. 
 
 2 In Lope de Vega's La Ocasion perdida (before 1604), Act II, stage 
 direction : La Princesa detras de un muro baxo, y dentro se vea como jardin. 
 Act III : Assomase la Infanta en lo alto del jardin. So in La octava Mara- 
 villa (Part X, 1618), Act II: Este un jardinillo en el teatro, y saiga el Rey 
 con un escardillo. For further examples, see the article above mentioned. 
 
 "Lope de Vega's La Quinta de Florencia (Part II, 1609), Act II, stage 
 direction: Ha de estar en el tablado una fuente, donde ha de auer estado 
 todo este tiempo Laura, junto a ella hinchando el cantarrillo. 
 
 "Laura: Por estas ramas me voy. 
 Sale Belardo. 
 Belardo: Estos los marmoles son 
 
 de aquellas fuentes hermosas.'' 
 
 'Lope de Vega's El Animal de Ungria (Part IX, 1617), Act I: Subese 
 el Nino en una pena. El Principe despenado (1602), Act II: Va baxando 
 por la sierra la Reyna dona Eluira en habito de Saluage con una piel, y 
 parece en medio de la sierra, y prosigue. 
 
 "Lope de Vega's San Isidro labrador de Madrid (Part VII, 1617), Act 
 II: Vease un arbol con algun algodon encima, que parezca neuado, y unas 
 palomas- en el. 
 
 // 
 
96 THE SPANISH STAGE 
 
 In one instance a fort 1 was represented by a painted can- 
 vas, and again a castle. 
 
 From the examples just cited it may be inferred that 
 painted scenery, at all events in Lope de Vega's later years, 
 was not unknown to the public stage, but that it was not 
 movable on rollers or slides, we may be reasonably sure. 
 
 A most important matter, to be borne constantly in mind 
 when treating of the staging of plays, is that of chronology. 
 Only where we know the exact date of a play or a reason- 
 ably approximate date can it furnish us with helpful and 
 reliable evidence. For here a matter of a very few years 
 may make a vast difference in scenic appliances. 
 
 Lope de Vega wrote for the public theater for half a 
 century, and naturally there were many innovations upon 
 the stage in the course of his long career. In the Prologo 
 del Teatro a los Let ores, prefixed to Part XI (1618) of 
 his Comedias, the Theater (i.e., the stage) , speaking, says: 
 "Despues que a viua fuerga de tantas, y tan diferentes 
 comedias de varios Poetas, como en mi se han representado 
 (Letor amigo, o enemigo, como tu quisieres) he aprendido 
 a hablar, aunque compuesto de tablas, y liencos, con mas 
 trampas que un hombre que no tiene de que pagar, ni 
 verguenga de deuer, descanso con quexarme de los muchos 
 sinrazones que mis duefios padecen, y a mi me hazen." 
 From this we see that lienqos, or canvases for scenery, 
 were getting to be of frequent use. 
 
 Again, in the Prologo Dialogistico, prefixed to Part XVI 
 (1623), the Theater says: "I have come to great misfor- 
 tune, and I presume that it is due to one of three reasons : 
 either because there are no good actors, or because the 
 poets are bad, or because the auditors lack understanding ; 
 for the managers avail themselves of machinery, the poets 
 
 "Lope de Vega's Pobreza no es Fileza (written in 1624. or earlier), Act 
 II : Salen despues de auer toe ado caxas sol da Jos, y el Conde de Fuentes, 
 aura en el teatro un fuerte pintado de canteria. See also El Casamiento en 
 la Muerle (Part I, 1604), Act III, and La Vitoria del Marques de Santa 
 Cruz (before 1618), Act II. 
 
APARIENCIAS AND TRAM OY AS 97 
 
 of the carpenters, and the auditors of their eyes." 
 Further : "But to return to the common people, I say that 
 they are justly moved by this machinery to delight the eyes, 
 but not by that of the Spanish comedia, where the figures 
 rise and descend so clumsily, and animals and birds appear 
 in like manner, which* the ignorance of the women and the 
 rude mechanics among men come to see." 1 
 
 Lope's complaint is significant, moreover, inasmuch as 
 it shows that a great change had come over his audiences 
 early in the third decade of the seventeenth century. 
 The vulgo now went to - see the play, not to hear it ; the 
 comedia had become a spectacle for the eyes. And so the j^" 
 play degenerated and the splendor of scenery and stage 
 setting increased, until in the eighteenth century we come - 
 to a playwright like Cornelia, in whose comedia Cristovai 
 Colon, Act I, we find the following stage direction: "Jar- 
 din magnifico, adornado de macetas cenadores, y fuente 
 grande en el medio, con asientos al rededor, el foro repre- 
 senta el Palacio con su galeria y escaleras, para baxar; la 
 galeria estara adornada de macetas de flores. Aparece la 
 Reyna sentada, y las Damas repartidas, cogiendo flores," 
 etc. Here we find the term bastidor (wing of stage 
 scenery), 2 and at the end of the act, the direction: Cae el 
 telon, the drop-curtain falls. 
 
 The help of stage machinery of various kinds, under the 
 name of artificios, invenciones, apariencias, and tramoyas, 
 had been invoked in the religious representations of Spain 
 since very early times. One of the primary requisites was^t 
 a trap-door, and with these the public stages were early _Jj 
 provided. In the performance of the autos of Corpus 
 Christi the apariencias formed a very important feature 
 of the festival and were frequently of the most elaborate 
 character, the municipalities expending large sums of 
 
 1 Life of Lope de Vega, Glasgow, 1904, p. 289. 
 
 2 Bastidor es or wings were in use long before this, and we find them 
 mentioned at the beginning of 1643 among the stage appliances at La Mon- 
 teria, Seville. ( Sanchez- Arjona, p. 364, and see above, p. 92, note 3.) 
 
98 THE SPANISH STAGE 
 
 money in their preparation. Upon the stage of the public 
 theaters, on the other hand, we may well imagine that the 
 apariencias or tramoyas were of a more crude and inexpen- 
 sive kind. Still, Lope de Vega, as we have seen, early 
 complained of the great importance attached to stage ma- 
 chinery, and he again refers to the work of the stage 
 carpenter in the Prologue to Part XIX of his Comedias 
 (Madrid, 1623). Here, too, in a dialogue between the 
 Poet and the Theater, the former says: "Since they use 
 apariencias, which they call tramoyas, I do not care to 
 publish my comedias." He never concealed his contempt 
 for the arts of the scene-painter and the machinist. As 
 Mr. Fitzmaurice-Kelly says : "Lope needed no scene-paint- 
 ers to make good his deficiencies. In lAy Verdades! que 
 en Amor ( 1625) , he laughs at the pieces 
 
 en que la carpinteria 
 suple concetos y trazas." 1 
 
 Likewise in Don Quixote (Part I, chap, xlviii), the Ca- 
 non, in the course of his remarks on the drama of the day, 
 says : "Y aun en las [comedias] humanas se atreven a hacer 
 milagros, sin mas respecto ni consideracion que parecerles 
 que alii estara bien el tal milagro y apariencia como ellos 
 llaman, para que gente ignorante se admire y venga a la 
 comedia." Apariencia or tramoya was, therefore, the 
 technical term for stage machinery, and commenting on 
 this passage, Clemencin says: "Apariencia es tramoya 6 
 maquina teatral para representar trasformaciones 6 acon- 
 tecimientos prodigiosos." 2 
 
 The term appearances was also used on the English 
 
 1 Chapters on Spanish Literature, London, 1908, p. 182. See also the close 
 of Lope's Epistola d Pablo Bonnet, the verses beginning: 
 
 "EI Teatro de Espana se ha resuelto 
 En aros de cedazos y clauos." 
 
 * Edition of Madrid, 1833, Vol. Ill, p. 409. In 1633, when Gonzalez de 
 Salas published his Nueva Idea de la Tragedia antigua, he spoke of the 
 
THE FRENCH STAGE 99 
 
 stage. When Cartwright's Royal Slave was presented be- 
 fore the King and Queen at Oxford, in August, 1636, the 
 changes of scene then produced by Inigo Jones were called 
 "appearances." They were eight in number, but whether 
 they were effected by sliding frames covered with canvas, 
 or by falling curtains now technically called "drops," is 
 not stated. 1 
 
 We may be quite sure that theatrical machinery had 
 made no greater advances in the public theaters than the 
 stage decoration. That this machinery was still very rudi- 
 mental and imperfect, even after the middle of the seven- 
 teenth century, is evinced by the accounts published by 
 Francis van Aerssen, Madame d'Aulnoy, and other trav- 
 elers in Spain. 
 
 From the above instances we are enabled to form a fairly ^ 
 clear conception of the resources ( or perhaps it were better 
 to say the limitations) of the Spanish stage in the time of 
 the great creator of the Spanish drama. They also furnish 
 information that is not without importance as to the ar- 
 rangement of the Spanish stage. It did not project into 
 the theater, as did the Elizabethan stage, and its two sides / 
 were provided with hangings (panos), behind which the 1 
 actors could retire, and from which they could make their f 
 entrances. 
 
 The stage setting of the French theater at this time was 
 quite different from that in use in Spain and England, and 
 in the time of the playwright Hardy it was that of the 
 Mysteries of the Middle Ages. With slight modifications 
 this system reigned for nearly a hundred years at the 
 Hotel de Bourgogne, the only public theater in Paris dur- 
 ing the second half of the sixteenth and the first thirty 
 
 word tramoya as if it had been but lately introduced: "las Machinas de la 
 Scena, las appariencias quiero decir, i ingeniosos artificios, a quien vulgar- 
 mente Ios Nuestros llaman con un vocablo nuevo Tramoias." (Edition of 
 Madrid, 1778, Vol. I, p. 248.) This seems to show that the work was 
 written some years before the date of its publication. 
 'Collier, Annals of the Stage, London, 1831, Vol. Ill, p. 372. 
 
ioo THE SPANISH STAGE 
 
 years of the seventeenth century. 1 This stage of the Mys- 
 teries consisted of two parts: the mansions and the stage 
 proper, or the free space between and in front of the 
 mansions. These mansions were simply houses or build- 
 ings to which the action was transported during the play. 
 Thus one might represent the house of the Virgin at Naza- 
 reth, another the temple at Jerusalem, another the palace 
 of Pilate, which formed so many mansions in the Mystery 
 of the Passion. In other words, the simultaneous scenery 
 of these religious plays of the Middle Ages was trans- 
 ferred to the public stage, which was divided into several 
 regions, and France might be represented by one corner 
 of the theater, Turkey by the other, and Spain in the 
 middle of the stage. Indeed, the author of the Traite de 
 la disposition du poeme dramatique (1637), quoted by 
 Rigal, 2 says: "II ne faut pas introduire ni approuver 
 la regie qui ne represente qu'un lieu dans la scene." 
 It is this system to which Corneille objected in his 
 Examen de Melite (1629), when he says: "Common 
 sense, which has been my sole guide, gave me sufficient 
 aversion to this horrible confusion, which placed Paris, 
 Rome, and Constantinople on the same stage, to reduce 
 mine to a single city." 3 Here, too, we are told that a wood 
 was. represented merely by a little foliage, an encampment 
 by half a tent, and that the sea and the mountains "were 
 absolutely lacking in majesty." 4 "Besides the permanent 
 decorations and those which appeared only at certain 
 times in the performance, the players used also more or 
 less ingenious machinery, but whether these trues were al- 
 ways successful, is more than we care to affirm." 5 That 
 this stage setting as late as 1642 was very crude and far 
 from satisfactory is shown by the complaints made by 
 d'Aubignac concerning the manner in which his tragedy 
 
 1 Rigal, Le Theatre franfaii avant la periode classique, Paris, 1901, pp. 
 238 ff. 
 
 2 Ibid., p. 246. 5 Ibid., p. 247. * Ibid., p. 252. s Ibid., p. 255. 
 
PARTICULARES 101 
 
 La Pucelle d 'Orleans was staged. Bapst says that in 1634 
 the stage at the Hotel de Bourgogne was ornamented with 
 pilasters, cornices, moldings, arabesques, etc. "It was the 
 Italian stage setting on a small scale . . . there were 
 three doors, one at the back and one on each side, without 
 counting the lucarnes." The canvases were painted in per- 
 spective. In 1635 representations took place by daylight, 
 without lamps. At the beginning of the seventeenth cen- 
 tury a police ordinance fixed half-past four o'clock in the 
 afternoon as the closing hour of the spectacles in winter. 
 In the middle of the seventeenth century the Opera, 
 Moliere, and the Comedie Frangaise had no place for 
 their performances except the tennis courts, which must 
 have been most unsatisfactory, both optically as well as 
 acoustically, to both auditors and actors. 1 In these ten- 
 nis courts, transformed into theaters, the rich and the 
 nobility occupied boxes or stalls, while "the less fortunate 
 public stood in the part of the building that was not 
 occupied by the stage." 2 
 
 The poverty of scenic effects upon the Spanish stage 
 applies, as already stated, only to the public theaters, like 
 the Cruz and the Principe in Madrid, where an entrance 
 fee was paid. The representations which took place in 
 the palaces of great nobles (these representations were 
 called particulares) , 3 and those given before the King 
 in his private theaters (see below, Chapter X), were 
 generally accompanied, as we may readily imagine, by 
 ingenious and costly scenic effects and stage machinery. 
 
 'Bapst, Essai sur Vhistoire du Theatre, Paris, 1893, P- l &7- 
 
 2 Ibid., p. 171. 
 
 * In October, 1602, Antonio Granados represented a comedia before D. 
 Diego Gomez, "who was sick with quartan fever," receiving 200 reals 
 (Perez Pastor, Nuevos Datos, p. 353) ; in February, 1603, Nicolas de los 
 Rios received 300 reals for a comedia which he represented before the 
 Duke of Lerma, "en la Huerta de la Ribera del Pisuerga" (ibid., p. 353) ; 
 and in November, 1603, the same autor de comedias received, for going 
 from Valladolid to Tordesillas, and representing four comedias before the 
 King, 1200 reals, besides 371 reals for expenses. This was, apparently, 
 also a festival given by the Duke of Lerma. (Ibid., p. 354.) 
 
102 THE SPANISH STAGE 
 
 We read, for instance, that in 1618 Luis Velez de 
 Guevara's comedia El Caballero del Sol was performed 
 by the company of Baltasar Pinedo in the house of D. 
 Juan Gaytan de Ayala, in the Calle de Atocha, "with the 
 same invenciones and stage arrangement with which this 
 comedia was represented in the garden of his Excellency 
 the Duke of Lerma." This latter representation was, 
 doubtless, intended solely for the delectation of the 
 Duke's friends. The performance in the house of 
 D. Gaytan de Ayala, however, is the only one that I 
 have found recorded, in which an admission fee was 
 charged, and from which other profits accrued to the per- 
 son giving the comedia. The details are so curious that I 
 transcribe them. The document is in the form of an 
 agreement between D. Juan de Vidaurre, Captain in 
 Ordinary to his Majesty in Madrid and his entretenido 
 in that city, and the lessees of the profits which result to 
 the hospitals from the performance of comedias, reciting 
 that the said comedia is to be given by the company of 
 Pinedo in Ayala's house. "That the said D. Juan de 
 Vidaurre is to provide the said invenciones and to erect, 
 at his own cost, in the said house and yard, the theater and 
 boxes {aposentos) and seats {gradas) necessary for the 
 men as well as the women to hear the said comedia. Like- 
 wise that the said lessees are to give to the said D. Juan 
 forty ducats, in part payment of the expenses. Likewise 
 that all that may result by way of profit during the 
 whole time the said comedia is to be given in the said 
 corral — deducting the share of the said Baltasar de 
 Pinedo, autor — as well from the entrance fees as from the 
 aposentos, and all other profits, are to be divided equally 
 between the said lessees and the said D. Juan, but the 
 forty ducats which the said Baltasar de Pinedo is to give 
 to the said D. Juan are to belong solely to the latter. 
 All the fruits and confections while the festival lasts are to 
 be sold by Roque Hernandez, who is also to receive eight 
 
THE KNIGHT OF THE SUN 103 
 
 reals, one half to be paid by the said lessees and one half 
 by the said D. Juan. Likewise the said forty ducats are 
 to be returned by the said D. Juan, unless he erect the 
 said theater and gradas in eight days." x 
 
 1 Perez Pastor, Nuevos Datos, pp. 164, 165. 
 
CHAPTER VI 
 
 Costumes. Their impropriety. Their magnificence. Costumes in 
 the autos sacramentales. Performances in the public theaters. 
 Prices of admission. The audiences. The mosqueteros. Women 
 in the cazuela. Ruffianism, in the theaters. Seats in the corrales. 
 
 As there was little thought of verisimilitude in the stage 
 setting, so, as regards the costumes worn by the players, 
 there was no pretense to historical accuracy. All charac- 
 ters appeared in the Spanish costume of the time. This is 
 due to a peculiarity — shared in a measure by the drama of 
 other nations at the time (particularly the English), 
 but eminently characteristic of the Spanish drama— 
 that is, the tendency to translate everything which it 
 represents into the present and actual in which it moves: 
 that the remotest past and the strangest occurrences are 
 transformed into the national usages and customs, and 
 that what is most foreign is changed, as it were, to some- 
 thing essentially Spanish. The single exception was in 
 the case of plays founded upon Spanish history or legend, 
 —here only an attempt was made to reproduce the spirit 
 of a bygone age. 1 
 
 1 "Ein ganz eigenthiimlicher, nirgends in gleicher Starke hervortretender 
 Zug der spanischen Comodie nun besteht darin, dasz sie in Allem, was sie 
 vorfiihrt, sich die nachste Gegenwart und Umgebung, in der sie selbst lebt, 
 abspiegeln laszt^dasz sie die fernste Vorzeit, die fremdeste Begebenheit in 
 die heimische Sitte und Gewohnheit hiniiberzieht und selbst das Entlegenste 
 durch Umwandlung gleichsam zum spanischen Nationalgut raacht. Gewisz 
 ist diese Art, die Gegenwart zur Grundlage der Darstellung zu machen, 
 die einzige, wie ein wahres Nationalschauspiel entstehen kann. Denn das 
 Drama, das vor allem auf lebhafte Anregung seiner Zuhorerschaft bedacht 
 sein musz, wird durch alles Entlegene, nicht unmittelbar Verstandliche in 
 seiner lebendigen Wirkung beeintrachtigt, und vermag die Begebenheiten 
 
SPANISH COSTUMES 105 
 
 As Ticknor says, "Coriolanus was dressed like Don 
 John of Austria, and Aristotle came on the stage with a 
 curled periwig and buckles on his shoes, like a Spanish 
 Abbe." 1 Only the most obvious distinctions were made: 
 a Moor, naturally, would appear in the traditional cos- 
 tume, or, at all events, in a turban and long mantle, for 
 these were known to the audience, but the Roman wore a 
 short cloak and sword. Lope de Vega, in his Arte nuevo 
 de hacer Comedias (1609), complains of the impropriety 
 of Romans wearing breeches upon the Spanish stage, for 
 Greeks and Romans, as he says, appeared with cloak and 
 sword, in the national costume. 2 But this reproach applies 
 not only to the Spanish drama, but to all others of the 
 time as well. Concerning the French theater we are told : 
 "Le meme costume, cheveux tombants, cuirasse collant au 
 corps, avec tonnelets, brodequins et casque a panache, sert 
 a tous les roles historiques, depuis David et Salomon 
 
 und Verhaltnisse fruherer Zeiten oder ferner Lander nur insofern zu ge- 
 brauchen, als es sie mit der Gegenwart verkniipfen und seinen Zuschauern 
 in nachste Nahe riicken kann. Nur die Stoffen aus der nationalen Geschichte 
 oder Sage hat sich daher die spanische Comodie bemuht, sich genau in den 
 Geist und Ton vergangener Zeiten zu versetzen, weil diese der lebenden 
 Generation noch mannigfach vertraut und gegenwartig waren; die Ge- 
 schichten des classischen Alterthums und des Auslandes dagegen finden wir 
 durchaus phantastisch und in der Art behandelt, dasz die spanische Natio- 
 nalitat, die Sitte und Sinnesart der Gegenwart iiberall durchklingt." 
 {Geschichte der dramatischen Literatur und Kunst in Spanien, Vol. II, pp. 
 79, 80; cf. also ibid., pp. 29, 30.) These remarks, it seems to me, apply 
 with almost equal force to the Elizabethan drama. An audience totally 
 ignorant of the facts of history was responsible for such a condition and 
 requisite for its maintenance. Hence the glaring anachronisms that occur 
 in the plays of Lope, Shakespeare, and other dramatists of the period passed 
 unnoticed. There was, for instance, no hesitancy in introducing firearms 
 upon the stage in a play, the action of which took place long before gun- 
 powder was invented, if the effect of the action were heightened thereby. 
 
 1 History of Spanish Literature, Vol. II, p. 539. 
 
 2 The stage directions, however, abundantly show that some regard 
 was had, here also, for the fitness of things. The costume, being an indi- 
 cation of rank, helped to tell the story. Apart from the very obvious fact 
 that the peasant always appeared in a costume suited to his station (ex- 
 amples: Lope de Vega, Lie gar en Ocasion (Part VI), fol. 12, v.-.Salen Fenisa, 
 y Otauio con gauan de labrador. El mejor Maestro el Tiempo (Part VI), 
 Act III: Sale Oton de villa.no con un azadon, etc., etc.), we find such stage 
 
106 THE SPANISH STAGE 
 
 jusqu'a Charles V." 1 Of course the Roman citizens of 
 Shakespeare's time wore the English costume then in 
 vogue, and we know that, in the middle of the eighteenth 
 century, Garrick appeared as Macbeth in a powdered wig 
 and knee-breeches. In Spain, too, this carelessness as to 
 costume was maintained until far into the eighteenth cen- 
 tury. D. Jose Clavijo y Fajardo, speaking of the autos in 
 1762, says: "Who could help laughing aloud on seeing a 
 Levite appear, in the first age of man {en la primer a edad 
 del hombre), dressed like a priest and wearing a miter? 
 It would be hard to say which were the greater nonsense, 
 to introduce a Levite at that period or to clothe him in 
 this manner." 2 
 
 When it is said, however, that the costumes had little 
 or no regard for historical accuracy, it by no means implies 
 that they were not magnificent and costly. 3 On the con- 
 trary, there is ample evidence to prove that Spanish actors 
 and actresses were exceedingly extravagant in the matter 
 of costumes, and the amount of money expended upon 
 them often shows an improvidence which has been a char- 
 acteristic of the theatrical profession in all times. In 1589 
 Sebastian de Montemayor, an autor de comedias or theat- 
 rical director, and Ana de Velasco, his wife, paid 100 
 ducats (= 1 100 reals) for a rich skirt and jacket ("precio 
 
 directions as: Salen dos alabarderos, vestidos como Tudescos, con su bota 
 de Vino. (Lope de Vega, Urson y Valentin, Part I, 1604, fol. 171.) In El 
 Hijo de Reduan (Part I), Act I: Entra Gomel con un alguizel [Moorish 
 cloak] de alarde, y un bonete Colorado, y unas abarcas de pellejos(io\. 143). 
 Servir con mala Estrella (Part VI, 1616), Act I: Salen Rugero de V aloes y 
 Turin su criado de camino a lo Frances. Cervantes, La Gran Sultana, Act 
 I, opening: Sale Dona Catalina de Oviedo Gran Sultana vestida a la Tur- 
 quesca, and a little later: Salen Madrigal de cautiuo, y Andres en abito de 
 Griego. 
 
 1 Bapst, Essai sur I'histoire du Theatre, p. 176. 
 
 a Cotarelo y Mori, Controversias, p. 159. The same writer says: "Un 
 Elias vestido muy pobreraente, con mucha barba y zapatos encarnados con 
 galon de oro ya lo habiamos visto en Ios Tres Prodigios del Mundo, pero 
 Cristo peinado de ala de pichon, con polvos y corbatin, esto estaba reservado 
 para aumentar las deformidades de los autos." 
 
 * The theatrical wardrobe -was, perhaps, the manager's heaviest item of 
 
MAGNIFICENCE OF COSTUMES 107 
 
 de una basquiria y un manteo ricos, para representar"). 1 
 In 1602 Melchor de Leon paid 330 reals for a skirt of 
 straw-colored satin ("basquina de razo pajizo"). 2 In 
 1607 Baltasar Pinedo paid 550 reals for hats, feathers, 
 and silks. 8 In 16 10 Diego Lopez de Alcaraz paid 240 
 reals for a costume "de pario de mezcla aceitunada," or 
 mixed cloth of an olive color. 4 In 161 7 Jusepe Jimenez 
 and his wife Vicenta de Borja, players in the company 
 of Baltasar Pinedo, paid 440 reals for a skirt and 
 waist of grosgrain with silk lace ("basquina y 
 jubon de gorgoran con pasamanos de seda"). B In 
 161 9 Juan Bautista Mufiiz and his wife Eugenia Osorio 
 paid 2400 reals for a costume of greenish-gold sateen with 
 gold lace and edging of red sateen with trimmings of gold 
 fringe, lined with red taffeta silk ("vestido de raso de oro 
 verde con pasamanos de oro y pestafias de raso encarnado 
 y alamares de peinecillo de oro forrado en tafetan encar- 
 nado"). 6 In 1636 Pedro de la Rosa, theatrical director, 
 bought from Bartolome Romero and his wife Antonia 
 Manuela, both players, "un calzon de ropilla y ferreruelo 
 [short cloak, without cape] de lana parda, bordado de 
 coronas y palmas de oro y plata, y las mangas del jubon 
 de canutillo [embroidery] de plata," for 3600 reals. 7 
 One may form some conception of this extravagance, 
 bearing in mind that the average price received by Lope 
 de Vega for a comedia, at the height of his popularity, 
 was 500 reals. 
 
 Sometimes, indeed, the costumes used in the representa- 
 tion of the autos sacramentales — which were given at 
 the expense of the municipality — were so costly that 
 
 expense. A conception of the splendor of the costumes in Spain at the 
 beginning of the seventeenth century may be formed from the "Memoria 
 del hato para representar" sold by Baltasar Pinedo to Juan Granados, on 
 April 25, 1605, printed in the Bull. Hispanique, 1907, pp. 369-371. 
 
 "Perez Pastor, Nuevos Datos, p. 337. 
 
 'Ibid., p. 78. 'Ibid., p. 101. * Ibid., p. 119. 
 
 "Ibid., p. 163. 'Ibid., p. 181. ''Ibid., p. 251. 
 
108 THE SPANISH STAGE 
 
 the actors petitioned the city for an extra sum to defray 
 this expense, alleging that the costumes were useless for 
 any other purpose. This the town council frequently did, 
 in one case paying 200 reals. 1 Many instances are re- 
 corded where actors and actresses were granted a special 
 sum by the town council, as a prize for having particularly 
 distinguished themselves in the performance of an auto 
 either by their acting or costume. 
 
 While the principal players possessed their own cos- 
 tumes, the autores de comedias provided them for the 
 lesser members of their companies. Frequently, also, a 
 town, in order to give a dance or comedia for some fes- 
 tival, hired the costumes from some autor. So in 1597 
 the clothes and costumes ("ato y vestidos de farsa") of 
 Gaspar de Porres were hired; in 1634 Sanchez de Vargas 
 hired out his costumes for a dance in the town of Mejo- 
 
 1 Sanchez-Arjona, Anales, pp. 307 and 322. The value of Spanish money 
 in the sixteenth and seventeenth centuries is a very difficult matter 
 to ascertain even approximately, as it varied so much from time to 
 time. The only Spanish coins with which we have to deal are the ducado, 
 the real, and the maravedi. There is an excellent article on the maravedi 
 in the Reiiista de Archivos for March -April, 1905. The ducado = 11 reals, 
 and the real plate = 34 maravedis. Minsheu's Spanish Dictionary, London, 
 1599, tells us that a ryall plate=s\xe pence^34 maravedis. The maravedi, 
 which was at first a gold coin, became in the time of Philip III (1598- 
 1621) a copper coin of very small value. And just here occurs the diffi- 
 culty. Seldom is it stated whether the real vellon (copper) or the real de 
 plata (silver) is meant, the real plate being equal to two reals copper. It 
 would seem, however, that at one time there was little difference between 
 the real de plata and the real vellon. As an example : under date of Valla- 
 dolid, September 1, 1604, Gaspar de Porres, autor de comedias, bound him- 
 self to pay to the Brotherhood of the Ninos Expositos of that city 2000 reals 
 silver, which he had received in vellon from the treasurer of the Brotherhood 
 (Nuevos Datos, p. 88). This may be explained by a note which I find in 
 Gallardo, Ensayo, Vol. Ill, p. 1150: "AI principio deste ano (1604) se 
 quilataron las monedas de vellon en todos los reinos de Castilla, doblandose 
 el valor para socorro de S. M. y se pregono con graves penas en esta 
 cibdad (Cordoba) a 29 de Marzo que no corriese la moneda sino quila- 
 tada." Again, in 1612, Juan de Morales Medrano, autor de comedias, 
 promises to repay 1000 reals, which he had borrowed, "in silver and not in 
 •vellon." (Nuevos Datos, p. 129.) I believe that the silver' real of the 
 double value of the real vellon is called the real de plata doble. (See 
 Nuevos Datos, p. 160.) An account of the value of money at a later period 
 (1667) is furnished by a work entitled Hispania Illustrata, or the Maxims 
 
HIRING OF COSTUMES 109 
 
 rada. 1 In 1636 Andres de la Vega hired out to Pedro 
 de la Rosa, to be returned after the festival of Corpus, 
 a costume of Moses, a ropon for Aaron, a capuz for a 
 Jew, and a ropon for a Moor, together with eight cloaks 
 of taffeta, for 2500 reals. 2 In 1636 Mariana de Aparicio 
 agreed with Andres de la Vega to play second parts in his 
 company, he to furnish the costumes. 3 Andres de la 
 Vega seems to have been possessed of a rich and extensive 
 theatrical wardrobe, which he frequently hired out. 4 
 Some idea of the extent and quality of the ward- 
 robe of a prominent theatrical manager in the mid- 
 dle of the seventeenth century is furnished by the list 
 of the effects of Jacinto Riquelme, which were attached in 
 1652 to compel the performance of a contract to act in 
 the Corral de La Monteria in Seville. 5 In this list are 
 included all the properties, scenery, and machinery neces- 
 sary to represent what were called comedias de apariencias, 
 "besides the costumes for the fools and peasants." 6 
 It may not be without interest to note here that in 1608 
 
 of the Spanish Court, etc., London, 1703. On p. 53 we find: "In 1667, 500 
 doblones = £450 sterling. A doblon = 4 pieces of 8 = 74 reales vellon, and 
 that a real plate = 6d. and a real •vellon = zVzd." From such data as I 
 have been able to gather, I infer that the purchasing power of a real in the 
 early seventeenth century was about five times its value in present money, 
 i.e., that a real plate = about 25 cents. So we are told that in Moliere's 
 time, which was nearly half a century later, money was worth five times 
 as much as at present, i.e., in 1654 six cents livres = trois mille francs. 
 (Soulie, Recherches sur Moliere, p. 68.) A convenient norm for the value 
 of money in Spain at the close of the sixteenth century is furnished by an 
 instrument dated March 26, 1596, by which Baltasar Pinedo, autor de come- 
 dias, agrees to pay to Gabriel Rubio, tailor, of Madrid, 24 ducats = 
 264 reals, for board and lodging for six months for himself and servant, at 
 the rate of 4 ducats per month, i.e., n reals per week, for two persons. 
 (Nuevos Datos, p. 43.) The great depreciation of money during the reign 
 of Philip IV., and the many attempts to regulate its value, render any 
 definite general statement impossible. 
 1 Nuevos Datos, p. 238. s Ibid., p. 252. * Ibid., p. 258. 
 
 4 See ibid., pp. 269, 271. 
 
 5 Sanchez-Arjona, Anales, pp. 398 ff. For a list of the properties and cos- 
 tumes of Diego Lopez de Alcaraz in 1602, see Nuevos Datos, p. 63. 
 
 '"Todo el jato que llaman ornato del vestuario, pafios y maromas, y 
 vestidos de villanos y bobos, y garruchos y hierros y tramoyas. 
 
no THE SPANISH STAGE 
 
 Shakespeare was proprietor of the wardrobe and proper- 
 ties of the Blackfriars theater, besides owning four shares, 
 which brought him in £133 6s. id. "These properties, we 
 may conclude, he lent to the company for a certain consid- 
 eration." 1 
 
 When in financial straits, a condition that has ever been 
 familiar to the followers of Thespis, the mainstay of the 
 player or manager was the wardrobe, which he could al- 
 ways pawn with some money-lender. 2 A curious case is 
 that of Lorenzo Hurtado de la Camara, who in 1639 paid 
 1000 reals to redeem a costume which he had pawned to 
 the convent of S. Juan de Dios in Ocafia. 3 Indeed, 
 with very few exceptions, both autores de comedias 
 and actors seem to have been almost constantly in 
 debt, as the many obligations and agreements collected 
 by Perez Pastor amply show. To compel the pay- 
 ment of a debt, recourse was had to the very efficacious 
 remedy of clapping the debtor into prison. Not infre- 
 quently, as the records prove, did this misfortune befall 
 the theatrical manager and actor of those days. In 1601 
 Rodrigo Osorio, autor de comedias, was imprisoned at 
 Madrid for a debt of 700 reals, being released on the 
 guaranty of his son-in-law Diego Lopez de Alcaraz and 
 his daughter Magdalena Osorio to pay the debt; 4 and in 
 1605 Alonso de Riquelme, a famous autor, was impris- 
 oned in Valladolid for a debt of 900 reals. 5 
 
 1 Shakespeare's Works, ed. Collier, Vol. I, p. 191. Greg (Hensloioe's 
 Diary, II, p. 130) says: "The wardrobe of a company appears to have been 
 a complicated affair; part, like the stage properties, belonged to the com- 
 pany in general, that is to say, -was the common property of the sharers, 
 while part belonged to individual actors. Thus, we find Pembroke's men 
 pawning their 'parel in 1593, and Edward Alleyn buying Jones's share in 
 the common stock of playing-apparel, etc., belonging to Worcester's men in 
 1589," etc. 
 
 2 A list of the theatrical wardrobe of the stranded company of Jeronimo 
 de Amelia, seized for debt in Valencia in 1628, is given in the Bull. His- 
 panique, 1906, p. 377. 
 
 ' Nuevos Datos, p. 315. 
 
 * Ibid., p. 54. 
 
 'Ibid., p. 91. (See also Bull. Hisp. (1907), p. 374.) 
 
TIME OF PERFORMANCES in 
 
 With the passing of the Corral de Puente, about 1584, 
 the theaters of Madrid were reduced to two, the Corral de 
 la Cruz and the Corral del Principe. These continued to be 
 the only public theaters in Madrid till the close of the 
 seventeenth century. The King had his own private thea- 
 ters, and from an account of the events which happened 
 at court between 1599 and 1614, written by the historian 
 Luis Cabrera de Cordoba, it follows that private perform- 
 ances of comedias must have taken place in the King's 
 palace, the Alcazar, as early as the beginning of the seven- 
 teenth century. Besides this stage, which was erected in 
 one of the rooms of the palace, Philip the Third, in 1607, 
 caused a theater to be built in the Casas del Tesoro, near 
 the palace. 1 
 
 Dramatic performances in the public theaters always 
 took place in the afternoon, at three o'clock in summer and 
 at two in winter. 2 By an ordinance of 1608 it was pro- 
 vided that the doors of the theaters 3 should not be opened 
 
 1 Cabrera says under the date, Madrid, January 20, 1607: "Hdse hecho 
 en el segundo patio de las casas del Tesoro un teatro donde vean sus Ma- 
 gestades las comedias, como se representan al pueblo en los corrales que 
 estan deputados para ello, porque puedan gozar mejor de ellas que quando 
 se les representa en su sala, y asi han hecho alrededor galerias y ventanas 
 donde este la gente de Palacio, y sus Magestades iran alii de su Camara 
 por el pasadizo que esta hecho, y las veran por unas celosias." (Relaciones 
 de las Cosas sucedidas en la Corie de Espana desde el Ano 1599 hasta 1614, 
 edited by D. Pascual de Gayangos, Madrid, 1857, P- 2 9 8 -) It appears 
 that Philip IV., in 1622, the year after his accession to the throne, enter- 
 tained the project of building another theater in Madrid. (Perez Pastor, 
 Nuevos Datos, p. 191. See below, p. 237.) 
 
 'Court performances, on the other hand, were generally given at night; 
 this was also the rule in England. (Malone, Historical Account of the 
 English Stage, p. 185.) 
 
 3 Don Luis Fernandez-Guerra, in his excellent biography of Alarcon, p. 
 181, says that the Corral de la Cruz had seven doors and the Principe eight, 
 "cada cual para su objeto, ya de subir a los aposentos, ya para el escenario 
 y su servicio, ahora'para entrada de hombres, ahora para las mugeres; 
 cual, la de la alojeria; una, la del cocheron; y la ultima, la de la taberna." 
 His authority for this statement is Armona, Memorias cronoUgicas. The 
 latter work, because of the recent publications of Perez Pastor and Cotarelo, 
 is now of little importance. I have a popy of portions of it, and under the 
 caption "Visita que en el ano de 1606 se hizo por el visitador del Real 
 Hospedaje, etc. Ano de 1606," it is stated that the Corral del Principe has 
 
ii2 THE SPANISH STAGE 
 
 until noon, and that representations should begin, during 
 the six months beginning October i, at two o'clock, and 
 during the remaining six months at four in the afternoon, 
 "in such a manner that the performance may be concluded 
 an hour before nightfall," and the comisarios and bailiffs 
 were to take particular care that this proviso be ful- 
 filled. The same ordinance likewise provided that posters 
 should be put up to indicate clearly the comedias which 
 were to be represented each day. 1 The same provisions 
 are again found in the "Regulations for the Theaters," 
 issued in 1641, to which we shall recur in a succeeding 
 chapter. A performance generally lasted from two to 
 three hours. 2 
 
 The price of admission to the corrales varied at different 
 
 eight doors, the first to ascend to the aposenlos and the other five (sic) for 
 entrance, but there is besides "a casa con dos puertas en que hay una tienda 
 y taberna." These two doors evidently did not give access to the theater. 
 Likewise in 1638 there were only six entrances. In the "Visita general que 
 se hizo el afio de 1606," to the Calle de la Cruz, we find: "Corral de la 
 Cruz. For no estar labrado no se taso," which I do not understand. In 
 1638 there were seven ( ?) doors: one to the Alogeria, two to the aposentos, 
 one for women, and another entrance is described as a coach-house 
 (cochera). The latter is probably accounted for as follows: in 1631 the 
 King commanded that his entrance to the Corral de la Cruz, which was the 
 property of the Duke of Medina de las Torres, should be changed to a 
 more retired and more decent place. In April, 163 1, a corral was taken 
 which belonged to D. Fernando Segura in the Plazuela del Angel, and an 
 entrance made, so that the coach of the King could be driven to the stair- 
 way, a rent of 2000 reals yearly to be paid. Since, in doing this, a part of 
 the property of Dona Potencia de Quesada would have to be occupied, it 
 was necessary to rent this also for 75 ducats yearly. (Averiguador, Vol. I, 
 p. 171.) This entrance was still in existence in 1653. 
 1 Cotarelo y Mori, Controversial, p. 623. 
 
 ' "La comedia aora empecamos, 
 De aqui a dos horas saldremos, 
 Quando ya estara acabada, 
 Que todo lo acaba el tiempo." 
 (Loas to Comedias of Lope de Vega, Part I, Valladolid, 1604, p. 3.) 
 
 And again: 
 
 "Boluamos a lo importante, 
 Que es el silencio pedido, 
 Por tres horas no cabales." 
 
 (Ibid., p. 7.) 
 
THE PRICE OF ADMISSION 113 
 
 times. What it was in Madrid in the latter part of the 
 sixteenth century, we learn from a document dated March 
 6, 1589, published by Pellicer. 1 According to this, "every 
 person who entered to see the said comedias paid for his 
 seat 4 quartos (= 16 maravedis), and at the entrance, be- 
 sides what he gives to the players, he pays another quarto, 
 in such manner that each person who enters the comedia 
 pays 5 quartos, besides what he gives to the players." 2 In 
 Seville, "those who went to see the comedias of Ganassa 
 in 1575 at the Corral de Don Juan paid half a real en- 
 trance, one real for each silla, and a cuartillo (= one 
 fourth of a real) for each seat on a banco." 3 About 1585 
 the price of a seat on the buncos in the Corral del Principe 
 was a half-real. 4 This price was afterward increased, but 
 in April, 1602, the court being no longer in Madrid (it 
 was removed to Valladolid in January, 1601, and did not 
 return to Madrid till the end of January, 1606) , the town 
 council of Madrid again lowered the prices and declared : 
 "that the autor (manager) receive from each man and 
 woman, at the entrance, 1 2 maravedis ; and that the Gen- 
 eral Hospital receive, as it had received, two maravedis 
 from each person at the entrance." 5 Thus the entrance 
 fee for the mosqueteros (who stood in the patio), and for 
 the women, was 14 maravedis, or a little less than half a 
 
 1 Tratado historico, Vol. II, p. 191. 
 
 ! "EI Hospital General de Madrid tiene dos Corrales, donde se represen- 
 tan Comedias, y cada una de las personas que entran a ver las dichas Co- 
 medias, dan por el asiento en que se asientan quatro quartos, y a la entrada, 
 ademas de lo que se da a los Comediantes, se da otro quarto: por manera 
 que son cinco quartos los que cada uno de los que entran en la Comedia 
 paga, demas de lo que dan a los Comediantes," etc. These 5 quartos (= 
 20 maravedis) were therefore the limosnas, or alms, which was the share 
 of the hospitals from each one who entered the corrales; and in addition to 
 this the spectator had to pay a sum to the manager of the players. This 
 charge the theologians, to whom it was referred, did not consider excessive 
 in view of the fact that four and even six reals were at that time paid in 
 Madrid for a seat to see a bull-fight. (Ibid., p. 195.) 
 
 * Sanchez-Arjona, Anales, p. 51. 
 
 * Life of Lope de Vega, p. 28. 
 "Perez Pastor, Nuevos Datos, p. 73. 
 
ii4 THE SPANISH STAGE 
 
 real. The price of the sillas and seats on the buncos 
 (which held three persons) was probably the same as be- 
 fore, or one real. The court having returned to Madrid 
 in January, 1606, another decree was issued, dated March 
 21, 1606, in which the deputies of the Brotherhoods were 
 called upon to fix the price of admission to the corrales, 
 restoring the prices in vogue when the court left Madrid. 
 They agreed that from the first day of Pascua de Resur- 
 rection every man admitted to the gradas was to pay 
 16 maravedis, and every woman who entered the large 
 compartment for women (cazuela), 20 maravedis, which 
 included the quarto (=4maravedis) for the General Hos- 
 pital ; each aposento was 1 2 reals and each banco [seat on a 
 banco ?~\ one real ; each of the celosias which has its entrance 
 through the house of the Condesa de Lemos, 1 2 reals, and 
 that likewise the General Hospital should receive at the 
 entrance doors of the corrales a. quarto from each person, 
 and the same from the persons who occupy the aposentos, 
 "which are the prices which are ordinarily paid when the 
 court is in Madrid." 1 
 
 1 Pellicer, Tratado Historico, etc., Vol. I, p. 88. Information concerning 
 the price of admission to the English theaters of the period is not very 
 definite. Malone says: "The galleries or scaffolds and that part of the 
 house which in private theaters was named the pit, seem to have been at the 
 same price, and probably in houses of reputation, such as the Globe and 
 that in Blackfriars, the price of admission into those parts of the theater 
 was six pence, while in some meaner playhouses it was only a penny, in 
 others two pence. The price of admission into the best rooms or boxes was, 
 I believe, in Shakespeare's time a shilling; though afterward [about 1640] 
 it appears to have risen to two shillings, and half a crown. At the Black- 
 friars theater the price of the boxes was, I imagine, higher than at the 
 Globe." {Historical Account of the English Stage, pp. 77-79.) As regards 
 the English actors in Germany, Creizenach gives the following prices of 
 admission to their performances : "In Ulm and Frankfort the ordinary price 
 was 2 Kreuzer; in the former city at first 1 Kreuzer; in Strassburg 3 Kr., 
 though the players would have preferred a Batzen (=4 Kr.) ; later, in 
 1618, it was 1 Batzen. In Cologne 2-4 Albus (Albus = 2 Kr.). In Mem- 
 mingen in 1600 it was 4 Kr. In Nurnberg at first Y? Batzen, after- 
 ward as high as 6 Kr. In Munster in 1599, one Schilling. The 
 difference in price is probably due to the fact that in some instances the 
 cost of the seat is included. Where this is not the case, the price given i9 
 for entrance only, an additional sum being required for a seat. In Frank- 
 
THE CORRAL DE DONA ELVIRA 115 
 
 In the ordinance of 1608 we find that every person who 
 entered the theater paid 5 quartos (= 20 maravedis) at 
 the door, men as well as women, of which 5 quartos the 
 autor received 3, and the hospitals of Madrid 2 quartos. 1 
 
 In the Corral de Doha Elvira at Seville, in 16 10, the 
 price of a silla was half a real and the banco one real, and 
 each aposento 6 reals. 2 Here 8 maravedis was the 
 amount exacted from each entrance fee for the benefit of 
 the city hospital. 3 This seems to have been in addition to 
 the regular charge for entrance. This admission fee I 
 infer to have been 16 maravedis (= 4 quartos) , from the 
 petition of Juan Jeronimo Valenciano, an autor de come- 
 dias, who, in 1625, sets forth that the lessees of the 
 Coliseo had refused to advance him and his company the 
 customary sum as an ayuda de costa, and he therefore 
 begs that he be .given a license to perform in Triana, 
 within the walls, in such place as he may find, receiving 
 4 quartos from each person. 4 
 
 In 1 61 7 the price of a silla in the Coliseo or the Dona 
 Elvira was 4 quartos, while the banco remained at one real. 
 It was particularly specified in the leases of these theaters 
 
 fort in 1 601 the entrance was 8 Pfennig, and 4 Pfennig additional for a 
 seat in the gallery, which is designated as a preferred place in 1610. In 
 1613 the Council of Niirnberg fixed the entrance fee at 3 Kr., besides 3 Kr. 
 for a seat in the gallery. In 1611 at Ulm only 2 Kr. could be charged, and 
 in 1611 the Council of Frankfort declared that a scale of prices must be 
 hung outside the theater door. Here, too, overcharges were frequent, and 
 in 1599 Sackville had to pay a fine of 20 Florins for overcharging. At 
 Leyden in 1608 the players were obliged to give half their receipts for the 
 support of poor orphans, the guardians of the orphans furnishing a person 
 at the outer door to collect this amount." (Die Schauspieler der Engli- 
 schen Comedianten, pp. xvii-xix.) Concerning the theaters in France, a 
 police ordinance of 1609 forbade actors charging more than five sous to the 
 pit and ten to the boxes and galleries. These prices were still in vogue 
 about 1620, but in 1634 they seem to have been about nine or ten sous for 
 the pit and nineteen or twenty for the boxes, while in 1652 it was fifteen 
 sous for the pit. (Rigal, he ThSdtre frangais avant la Piriode classique, 
 pp. 156, 157.) 
 
 1 Cotarelo y Mori, Controversial, p. 624. 
 
 ' Sanchez- Arjona, Anales, p. 144. 
 
 3 Ibid., p. 147. i Ibid., p. 241. 
 
n6 THE SPANISH STAGE 
 
 that no spectator be allowed to bring into the theater any 
 seat or chair; the entrance fee entitled to standing room 
 only. Admission to the aposentos, which were numbered, 
 was by a numbered ticket. 1 
 
 The ticket-scalper or speculator is not a creation of our 
 own day; sometimes he was the lessee of the theater, for 
 we find that, in 1616, Don Francisco Mejia, lessee of the 
 Dona Elvira in Seville, exacted 20, 24, and even 32 reals 
 for the aposentos, instead of 6 reals, and 2 reals for each 
 silla instead of 24 maravedis. 2 In like manner, the youth 
 who had charge of the sillas and bancos in La Monteria in 
 1633 charged 3 reals and even more, instead of one, the 
 regular price. 3 And in 1637 Domingo Hernandez, who 
 hired the lower aposentos in the same theater, compelled 
 strangers to pay 20 and 24 reals, instead of 12. 4 
 
 There were generally two outer doorkeepers or cobra- 
 dores; one collected the money at the principal entrance 
 and the other at the entrance for women. Two collections 
 were made, one for admission and a second for the benefit 
 of the hospitals, 5 besides the extra price paid for a seat, 
 for this was not included in the entrance fee. 
 
 Two alguaciles, or peace officers, were also stationed, 
 one at each door, and frequently also one in the women's 
 gallery. Besides these there were persons to collect the 
 extra charge for the sillas and bancos, and others in charge 
 of the aposentos or rooms. 
 
 Green and dried fruits, water, sweets, aloja (a kind of 
 
 1 Sanchez- Arjona, Anales, p. 262. 
 
 'Ibid., p. 178. * Ibid., p. 283. 4 Ibid., p. 308. 
 
 "There are many references showing that two fees were collected: 
 On March 26, 16 14, Francisco Mufioz entered into an obligation with 
 Alonso de Heredia, autor de comedias, to collect at both doors for him 
 (para cobrar a la puerta y traspuerta) . (Perez Pastor, Nuevos Datos, p. 
 143.) And Cervantes, in the "Adjunta al Parnaso," subjoined to his Viaje 
 del Parnaso (1614), mentions the privileges sent by Apollo to the Spanish 
 poets, and among them: "Item, that every comic poet who has brought out 
 three successful comedias shall have the entry of the theaters without pay- 
 ment, unless it be the pittance for the poor at the second door, and even 
 this, if need be, shall be excused him." (Edition of Madrid, 1784, p. 148.) 
 
ODI PROFANUM VULGUS 117 
 
 mead), and barquillos (thin rolled wafers) were sold 
 among the audience. 
 
 The audiences were often unjust and noisy, and always 
 hard to please. The mosqueteros, or infantry, as the rough 
 and boisterous crowd who stood in the patio or pit, were 
 called, constituted, as Ticknor says, the most formidable 
 and disorderly part of the audience, and were especially 
 feared by both author and actor, for upon their whims the 
 success or failure of a comedia generally depended. Many 
 are the complaints made, by even the greatest dramatists, 
 of the injustice and turbulence of these spectators. 
 
 Lope de Vega often alludes to the vulgo, as he calls 
 them, in a tone of bitter contempt, and Alarcon shows his 
 utter despisal of the rabble by addressing them as bestia 
 fiera (wild beasts) in the prologue to the first volume of 
 his Comedias (1628) : "To you I address myself, wild 
 beasts, for to the noble it is unnecessary, for they speak 
 for me better than I myself could do. Here are my 
 comedias : treat them as is your wont ; not as is just, but 
 as is your pleasure, for they face you fearlessly and with 
 contempt, and having passed the ordeal of your whistlings 
 they can now readily pass that of your lurking-places. If 
 they displease you I shall rejoice, for it will be a proof 
 that they are good; if they please you, however, then the 
 money they have cost you will be for me a sufficient re- 
 venge for this proof of their worthlessness." The theat- 
 rical manager Lorenzo Hurtado, in a Loa with which he 
 began his representations in Madrid for the second time 
 
 In Seville, in 1620, 8 maravedis were collected for the benefit of the city at 
 the second door of the Corral de Dona Elvira from each person who en- 
 tered, and this continued to be the custom, for we read that in 1652 2 
 quartos ( = 8 maravedis) were also collected at the second door of La 
 Monteria for the same purpose. (Sanchez-Arjona, Anales del Teatro en 
 Semlla, pp. 213, 404.) In 1619 at the Teatro de la Olivera in Valencia the 
 price of an aposento was 4 reals in Valencian money ( = 5 reals 22 mara- 
 vedis), which was afterward increased to 8 reals 16 maravedis. The share 
 of the players was 8 dineros per person, and the entrance 6 dineros, so that 
 the general admission was 14 dineros, which was paid at two doors, 8 at 
 the first and 6 at the second door. (Lamarca, El Teatro de Valencia, p. 27.) 
 
n8 THE SPANISH STAGE 
 
 (1632-34?), addresses the mosqueteros, "who already 
 have their whistles at their lips," 1 and Roque de Figueroa, 
 the friend of Lope de Vega, and one of the most celebrated 
 theatrical directors of his time, tries to conciliate his audi- 
 ence in a Loa 2 . He speaks in turn to the spectators in the 
 different parts of the theater : the buncos were back of the 
 standing-place of the mosqueteros in the pit, the gradas 
 were the rising seats on the sides, the aposentos were 
 rooms whose windows extended around the three sides of 
 the court-yard in different stories, the uppermost being the 
 desvanes. These were occupied by persons of both sexes 
 who could afford such a luxury, as Ticknor says, and who 
 not unfrequently thought it one of so much consequence 
 that they held it as an heirloom from generation to genera- 
 tion. 3 Even the court poet Calderon did not consider it 
 beneath him to beg the indulgence of the mosqueteros* 
 Nor were the women who attended the theater any 
 
 1 "A los mosqueteros, 
 
 Que en el pico de la lengua 
 Tienen ya los silbos puestos." 
 (Entremeses de Quinones de Benavente, ed. Rosell, 
 Vol. I, Madrid, 1873, p. 32.) 
 s He addresses them as follows: 
 
 "Sabios y criticos bancos, 
 Gradas bien intencionadas, 
 Fiadosas barandillas, 
 Doctos desvanes del alma, 
 Aposentos, que callando 
 Sabeis suplir nuestras faltas; 
 Infanteria espanola, 
 Porque ya es cosa muy rancia 
 El llamaros mosqueteros." 
 
 (Ibid., p. 172.) 
 
 8 History of Spanish Literature, Vol. II, p. 524. "II y en a qui ont leur 
 place aupres du Theatre, qu'ils gardent de pere en fils comme un Mayo- 
 razgo, qui ne se peut vendre ni engager, tant ils ont de passion pour cela.' 
 (Relation de I'Estat et Gowvernement d'Espagne par Francois Bertaut, 
 Cologne, 1666, p. 59.) 
 
 4 At the end of Calderon's El galan fantasma (written in 1635 or 
 earlier), Candil, the gracioso, thus addresses the mosqueteros: 
 
 "Yo, que pase tantos sustos, 
 No quiero de nadie nada, 
 
THE DISORDERLY STEW-PAN 119 
 
 more orderly or charitable. Of course I do not refer here 
 to the more respectable who occupied the boxes or apo- 
 sentos and who generally went masked. 1 But the motley 
 crowd that surged into the cazuela (stewing-pan), which 
 men were not allowed to enter, was no less disorderly 
 than the "infantry" of the patio, so that an alguacil, or 
 peace officer, was always stationed in this gallery to keep 
 them within bounds. Here no woman with any regard for 
 her reputation entered unmasked. 2 Like the mosqueteros, 
 these denizens of the jaula, or cage, as it was also called, 
 pelted the actors with fruit, orange-peels, pepinos (cucum- 
 bers), or anything they found at hand, to show their dis- 
 approval, and generally came provided with rattles, 
 whistles, or keys, which they used unsparingly. 3 Roque 
 
 Sino de los Mosqueteros 
 £1 perdon de nuestras faltas, 
 Para que con esto fin 
 Demos al galan fantasma." 
 
 1 Guillen de Castro, Los mal Casados de Valencia, Act II. Malone notes 
 that respectable women also wore masks in the English theaters. {His- 
 torical Account of the English Stage, p. 126.) The same custom prevailed 
 in France: "Peutretre aussi dans les loges y avait-il quelques femmes hon- 
 netes, mais trop curieuses, cachees sous le masque. On sait, en effet, que les 
 dames ne sortaient jamais sans masque, sauf a le laisser attache pres de 
 l'oreille, si elles ne le voulaient pas porter, comme font de bonnes dames 
 de Paris, qui, encore qu'elles ne se masquent jamais dans la rue, craignant 
 de s'echauffer ou pour quelque autre sujet, ont toujours le masque pendant, 
 comme un volet pres de la fenetre, de peur que l'on n'ignore leur noblesse." 
 (Rigal, op. cit., p. 213, note, quoting Maison des jeux, Vol. I, p. 457.) 
 
 * In the interlude De los Pareceres by Benavente, one of the characters, 
 Petronila, speaks of a lady -whom she had seen at the entrance to the theater : 
 "I could not speak to her," she says, "but watched her" : 
 
 "Que tapada se entraba en la cazuela." 
 
 (Entremeses, ed. Resell, Vol. II, p. 312.) 
 
 ' In France ladies can hardly be said to have visited the Hotel de Bour- 
 gogne (the only regular theater in Paris for nearly thirty years from the 
 beginning of the seventeenth century) until Richelieu began to take an 
 active interest in the theater, about 1635. Women did go to the theater, as 
 Rigal says, "puisqu'il arrive a Bruscambille de leur adresser la parole; 
 mais il ne le fait guere que pour leur dire des obscenites. C'etaient done 
 surtout des femmes perdues." He says further: "Les honnetes femmes 
 n'allaient point a l'Hotel de Bourgogne et n'y pouvaient aller, effrayees par 
 les insolents et par 1'immoralite des spectacles; mais leur abstention meme 
 
120 THE SPANISH STAGE 
 
 de Figueroa, in the Loa above mentioned, addresses 
 them: 
 
 Damas que en aquesa jaula 
 
 Nos dais con pitos y llaves 
 
 Por la tarde alboreada, 
 
 A serviros he venido, 
 
 thus showing the awe in which even the most famous play- 
 ers held these mugercillas. Indeed, Roque's prayer, beg- 
 ging the indulgence of his unruly auditors, is the best 
 evidence of the character of this vulgo, before whom the 
 works of the greatest dramatists of Spain were represented. 
 But despite the above description of the audience in 
 Spanish theaters, 1 let us not imagine for one moment that 
 these men and women were worse than we find them else- 
 where in Europe at the public theaters. Indeed, the 
 weight of the evidence here rather favors the Spaniard, as 
 against other European nations. The plays that he saw 
 were cleaner and on a higher moral plane than those which 
 were represented before his contemporaries elsewhere. 
 And this in spite of what we shall read hereafter concern- 
 ing the immorality of the Spanish stage. An examination 
 of the Elizabethan theater, or of the farces and comedies 
 in France and Germany at this time, to say nothing of Italy, 
 
 etait un mal et laissait le champ libre a l'immoralite comme aux inso- 
 lences." (Entremeses, ed. Rosell, Vol. II, p. 214.) 
 
 1 Suarez de Figueroa, in his Passagero (1617), says of these mosqueteros: 
 "Dios os libre de la furia mosqueteril, entre quien si no agrada la que se 
 representa, no hay cosa segura, sea divina 6 profana. Pues la plebe de 
 negro no es menos peligrosa, desde sus bancos 6 gradas, ni menos bastecida 
 de instrumentos para el estorbo de la comedia, y su regodeo. Ay de aquella 
 cuyo aplauso nace de carracas, cencerros, ginebras, silbatos, campanillas, 
 capadores, tablillas de San Lazaro, y sobre todo de voces y silvos incesables. 
 Todos estos generos de musica infernal resonaron no ha mucho en cierta 
 farsa, Uegando la desverguenza a pedir que saliesa a baylar el Poeta, £ 
 quien llamaban por su nombre" (fol. 104). Besides the instruments here 
 mentioned by Suarez de Figueroa, which the vulgo brought to the theater 
 for the purpose of creating a noise and disturbance, Gonzalez de Salas 
 mentions the castradores : "Sabida cosa es, que las Flautas Pastoricas cons- 
 taban antiguamente de aquella desigualdad de canas, que hoi vemos imi- 
 tada en Ios vulgares instrumentos, que la plebe llama grosseramente 
 
THE MOSQUETEROS 121 
 
 whose theater was the most immoral in Europe, will soon 
 convince one of the truth of this statement. The Spaniard 
 was quick and vigorous in his disapproval of a play, and 
 he made his dislike unmistakable, but he doubtless com- 
 pares very favorably with his contemporaries in other 
 countries. 1 
 
 As already observed, the success or failure of a new 
 comedia generally hung upon the judgment of this popu- 
 lacho in the pit. If they applauded and shouted Victor! 
 it was a good augury, and the popularity of the play was 
 assured; if they whistled and hissed, the comedia was 
 doomed. 2 Bertaut relates the story of an author who went 
 to one of these mosqueteros and offered him a hundred 
 reals to-be favorable to his play, which was about to be 
 acted. Eut he replied haughtily that he would see whether 
 the piece was good or not, and it was hissed. 3 Some 
 years later, in 1679, Madame d'Aulnoy relates that the 
 chief arbiter of the fate of a comedia in Madrid was 
 a shoemaker, "who had acquired such absolute authority 
 
 Castradores. De estos usa hoi tambien el vulgo en los Teatros, para affli- 
 gir, como con los Silvos, la no bien accepta Representation." (Nueva Idea 
 de la Tragedia Antigua, Madrid, 1778, Vol. I, p. 210.) 
 
 1 An idea of the character of the rabble at the Hotel de Bourgogne is 
 furnished by the Fantaisies de Bruscambille, first printed in 1612. Brus- 
 cambille, irritated by the impatience of the mob, which is clamoring for the 
 performance to begin, says: "A-t-on commence? C'est pis qu'antan. L'un 
 tousse, l'autre crache, l'autre pete, l'autre rit, 1'autre gratte son cul," etc. 
 Quoted by Rigal, op. cit., p. 206, who remarks concerning the audience: 
 "Et combien il etait bruyant, agite, querelleur! La plus grande partie se 
 trouvait au parterre, et la, debout . . . [elle] constituait pour les pieces et pour 
 Ies acteurs le moins attentif et le plus irritable des juges." (Ibid., p. 204.) 
 "lis ne cessent de parler, de siffler et de crier," etc. (ibid., p. 208), and 
 the players run the risk "d'etre assomme a coups de pommes cuites." 
 (Ibid.) Of the audiences at the Hotel de Bourgogne during the first twenty 
 or thirty years of the seventeenth century, Rigal says they were "en majo- 
 rite turbulent, grossier et immoral." (Ibid., p. 215.) 
 
 2 James Mabbe, who was in Madrid in 1611-13, speaks of the "plaudits 
 of the auditors in the theaters, crying, 'Vitor, Vitor, . . . Pinedo or Fer- 
 nandez,' while in the intervals he watched the Spaniards entertain the 
 women they brought thither with good wines cooled with snow and 
 sweetmeats." (Celestina, tr. by Mabbe, ed. H. Warner Allen, 1909, 
 p. Ixxviii.) 
 
 3 Relation de I'Estat et Gowvernement d'Espagne, Cologne, 1666, p. 60. 
 
122 THE SPANISH STAGE 
 
 in these matters, that authors were in the habit of going 
 to him when they had finished a play, in order to procure 
 his approval ; they read their pieces to him, and the shoe- 
 maker, assuming a grave air. says a hundred impertinences, 
 which they must endure. Finally, at the first representa- 
 tion, all eyes intently watch every move and gesture of this 
 low fellow. The younger men, whatever be their quality, 
 imitate him; if he yawns, they yawn; if he laughs, they 
 laugh. Finally he gets impatient, draws forth a little 
 whistle, places it to his lips, and immediately the whole 
 house resounds with whistlings. The poor author is in 
 despair, and all his pains are at the mercy of the good or 
 ill humor of this scoundrel." 1 
 
 Quick and unruly as the audiences were in showing their 
 dislike of a play, they were equally noisy and demonstrative 
 in manifesting their approval, which they did by crying 
 Victor! Not infrequently dramatic authors — mostly 
 second-rate ones — condescended, at the end of their plays, 
 to ask the audience for a victor. Lope de Vega never 
 stooped so low as this; at all events, I have not found a 
 single instance in his comedias. His disciple, Montalvan, 
 however, often sinned in this regard, as did also Moreto, 
 and especially Francisco de Rojas. It was the custom of 
 all playwrights — inaugurated, I believe, by Lope de Vega 
 — at the conclusion of a comedia, to ask the auditors, who 
 were generally addressed as "El ilustre Senado," to pardon 
 the faults of the play. But these later dramatists often 
 exercised considerable ingenuity in introducing the prayer 
 for a victor. At the conclusion of Montalvan's Cumplir 
 con su Obligation, Mendoza says : 
 
 To me then it falls to say it : 
 Fulfil ye your obligation, 
 And you all will have fulfilled it, 
 If, as courteous as you are, 
 You a victor in the bargain 
 1 Relation du Voyage d'Espagne, La Haye, 1693, Part III, p. 21. 
 
PLAUDUNT HISTRIONI 123 
 
 Give, even if not for the Poet, 
 For the wish he has to serve you. 1 
 
 And Moreto ends his celebrated comedia El Desden con el 
 Desden with the words : 
 
 And with this and with a victor, 
 Which most courteously and humbly 
 The Wit begs, here the comedia 
 Scorn repaid with Scorn concludeth. 2 
 
 Rojas, in his El mas impropio Verdugo por la mas jttsta 
 Venganza, even carries his obligation for a victor beyond 
 the grave : 
 
 If you should at tip of tongue 
 
 Or at hand applause have ready 
 
 Or victor or other money, 
 
 1 Mendoza: "A mi me toca el decirlo: 
 
 Cumplir con su Obligation, 
 Y todos la havreis cumplido, 
 Si como tan Cortesanos 
 Nos dais de barato un vitor, 
 Ya que no .por el Poeta, 
 Por el gusto de serviros." 
 So in La mas constante Muger: 
 
 "Decid victor al deseo 
 De quien vuestro esclavo es." 
 
 a "Y con esto, y con un vitor 
 que pide humilde, y cortes 
 el Ingenio, aqui se acaba 
 El Desden con el Desden." 
 
 In his comedia Fingir y Amar he asks for a •vitor "if there be any at hand": 
 
 "Un vitor si le hay a mano." 
 And in La Confusion de un Jardin he asks for it as a charity: 
 
 "Dadle un vitor de limosna." 
 In his El Parecido en la Corte the actors call for a victor for him : 
 "Tacon: Y con esto y con un vitor 
 Todos: Para Moreto aqui tiene 
 fin dichoso el Parecido." 
 
 At the close of the comedia Lo que son Mugeres, Rojas asks for a victor 
 because the play contains neither a death nor a marriage : 
 "Y don Francisco de Rojas 
 Un vitor solo pretende 
 
124 THE SPANISH STAGE 
 
 In this life and in the other 
 The poet will pay you for it. 1 
 
 Many more examples might be cited, but we will conclude 
 with this one by Solis, who, in his El Doctor Carlino, 
 stoops to the groundlings, asking for a victor to bury his 
 comedia : 
 
 Here expireth the Comedia; 
 
 If aught of success it merit, 
 
 Give, to bury it, a victor, 
 
 You, senores mosqueteros. 2 
 
 We have seen the efforts that were made by the players 
 to conciliate their audiences; these examples show quite 
 conclusively that the playwrights feared them no less. 
 
 There were, quite naturally, in Spain, in these early 
 days, not a few persons (and they have not decreased in 
 our own time) who thought they were entitled to enter 
 the theater without paying. As Ticknor says, it was 
 deemed a distinction to have free access to the theater, and 
 persons who cared little about the price of a ticket strug- 
 gled hard to obtain it. 3 But it is safe to say that to the 
 vast majority of those who tried to enter without paying, 
 the gate-money was a matter of capital importance. 
 These persons seem to have existed nowhere in such large 
 
 Porque escribio esta comedia 
 Sin casamiento y sin muerte." 
 
 Sin Hour a no hay Amistad concludes with: 
 
 "Dad un vitor de piedad 
 Al que escribio la comedia." 
 
 '"Si hubiere quien tenga a lengua, 
 Como a mano algun aplauso, 
 Un vitor u otra moneda, 
 En esta y en otra vida 
 Se lo pagara el poeta." 
 
 ' "Y aqui espiro la Comedia; 
 Si tuviere algun acierto, 
 Den para enterrarla un vitor 
 Los senores mosqueteros." 
 
 ' History of Spanish Literature, Vol. II, p. 525. 
 
DEADHEADS 125 
 
 numbers as in Seville, where the populacho easily bore off 
 the palm for ruffianism, 1 a distinction which, I am told, 
 that city has maintained to the present day. As a conse- 
 quence, brawls and stabbing affrays at the doors of the 
 theaters were of frequent occurrence. 
 
 In 1 6 1 5 Pedro Martinez de Asensio, to whom the city 
 of Seville had farmed out for 4000 reals annually the 
 charge of 8 maravedis which inured to the city from each 
 person entering the corrales, complained of the many per- 
 sons who entered the Doha Elvira without paying, and 
 requested that those who enter by force be seized and 
 taken to the prison of the Real Audiencia? In 1628 Luis 
 Candado, a well-known actor, was taking the money at the 
 door of La Monteria when one Juan de Heredia at- 
 tempted to enter without paying. It was charged that 
 Heredia took Candado's sword from him and threatened 
 him with it, though no harm was done, as others inter- 
 fered. Heredia tried to exculpate himself by declaring 
 that Candado had stooped to collect some coppers which 
 he had let fall, whereupon his (Candado's) sword was 
 pushed out from his belt, which sword Heredia grasped, 
 so that the owner of it might not injure himself. Heredia 
 was fined 12 reals, "as an alms for some pious work, and 
 notified that henceforth he should pay at the door of the 
 theater." 3 The spectacle of a hidalgo with a sword, gath- 
 ering coppers, is certainly ludicrous. 
 
 By 1632 the number of persons who entered the Coliseo 
 without paying was so great that not enough money was 
 taken at the door to defray the expenses of the company. 4 
 
 1 Their reputation for never paying the entrance money when they could 
 possibly avoid it had reached every quarter of Spain. In the Loa to Turia's 
 La Fe pagada, printed in Valencia in 1616, we read: 
 
 "Quien paga, y quien por honrado 
 a lo de Sevilla se entra." 
 
 * Sanchez-Arjona, Anales, p. 164. 
 
 ' Ibid., p. 260. 
 
 'Ibid., p. 281. In a Bayle de X dear a published about forty years after 
 
126 THE SPANISH STAGE 
 
 In the following year, on January 5, a bloody affray took 
 place at the door of La Monteria, when five or six young 
 men in the dress of students forced their way through the 
 first door and were met at the second by the alguacil with 
 his "rod of justice," who declared that "on former occa- 
 sions he had entreated them to pay on the day of a new 
 comedia, since they did not pay on the other days." The 
 ruffians withdrew, and arming themselves with swords, re- 
 turned and attacked the alguacil, wounding him. 1 
 
 In Madrid these brawls and stabbings at the theater 
 doors seem to have been less frequent, though this may be 
 due to the lack of exact information. That "deadheads" 
 were equally plentiful, however, we may be quite sure. 
 They stood around the doors of the theaters in the rain, 
 drenched through, waiting for a chance to slip in without 
 paying. 2 
 
 Of the turbulent character of these audiences and of 
 
 this, we read that "only the mosqueteros, those who whistled down the co- 
 medias, paid their money" : 
 
 "En la comedia solo los mosqueteros 
 los que siluan lo pagan con su dinero." 
 
 (Migajas del Ingenio, Zaragoza (no date), p. 30.) 
 
 And those who entered the theater gratis were the first to whistle: 
 
 "Acabemos el bayle 
 no nos le paguen 
 con algun silvo fiero, 
 que entre de balde." 
 (Bayle de la Entrada de la Comedia, by Pedro Francisco Lanini, 
 
 ibid., p. 18.) 
 
 1 Sanchez-Arjona, Anales, p. 283. See also pp. 306 and 333. The latter 
 case happened on June 4, 1638. Besides the public representations of the 
 autos which were given, they were also performed this year in La Monte- 
 ria. A waterman of Triana, when requested by the doorkeeper to pay, 
 said that he never paid, and drawing a sword, wounded the alguacil who 
 was standing at the door. On the following day a similar affray took 
 place at the same theater, when the aggressor, "who was certainly a 
 Creole," in the words of the doorkeeper, "was one of those who did not 
 pay, nor was he accustomed to do so." (Ibid., p. 324.) 
 
 1 In the Jdcara sung by the company of Ortegon in Madrid, in 1635, 
 Leonor sings: 
 
 "En el corral de comedias 
 Lloviendo a la puerta estan 
 
NUGAE CANORAE 127 
 
 their ruffianly behavior within the theater there is other 
 and ample testimony. On the afternoon of November 10, 
 1639, in the theater La Monteria in Seville, a comedia was 
 performed, and after the bayle or dance at the end of the 
 first act had been executed by Jacinta Herbias, one Don 
 Pedro de Montalbo, a spectator who was studying for the 
 priesthood (clerigo y estudiante), cried out: "Bravo, 
 Jacinta !" to which Antonia Infante (who was playing the 
 first part to Jacinta's second) called from the stage: 
 "Bravo indeed, and welcome, for she deserves it." And 
 as some of those who were shouting exclaimed, "Bravo, 
 Jacinta, and down with Antonia 1" one Don Lope de 
 Eslava arose and cried out, "Bravo, Antonia, and down 
 with Jacinta! and whoever says otherwise lies, like a 
 cuckold." Whereupon Don Pedro shouted, "You lie!" 
 On hearing which, Don Lope, blind with rage, drew his 
 sword, and rushing upon Don Pedro, mortally wounded 
 him. "Yet those were not wanting who asserted that an 
 old feud had existed between Don Pedro and Don Lope, 
 because the former had accused Dona Ana de Espinosa 
 [also an actress and wife of the actor Juan Roman] of 
 living with Don Lope." 1 
 
 Another instance occurred in 1641. The students of 
 the college of Maese Rodrigo had been celebrating the 
 festival of the "Boy Bishop" (Obispillo) , 2 and after creat- 
 ing a great tumult and scandal at the college gate, they 
 sallied forth upon the streets with "prohibited weapons," 
 knocking down everybody they met on their way. In the 
 afternoon they went to the Corral de la Monteria, and 
 
 Mohadas y mas mohadas, 
 Por colarse sin pagar." 
 (Entremeses de Benavente, ed. Rosell, Vol. I, p. 445.) 
 
 1 Saochez-Arjona, A males, p. 304. 
 
 2 "La farsa llamada del Obispillo" is as old as the fourteenth century. 
 (Espafia sagrada, Tomo 45, trat. 88, cap. ii, p. 18, ed. of Madrid, 1832. 
 Wolf, Studien, p. 579.) See also, for the festival of the "Boy Bishop," 
 Chambers, The Medieval Stage, Vol. I, pp. 336-371. 
 
128 THE SPANISH STAGE 
 
 entering the aposentos, they caused the performance, which 
 had already commenced, to be begun again. Not content 
 with, this, they started a fight on coming out, in which 
 several persons were wounded. 1 Again, on Sunday, 
 January 25, 1643, tne comedia San Cristobal was an- 
 nounced by posters to be played in the Corral de la 
 Monteria, but the Inquisition had forbidden its perform- 
 ance until certain passages were expunged. The autor 
 (director) came on the stage and announced this fact and 
 ; offered to substitute another comedia. "The low and 
 common people (la gente baja y popular), who had come 
 because it was a feast-day and they were not working, and 
 having congregated in great numbers because there were 
 apariencias — a matter which the common people and the 
 women enjoy more than the artistry, verses, and plot of the 
 comedia — became turbulent and unruly because they 
 wanted no other comedia than San Cristobal, which they 
 shouted amidst great tumult, and as this could not be 
 represented without incurring the penalty of excommunica- 
 tion, they began to break benches and chairs, shattering 
 them and destroying the curtains (celosias) of the apo- 
 sentos and the whole theater, as well as the costumes of the 
 players which they found in the green-room (vestua- 
 rio)." 2 The company acting in La Monteria at this 
 time was probably that of Manuel Alvarez Vallejo. And 
 in 1645, while the company of Luis Lopez was repre- 
 senting in La Monteria, "there was another one of those 
 scandals which were so frequent there. It appears that 
 from the cazuela, where the women sit, somebody threw 
 some lemon-peels (cdscaras de Union), which, falling upon 
 the head of a man standing in the patio, he shouted: 'The 
 
 devil take the . Why don't you look where you are 
 
 throwing ?' Whereupon a man who was close by replied : 
 'Why don't the cuckold look to what he says?' and at the 
 
 1 Sanchez-Arjona, Anales, p. 349. 
 'Ibid., p. 365. 
 
MEN IN THE CAZUELA 129 
 
 same time dealt him a blow. At this the other drew a 
 pistol, the discharge of which caused a great scandal." 1 
 
 We have seen that from their very beginning the Span- 
 ish theaters had set aside a place exclusively for women. 
 This gallery, called the cazuela (stewpan), jaula de las 
 mugeres, or corredor de las mugeres, had a separate en- 
 trance and was provided with a doorkeeper, so that it 
 might be wholly apart from the portion occupied by the 
 men. 2 
 
 Despite this arrangement of the theaters and the fact 
 that an alguacil was always stationed at the women's en- 
 trance, the attempt to separate the men from the women 
 was not always successful. In 1627 complaint was made 
 in Seville "that the women occupied seats in the first and 
 second rows of the sillas and bancos among the men, and 
 likewise in other parts of the theater, from which great 
 scandal results," etc. 3 And in 1651, in view of the con- 
 tinued disturbances in La Monteria, occasioned by permit- 
 ting men and boys to enter the cazuela of the women, 
 "against the expressed mandate," the lessee, one Juan 
 de Bartanes, was notified to place at the entrance door, 
 
 1 Ibid., p. 374. 
 
 2 The same precautions for separating men from women in the public 
 theaters were observed in the Spanish colonies in South America. On 
 April 17, 1630, an edict of the Viceroy of Peru, the Count of Chinchon, 
 provided that men should not enter the aposentos of the women in the 
 Corral de las Comedias of Lima; commanding that the said aposentos be 
 separate, and that two entrances be constructed, one for men and the other 
 for women, and imposing <t penalty on all men who should be found in the 
 galleries and aposentos reserved for women. It also provided that all rep- ' 
 resentations cease before the bell for evening prayers (oration), under the 
 penalties provided therefor. At this time Antonio de Santoyo and his com- 
 pany, Los Conformes, were playing at the theater in Lima. (Perez Pastor, 
 Nuevos Datos, p. 219.) Even in the churches of Madrid separate entrances 
 and exits were prescribed for men and women. James Mabbe (1611-^3), 
 "was duly shocked at the young men, who gathered about the church doori 
 to watch the women coming from their devotions, 'an ill custome, that is! 
 too much used in many great Cities, . . . especially in Madrid, where to 
 prevent this Church-courting, the men are to goe in and out at one doore, 
 and the women at another.'" (Celestina, translated by James Mabbe, 
 edited by E. Warner Allen, London, 1909, p. lxxviii.) 
 
 3 Sanchez-Arjona, Anales, p. 255. 
 
i 3 o THE SPANISH STAGE 
 
 "where the said women enter, new doorkeepers (cobra- 
 doves') and satisfactory ones, so that in no circumstances 
 men or boys be allowed to enter, under a penalty of 50 
 ducats, . . . and that the person in charge of the keys of 
 the said cazuelas be notified not to permit any man or boy 
 to enter, and he shall lock the door as soon as the comedia 
 begins and not open it again until it be concluded, nor 
 permit any one to be on the staircases," 1 etc. All of which 
 did not keep Bernardo de Soto out of the "stewpan," for 
 we read that on April 7, 1654, he, the said Bernardo, 
 "ascended to the cazuela of the women in ha Monteria, 
 and getting under the seats, he began to raise the petti- 
 coats and touch the legs of those who were looking at the 
 play, by which great scandal was occasioned; and the 
 culprit was seized and sentenced to be banished from the 
 city and ten leagues therefrom, for the term of two years, 
 any infringement of this sentence to be expiated in one of 
 the fortresses of Africa." 2 
 
 While more or less force was sometimes used to enter 
 the theaters without paying, peace, here as elsewhere, also 
 had its victories, and other means were resorted to for 
 viewing the comedia without the aid of reals and mara- 
 vedis. As the Spanish theaters were open to the sky, peo- 
 ple sometimes gathered on the surrounding housetops and 
 looked at the performance. Complaint was made in this 
 regard, in 161 2, concerning the Coliseo in Seville, "which 
 being uncovered, the neighbors ascended the roofs to view 
 the representations, occasioning considerable loss and 
 noise. A 
 
 Theatrical performances in Spain, as we have said 
 above, were at first limited to Sundays and feast-days, but 
 with the growing demand for these spectacles representa- 
 tions were authorized during the week, on Tuesdays and 
 Thursdays, and sometimes they continued for fifteen or 
 
 1 Sanchez-Arjona, Anales, p. 395. 
 'Ibid., p. 408. 'Ibid., p. 152. 
 
GANASSA 131 
 
 twenty days before Shrovetide. On Ash Wednesday the 
 theaters were closed till Easter. But gradually the time 
 during which representations might be given was extended, 
 though all theaters were closed during Lent. It seems, 
 however, that even in very early times performances were 
 given on other than the prescribed days, for the Italian 
 Ganassa, who visited Seville with his company in 1575, 
 "having given, in the month of June, some performances 
 in the ancient Corral de Don Juan, so great was the num- 
 ber of spectators, especially of the common people, that 
 the city was petitioned to refuse a permit for these repre- 
 sentations on account of the prejudice that resulted from 
 the fact that workingmen, in their eagerness to run after 
 this novelty, abandoned their employments; besides, the 
 great scarcity which prevailed in Seville did not admit of 
 such extraordinary expenditures." 1 We learn that in 1580 
 Ganassa obtained a license to perform two days in the 
 week, in addition to the feast-days, while Pedro de Saldaha 
 and Jeronimo Velazquez were permitted to represent only 
 on feast-days. 2 But that theatrical performances were not 
 long confined to these days we now have abundant 
 means of proving, 3 and in 1595 we find that the com- 
 panies of Alonso de Cisneros and Gaspar de Porres were 
 to represent in Madrid from Lunes de Quasimodo (the 
 day following the first Sunday after Easter) till Corpus 
 Christi, 4 while in 1605 Baltasar Pinedo agreed to give 
 sixty performances in four months. 5 In 1639 Antonio de 
 Rueda agreed to give ninety performances on successive 
 days, except Saturdays, unless they be feast-days, in the 
 Corral de la Monteria at Seville, 6 but doubtless daily 
 representations (except on Saturday) had been given in 
 the theaters long before this time. 
 
 In general, no public representations took place on Sat- 
 
 1 IHd., p. 49. 'Ibid., p. 51. * See Appendix A. 
 
 4 Perez Pastor, Nuevos Datos, p. 40. 
 
 5 Ibid., p. 89. ' Ibid., p. 3 17. 
 
132 THE SPANISH STAGE 
 
 urday, but as early as 1593 there is recorded an agreement 
 by Gabriel Nunez, autor de comedias, to go to Nava del 
 Carnero by Sunday, August 1, "with the persons and bag- 
 gage (hato) that may be necessary to represent, on the 
 eve of the said Sunday, a comedia entitled Los Comenda- 
 dores [by Lope de Vega], with its music and entremeses, 
 and on the said Sunday another comedia a lo divino in the 
 morning and one a lo humano in the afternoon, the latter 
 to be Los Enredos de Benetillo [perhaps Los Enredos de 
 Benito of Lope], or any other that may be demanded, with 
 its music de Viola y guitarras." * 
 
 Representations were, of course, always given on Sun- 
 day. This day was much favored by both actors and 
 autores, on account of the great crowd it drew, for which 
 reason the comedias were always performed with greater 
 savor. 2 
 
 Besides the performances in the theaters of Madrid, the 
 town council or ayuntamierito authorized public repre- 
 sentations {comedias publicas) from time to time in the 
 squares of the city, for which no fee was charged. In 
 1580 the Council of Madrid agreed to pay 300 ducats to 
 each of the autores who were to represent comedias in the 
 Plaza de San Salvador in honor of the safe delivery (alum- 
 bramiento) of the Queen, 3 and in 1620, on the occasion 
 of the beatification of San Isidro, the patron saint of 
 Madrid, the town council resolved to have comedias repre- 
 sented on the streets, ordered five stages to be erected for 
 that purpose, and engaged five companies to give the per- 
 
 Perez Pastor, Nuevos Datos, pp. 36, 37. 
 1 Roj as says : 
 
 "Nosotros desseamos los domingos, 
 Porque en domingo viene mucha gente, 
 Y siempre las comedias en domingo 
 Representamos todos con mas gusto." 
 
 (Fiage entretenido, Madrid, 1603, p. 575.) 
 
 In England plays on Sunday were forbidden by James I. in May, 1603. 
 (Collier, Shakespeare, Vol. I, p. 167.) 
 "Perez Pastor, Nuevos Datos, p. 12. 
 
THEATRICAL POSTERS 133 
 
 formances. 1 In Seville, in 1630, on the eve of the festi- 
 val of the Conception of our Lady, public comedias and 
 bayles were given by the companies of Jose de Salazar 
 and Pedro de Ortegon, 2 and in 1631 the company of 
 Damian Arias gave a public comedia in Seville, "paid for 
 by the city," at the festival of Shrovetide. Each of these 
 companies received 850 reals, which was the customary 
 amount paid for a public comedia. 3 
 
 The theaters were usually opened in September, and, in 
 the absence of contagious diseases, continued (excepting 
 the period of Lent) until about the middle of June. For 
 example, on June 20, 1632, the Corral de la Monteria was 
 closed on account of the heat (por el calor), 4 and in 1637 
 all representations in the corrales of Seville were for- 
 bidden, as the pest was then prevalent. 5 
 
 The custom of issuing posters to announce the perform- 
 ance of a comedia was in early use in Spain, as we have 
 seen. The distinction of first introducing them is generally 
 awarded to Cosme de Oviedo of Granada, a well-known 
 autor de comedias? of whom we read as early as 1561, 
 when he received seventy ducats for two cars which he 
 brought out at the Corpus festival at Seville. A poster 
 announcing a representation by the companies of Vallejo 
 and Acacio on June 5, 161 9, is still preserved in the 
 Archivo del Ayuntamiento of Seville : 
 
 ©allefo i #ca?io 
 
 RPSS. TAN 01 MIERCOLES SUS FAMOSAS FIESTAS 
 EN DONA EL VERA A LAS DOS. 
 
 'Acuerdo de la Villa de Madrid de 6 Mayo 1620. "Acordose que para 
 las fiestas de S. Isidro haya comedias por las calles un dia de la octava y 
 que se hagan cinco tablados 'para que representen cinco autores y se trai- 
 gan de fuera los que faltaren' y que despues sirvan dichos tablados para 
 las danzas." (Perez Pastor, Bull. Hispanique (1907), p. 384; Rennert, 
 Life of Lope de Vega, p. 277.) 
 
 ' Sanchez-Arjona, Anales, p. 269. 
 
 'Ibid., p. 271. 'Ibid., p. 281. 'Ibid., p. 306. 
 
 '"Cosme de Oviedo, aquel autor de Granada tan conocido, que fue el 
 
134 THE SPANISH STAGE 
 
 It is about half a yard long and a foot wide, the upper line 
 in Gothic characters, and done by hand, as most or all 
 posters were, down to a much later time. This poster was 
 put up at the corner of the Borceguineria, where such an- 
 nouncements were generally fixed, and a similar one at the 
 Doha Elvira. 1 
 
 Plays seem, however, to have been announced by public 
 cry even as late as 1638, in which year Inigo de Loaysa, 
 a well-known actor, was murdered in the streets of Valencia 
 while announcing the play for the following day. 2 And in 
 1639 we find Agustin Romero, of the company of Fran- 
 cisco Velez de Guevara, combining with his duties as 
 prompter those of posting placards, being engaged "para 
 apuntar y hacer carteles." 3 
 
 The most exclusive and costly seats in the Spanish thea- 
 
 primero que puso carteles." (Rojas, Viage entretenido, ed. 1603, p. 132; 
 Sanchez-Arjona, Anales, p. 26.) 
 
 1 Ibid., p. 200. Sr. Paz y Melia, Catdlogo, No. 2034, speaking of the MS. 
 comedia Los Mdrtires del Japon, a copy made in Lisbon in 1637, says: 
 "Contiene dos fragmentos de los carteles que antiguamente Servian para 
 anunciar las representaciones teatrales, analogos al que se conserva en el 
 Archivo municipal de Sevilla." This reference is evidently to the poster 
 just mentioned above. It is a great disappointment to learn that the two 
 fragmentos mentioned by Sr. Paz, -which are bound in with the play, are 
 parts of two sheets of rough paper, upon one of which is written in red ink: 
 
 Jamas bista de . . . 
 
 R E pTA p AZ 
 
 while the other merely contains the word : Prim . . . 
 
 * "Inigo de Loaysa, de quien se dice que habiendo salido en Valencia a 
 ofrecer anuncio para el dia siguiente, . . . le dieron un tajo en la garganta, 
 de que murio degollado." (Sanchez-Arjona, p. 323.) There may be some 
 confusion here with the actor Inigo de Velasco, who was murdered in 
 Valencia, December 1, 1643. (Comedias de Calderon, ed. Hartzenbusch, 
 Vol. IV, p. 718.) 
 
 ' Nuevos Datos, p. 308. These play-bills or placards merely announced 
 the names of the plays and the companies by which they were to be per- 
 formed, and apparently did not contain a list of the characters, or the 
 names of the actors by whom they were represented. The same custom 
 obtained in England. While Spanish placards or posters, however, were 
 done by hand, the "billes for players" in London were printed at least as 
 early as 1587. "They were set up upon posts some certaine days before, 
 to admonish the people to make resort to their theaters, that they may 
 thereby be the better furnished, and the people prepared to fill their purses 
 
BOXES AT THE THEATER 135 
 
 ters were the aposentos 1 (stalls or boxes), which were 
 occupied by the nobility and the rich. They were fre- 
 quently rented by the year, the price varying from 100 to 
 150 ducats (a ducat =11 reals) annually. Every one 
 who made any pretension to being "upper-crust," we may 
 be sure, had his aposento, just as nowadays such persons 
 have their box at the opera. Among the distinguished 
 personages occupying these favored places in Madrid in 
 1639 was the Florentine ambassador, who paid 100 
 ducats each for a yearly aposento in the Corral del Prin- 
 cipe and the Cruz. 2 
 
 The "ayuntamiento" or town council of the cities also 
 generally possessed an aposento at the theater. In Madrid 
 the "ayuntamiento" had one in each of the two theaters, 
 for which 300 ducats were paid yearly. 3 Doubtless in 
 most cities this was an "aposento grande con mayor 
 adorno y autoridad que los demas aposentos que hay en 
 la casa," as was the case in Valladolid in 1614. 4 Here 
 those august dignitaries, the "Regidores," sat, who in 
 those not over-scrupulous days guarded the destinies of 
 the stage. 
 
 This privilege of the "Regidores" seems to have been 
 abused by their sons, for on August 20, 1614, the town 
 council of Madrid forbade the doorkeepers to allow any- 
 body to enter the aposentos of these dignitaries in order to 
 avoid the disorder caused by the fact that their sons 
 used to visit these boxes and bring their friends, and 
 because other persons also occupied them who had no 
 right to do so. 5 
 
 A curious fact noted by Pellicer is that "some gentlemen 
 were in the habit of owing for their seats at the theater," 
 
 with their treasures." (See Malone, Historical Account of the English 
 Stage, p. 169.) 
 
 1 The word is still used at the present day. , 
 
 ' Nuevos Datos, p. 314. 
 
 * Perez Pastor, Nuevos Datos, pp. 122, 144. 
 
 'Ibid., p. 155. 'Ibid., p. 152. 
 
136 THE SPANISH STAGE 
 
 i.e., they obtained seats on credit. Thus, the books kept 
 by the deputies show the following entry: "Sabado 18 de 
 Mayo de 1602, debe el Corregidor un aposento. El Regi- 
 dor tres ventanas. El Teniente Antonio Rodriguez un 
 aposento. El Principe de Marruecos una ventana." 1 
 
 1 Tratado historico, etc., Vol. I, p. 86. 
 
CHAPTER VII 
 
 Women on the stage. In France, England, and Italy. Women on 
 the Spanish stage. The companies of players. Companias reales. 
 Companias de parte. Smaller companies. The Entertaining 
 Journey of Rojas. The traveling of companies. 
 
 It is probable that upon the Spanish stage women were 
 originally impersonated by boys, as they were elsewhere 
 in Europe during the greater part of the sixteenth century ; 
 a custom which lasted in England till after the Restoration. 
 On the other hand, it is quite certain that, since the earliest 
 times, women had taken part in public festivals and re- 
 ligious autos, as well as in the dances connected with 
 them. 1 Concerning the French stage Bapst remarks : "It 
 is to be observed that women, who at the close of the 
 Middle Ages had begun to appear on the stage in pieces 
 which contained nothing objectionable in the dialogue, no 
 longer appeared at all upon the stage in the comedies or 
 tragedies of the sixteenth century." 2 
 
 Mantzius says : "As a rule, women did not appear upon 
 the medieval stage, but children frequently did ; they repre- 
 
 *The abuses mentioned by the author of a paper entitled Abusos de Co- 
 medias y Tragedias, quoted by Pellicer, and which is apparently with- 
 out date, must refer to the earliest years of the Madrid corrales. 
 "Women are gradually being introduced upon the stage in the place of 
 boys, although the performances of boys of good appearance and rouged, 
 attired as women, are held by some to be even a greater objection." The 
 author also deplores the fact that separate places were not provided for 
 men and women in the theaters, and that both sexes went in and out by the 
 same door. (Origen y Progresos, etc., Vol. I, pp. 139, 140.) The latter 
 complaint could only have been justified before 1582, when the Corral de 
 la Cruz was built, which set apart a place for women, as we have seen 
 above. 
 'Essai sur I'histoire du Theatre, Paris, 1893, p. 146. 
 
 '37 
 
138 THE SPANISH STAGE 
 
 sented angels, young girls, or children's parts. . ■ • The 
 more important female parts were performed by half 
 grown-up youths, and particular care was taken to choose 
 young men who were beardless and good-looking, and 
 whose voices were not yet breaking. . . . On very rare 
 occasions, nevertheless, women are seen to have acted in 
 the Mysteries. Thus, besides the famous barber, Metz 
 possessed another scenic celebrity in the person of an 
 actress who even appeared in the same parts. We know, 
 at all events, that she performed the part of St. Catherine, 
 for the Chronicle says: 'And the "person" (personnaige) 
 of St. Catherine was performed by a young girl, about 
 eighteen years old, who was the daughter of Dediet the 
 glazier, and she did her duty very well indeed, to the 
 pleasure and delight of everybody.' . . . Though this case 
 is not unique — at the Passion-play in Valenciennes, 1547, 
 five young girls took part in the performance — we must 
 take it for granted that female parts were only excep- 
 tionally acted by women. This is so much the more sur- 
 prising, as women frequently appeared in the historical 
 pantomimes and tableaux vivants, which the medieval 
 towns habitually produced on festive occasions." 1 
 
 The question which chiefly concerns us is the public 
 theater, to which an admission fee was charged. And in 
 regard to this M. Bapst further says: "Women did not 
 appear, as a rule (d'une fagon constante), upon a regular 
 [French] theater until the second half of the seventeenth 
 century. A single comedienne de profession is mentioned 
 in the preceding century — Marie Fairet, wife of le Sieur 
 Fairet, in 1545." 2 Again: "At the beginning of the six- 
 
 1 History of Theatrical Art, Vol. II, p. 90. 
 
 * Essai, etc., p. 180. Creizenach, Geschichte des neueren Dramas, Vol. 
 Ill, p. 70, gives the name as "Marie Ferre, die Frau des Marktschreiers 
 Michel Fasset," and quotes the contract which has been preserved, wherein 
 Marie Ferre agrees with "Anthoine de I'Espeyronnyere, joueur d'histoires," 
 "a luy aider a joer chacun jour durant le diet temps tant et autant de foys 
 que lui plaira en l'art de joueur d'enticailles de Rome, consistant en 
 plusieurs ystoires moralles, farses et soubressaulx." 
 
FRENCH PLAYERS IN LONDON 139 
 
 teenth century women appeared occasionally in Paris 
 theaters, but always as representing the Queen — the parts of 
 soubrette, nurse, and old women's roles being always played 
 by men. ... In 1629 a troupe of French actors, containing 
 women, went to London to act, 1 but before Richelieu be- 
 gan his reforms in the theater (about 1635), the coarse- 
 ness [of the plays] excluded every respectable woman 
 from the stage as well as from the audience." But women, 
 in all probability, had been acting regularly in Paris for 
 some years prior to this date. Indeed, we know that 
 Marie Venier, wife of the comedian Mathieu le Febvre, 
 called Laporte, had acted at least as early as 1610 "sur ce 
 qu'on veut bien appeler le theatre du Marais." 2 
 
 In England it was not till September, 1656, that an 
 English actress appeared upon the stage in the public 
 theaters. This was Mrs. Coleman, wife of Coleman, the 
 actor, and she played a kind of operatic part — Ianthe, in 
 Davenant's Siege of Rhodes. 3 By this means the constant 
 intercourse with France and Italy had produced a change 
 in the public taste, so that, a little later, the royal license 
 
 1 The fact is noted by Malone, Historical Account of the English Stage, 
 ed. of Basil, 1800, pp. 130, 131 : "1629. — November 4. For the allowing of the 
 French company [with women actors] to play a farce at Blackfriars, £z." 
 And Mantzius says that the London public was so unaccustomed to the 
 appearance of women on the stage that the actresses belonging to this 
 company were pelted with rotten apples when they appeared. (History of 
 Theatrical Art, Vol. II, p. 280.) Again, Malone says: "in the office book 
 of Philip Earl of Pembroke and Montgomery, I find a warrant for the 
 payment of £10. to Josias Floridor for himself and the rest of the French 
 players, for a tragedy by them acted before his Majesty in December last. 
 Dated Jan. 8, 1635-6." For the scandal caused in London by two com- 
 panies of French players who visited that city in 1629 and 1633, when the 
 actresses were insulted and hissed off the stage, see Lotheissen, Geschichte 
 der franzosischen Literatur im XVII. Jahrhundert, Wien, 1897, Bd. I, p. 
 494. Malone also quotes the following item: "£10. paid to John Navarro 
 for himself and the rest of the company of Spanish players, for a play 
 presented before his Majesty, Dec. 23, 1635." This John Navarro was 
 Juan Navarro Oliver, who, with his wife, Jeronima de Olmedo, had be- 
 longed to the company of Cristobal de Avendano in 1632. 
 
 J Rigal, Le Theatre Francois avant la Periode classique, Paris, 1901, pp. 
 55, 59- 
 
 * Sidney Lee says : "The first role that was professionally rendered by a 
 
i 4 o THE SPANISH STAGE 
 
 obtained by Davenant contained the following clause: 
 "That whereas the women's parts in plays have hitherto 
 been acted by men in the habits of women, at which some 
 have taken offense, we do permit and give leave, for the 
 time to come, that all women's parts be acted by women." 1 
 
 While women appeared upon the public stage in Italy 
 early in the second half of the sixteenth century, Nicolo 
 Barbieri (Beltrame) , a distinguished actor, in his pamphlet 
 La Suplica,—a, sort of apology for the dramatic profes- 
 sion, published at Bologna in 1636, — speaks of the cus- 
 tom, still prevalent in his day, of boys playing the roles of 
 women or young girls. 2 
 
 The earliest Italian actress whose name has survived is 
 mentioned by De Sommi, in his Dialoghi in Materia di 
 Rappresentazione scenica, published in 1565 or 1566, in 
 which he says: "Mirabile mi e sempre paruto e pare il 
 recitare di una giovane donna romana, nominata Flaminia, 
 la quale oltre all' essere di molto bella qualita ornata, 
 talmente e giudicata rara in quella professione, che non 
 credo che gli antichi vedessero ne si possi tra moderni 
 veder meglio. ... So che molti bei spiriti, invaghiti delle 
 sue rare maniere gl' hanno fatto et Sonetti et Epigrammi, 
 et molti altri componimenti in sua lode." 3 
 
 Concerning Germany M. Bapst says: "To the actor 
 Johannes Velten belongs the merit of having first definitely 
 introduced women on the German stage, at the time that 
 he translated the plays of Moliere. In 1686 his troupe 
 included three actresses : his wife, his sister, and Sarah von 
 
 woman in a public theater was that of Desdemona in Othello, apparently 
 on December 8, 1660. The actress on the occasion is said to have been 
 Mrs. Margaret Hughes, Prince Rupert's mistress." (Shakespeare's Life 
 and Work, p. 188. See Malone, Historical Account, p. 141.) 
 
 1 Mantzius, History of Theatrical Art, Vol. II, p. 280. 
 
 2 Ibid., p. 270. 
 
 * D'Ancona, Origini del Teatro Italiano, Vol. II, p. 413. These Dialoghi 
 dell' Ebreo Leone de Somi, which are very interesting, may now be read 
 in Rasi, / Comici Italiani, Firenze, 1897, Vol. I, p. 107. De Somi, a Man- 
 tuan, "fu autor comico, poeta e impresario di compagnie comiche," as is 
 shown by a letter of his dated April 15, 1567. (Ibid., p. 106.) 
 
EARLY SPANISH ACTRESSES 141 
 
 Bosberg. In 1690 his company contained, besides his 
 daughter, two actresses by profession, named Richter and 
 Moeller." 1 
 
 It is certain, however, that women appeared upon the 
 stage in Spain, in the public squares and corrales, at a very 
 early date. It is quite probable that Mariana, the first wife 
 of Lope de Rueda, acted in his little company of strolling 
 players about the middle of the sixteenth century. 2 As 
 already observed, women took part in the dances that al- 
 ways formed a part of the Corpas Christi celebrations, and 
 also in the autos, as they were called, from very early 
 times. A passage in the Cronica de los Hechos del Con- 
 destable Miguel Lucas de Iranzo proves that actresses 
 appeared upon the stage in the ancient momos or entre- 
 meses. 3 It is also likely that women acted in the Italian 
 company of Ganassa in Madrid (1579-83), and in the 
 latter year we find an "obligation and agreement entered 
 into between Miguel Vazquez and his wife Juana Vazquez, 
 and Luis de Molina, oficiales de comedias, to work in the 
 company of Juan Limos, autor de comedias, from this date 
 [Madrid, March 15, 1583 J until Shrovetide of 1584, 
 receiving nine and a half reals for the three persons at the 
 end of each performance, besides food, drink, lodging, 
 and clean linen, and all expenses of travel." 4 In the fol- 
 lowing year an agreement was made by Agustin Solano, 
 actor, residing in Madrid, "for himself and in the name of 
 Roca Paula, his wife, being in the court [Madrid], with 
 Tomas de la Fuente, autor de comedias, native of Toledo, 
 to help him in all the comedias and entremeses which he 
 may represent from this date [March 5, 1584J till Shrove- 
 
 1 Opus at., p. 280. On the dther hand, we are told that in Germany, as 
 late as 1717, no women were allowed upon the stage. (Shakespere Jahr- 
 huch, Vol. XXI, p. 236.) 
 
 2 See above, pp. 11, 12. 
 
 8 Fitzmaurice-Kelly, Litterature Espagnole, Paris, 1904, p. 178. 
 
 'Perez Pastor, Bulletin Hispanique, 1906, p. 153. The term oficial in- 
 stead of the more usual representante is used by Rojas, Fiage entretenido, 
 p. 53, where he speaks of "una compania de tan buenos oficiales." 
 
1 42 THE SPANISH STAGE 
 
 tide of 1585, receiving nine reals for each performance, 
 besides four and a half reals for maintenance, in case the 
 company should not provide it." 1 Roca Paula., being a 
 married woman, could not make a binding contract with- 
 out her husband's joining in it. 
 
 While these are the earliest instances that I have found 
 recorded, it can hardly be doubted that women acted upon 
 the stage at Madrid even prior to this time. Still, it ap- 
 pears that no license allowing women to act in the public 
 theaters of the capital was granted before 1587. On 
 November 1 7 of that year, Pedro Paez de Sotomayor, on 
 behalf of his son-in-law, Alonso de Cisneros (autor de 
 comedias, then absent from the city), presented a petition 
 to the Corregidor of Madrid, setting forth that the Coun- 
 cil of his Majesty had granted a license permitting married 
 women to act upon the stage, and that, in pursuance of that 
 license, women were then acting publicly in Madrid, and 
 he requested the same license for his son-in-law, then in 
 Seville, "so that it may be evident to the justices of the 
 said city or of any other place where he may give repre- 
 sentations." It recited another petition by the company 
 called the Confidentes Italianos, 2 wherein these declare 
 that they cannot perform the comedias which they have, 
 without the women of their company, and pray for a 
 license permitting these women to act. This latter petition 
 had been granted "inasmuch as the women in the company 
 are married women and their husbands are with them." 
 It was especially provided, however, that they should not 
 be permitted to appear in the habit or dress of men, and 
 that "henceforth no boy be allowed to act attired as a 
 woman." 3 
 
 1 Perez Pastor, Nuevos Datos, p. 15. Ana de Velasco, wife of the actor 
 Sebastian de Montemayor, was also a member of a company of players in 
 Madrid, in 1584. / 
 
 3 The Confidentes Italianos were originally one of the companies of the 
 Duke of Mantua. (Baschet, Les Comediens Italiens, Paris, 1882, p. 23, 
 and D'Ancona, Origtni del Teatro Italiano, Vol. II, pp. 465 et passim.) 
 
 "Perez Pastor, Nuevos Datos, pp. 19-23. 
 
PANEM ET CIRCENSES 143 
 
 The Italian actresses to whom a license was especially 
 granted were Angela Salomona and Angela Martinelli, 1 
 "married women whose husbands are members of the same 
 company," and Silvia Roncagli (la Frances quina). 2 Ap- 
 pended to the petition of Pedro Paez de Sotomayor were 
 the depositions of two witnesses who, "on the twenty-first 
 day of the present month of November" (1587), had 
 seen a comedia played by the Italians in the Corral del 
 Principe, in which three women acted. 3 
 
 About this time (1588), as already observed, the 
 famous dance called the zarabanda was introduced upon 
 the stage, to be followed by others hardly less wild and 
 indecorous, and theatrical entertainments, always favored 
 by the people, suddenly assumed a popularity that was 
 unprecedented. Doubtless these "pestiferous" dances con- 
 tributed in no small degree to the vogue which the theater 
 now attained. But, as Pellicer remarks, 4 the growing 
 popularity of theatrical representations and the conse- 
 quent increase in the number of theaters and players 
 throughout Spain, "the dances, songs, expensive costumes, 
 and the acting, not only of women, but of women disguised 
 as men, and the easy virtue of the theatrical profession, 
 soon made the question of the continuance of theatrical 
 representations a matter of grave controversy." A num- 
 
 1 Concerning Angela Martinelli, wife of Drusiano Martinelli, one of the 
 managers of this company / Confident!, see above, pp. 45, 46. 
 
 ' Referring to the latter, the decree states: "Si la Francesquina es la que 
 yo vi en la posada del sefior Cardenal, no la tengo por muchacho y ansi 
 podra representar." (Perez Pastor, Nuevos Datos, p. 23.) 
 
 3 Fr. Juan de Pineda, in the Primera parte de los Treynta y cinco didlo- 
 gos familiares de la Agricultura cristiana, published at Salamanca in 
 1589, but the Aprobacion of which is dated 1581, alludes to these Italian 
 companies as "los extrangeros que sacan muchos millares de ducados de 
 Espana cada un afio," and mentions the subjects of some of the farsas 
 played by them. Reproving the priesthood for visiting these plays, he 
 says: "jque no se os cubra la cara de vergiienza de que os vean autori- 
 zando y gozando de los cuentos de Medea y de Jason, y de Paris y Elena, 
 y Eneas y Dido, y de Piramo y Tisbe." (Cotarelo y Mori, Controversias, 
 etc., p. 505.) 
 
 * Tratado historico, etc., Vol. I, p. 119. 
 
144 THE SPANISH STAGE 
 
 ber of eminent theologians took part in the discussion, 
 and opinion was divided. Among those who favored 
 the continuance of these spectacles was Fr. Alonso de 
 Mendoza, an Augustinian and professor in the University 
 of Salamanca, who declared, in 1587, "that the repre- 
 sentation of comedias as they are now represented in Spain 
 is not, of itself, a mortal sin, provided that lascivious 
 songs and gestures be not introrifb^ed/' 1 
 
 The government accepted this' view of the matter, with 
 the effect of multiplying theaters and players, 2 adding 
 to the number— already great— of entremeses, and intro- 
 ducing new dances, "and not the most decent ones," as 
 Pellicer naively remarks. And in order to give the theater 
 a certain air of piety and good repute, so many comedias 
 de santos were written and acted that, as Rojas says : 
 
 ... al fin no quedo poeta 
 En Sevilla, que no hiciese 
 De algun santo su comedia. 
 
 It was even held that these plays were conducive to 
 J religion and good morals, and in a memorial to Philip II, 
 i in 1598, it was declared as a well-known fact that "several 
 actors who had represented the lives of St. Francis and 
 other saints, as well as some of the spectators, went 
 straight from the playhouse to take the habit of St. 
 Francis or of the saint represented, being stung by com- 
 punction." 3 On the other hand, the Jesuit Mariana cites 
 the case of an actress who took the part of Magdalena in 
 
 1 Tratado historico, etc., Vol. I, p. 120. 
 
 2 The theaters of Madrid were, on the contrary, gradually reduced to the 
 two principal playhouses in the Calle de la Cruz and in the Calle del 
 Principe. Many other important cities, such as Seville, Valencia, Granada, 
 and Saragossa, had permanent theaters, and no town was so small that it 
 was not visited by strolling bands of players, so great had the craze for 
 the theater become. By an order of June 22, 1600, Fleay tells us, only two 
 playhouses were to be allowed in London, the Globe and the Fortune. 
 (Chronicle History of the English Stage, Vol. I, p. 160.) This order was. 
 never observed. 
 
 " Pellicer, Vol. I, p. 122. 
 
THEATRICAL COMPANIES 145 
 
 one of these comedias de santos, and of the actor who 
 represented Christ, both of whom, he says, were noto- 
 riously immoral, "which was all the worse, inasmuch as 
 they were famous players, and had often brought tears to 
 the eyes of the spectators." 1 
 
 Indeed, the "desenvoltura" of the actresses finally 
 brought things to such a pass that on September 5, 1596, 
 women were forbidden to appear upon the stage. 2 This 
 prohibition, if ever enforced, was certainly of short dura- 
 tion. 
 
 Let us now turn to the companies of players as they 
 were organized at this time. As early as 1586a theatrical 
 company contained thirteen or fourteen persons, besides 
 the autor or director, for we find the company of the 
 famous Nicolas de los Rios then consisting of that 
 number, and even at the very height of the Spanish 
 drama, from 16 10 to 1640, the average number did not 
 exceed from sixteen to twenty players. 3 As the number of 
 characters to be represented in the comedia frequently ex- 
 ceeded the number of actors in the company, it was not 
 
 1 Ibid., p. 123. 
 
 'This instrument, preserved in the library of the Academy of History at 
 Madrid, was first published by Schack, Nachtrage, p. 29. It reads as 
 follows: "Orden del Consejo a las Justicias del Reino. — 'En el Consejo se 
 tiene noticia que en las comedias y representaciones que se recitan en esta 
 ciudad salen mugeres a representar, de que se siguen muchos inconvenien- 
 tes, tendreys particular cuydado de que mugeres no represented en las dichas 
 comedias, puniendoles las penas que os pareciere, aperciviendoles que 
 haciendo lo contrario se executara en ellas. — de Madrid a cinco de Setien- 
 bre de mil e quinientos y noventa y seys anos.' " It is also now reprinted 
 in Perez Pastor, Nucvos Datos, p. 44. 
 
 3 More than half a century after this, theatrical companies in France were 
 even much smaller. The company of Moliere, when he appeared for the 
 first time on the Paris stage after his return from the provinces, on 
 October 24, 1658, consisted of the following nine persons: Joseph Bejart;- 
 Louis Bejart, his younger brother; Sr. du Pare, whose real name was Rene 
 Berthelot, and stage-name Grosrene ; Charles du Fresne ; Sr. de Brie ; 
 Madeleine Bejart, sister of Joseph; Mile, du Pare; Mile, de Brie, whose 
 stage-name was Catherine du Rosne; Genevieve Herve, whose real name 
 was Bejart, and who was a sister of Madeleine. Moliere's company gen- 
 erally consisted of twelve to fifteen persons. The first appearance of the 
 company in Paris was in Corneille's Nicomede and Moliere's Docteur 
 
i 4 6 THE SPANISH STAGE 
 
 unusual for a player to take two or even three parts. In 
 many manuscripts of the comedias of Lope de Vega and 
 other early dramatists, the "reparto" (dramatis persona) 
 shows this. Indeed, Cervantes, at the close of his come- 
 dia El Rufian dichoso, calls attention to the fact that all 
 the female characters in the play can be taken by two 
 women. 1 In the Elizabethan drama this was also fre- 
 quently the case; so, in the Induction to Marston's An- 
 tonio and Mellida (1602), Piero asks Alberto what part 
 he acts. He replies : "the necessity of the play forceth me 
 to act two parts." 
 
 Whether theatrical companies were licensed in Spain 
 prior to 1 600, I do not know : it is probable, though I do 
 not find the fact noted anywhere. By an ordinance of 
 1600, however, and again by a decree of 1603, the number 
 of licensed companies was limited, the latter decree naming 
 the eight heads of companies who received the license of 
 the King to represent comedias, which number was in- 
 creased to twelve by a decree of 161 5. 2 The companies 
 authorized by these decrees were called companias reales 
 or de titulo. But at no time, despite these royal ordinances, 
 were the companies limited to those therein specified. 
 Numerous other companies soon sprang up, called com- 
 panias de la legua, which, acting without the King's 
 license, overran the whole peninsula. 
 
 Theatrical companies in Spain were of two kinds : those 
 in which the players worked for a salary paid them by the 
 
 Amoureux. They played in the Salle des Gardes du vieux Louvre, on 
 Monday, Wednesday, Thursday, and Saturday. After July 9, 1659, Mo- 
 Here and his company were allowed, on the payment of 1500 livres, to 
 play on Sunday, Tuesday, and Friday, which were the most fashionable 
 «days and were called the jours ordinaire*. (Registre de La Grange, Paris, 
 1876, p. 3 ; Fischmann, Moliire als Schauspiel-direitor, in Ztft. fiir Fran- 
 tosische Sprache, 1905.) 
 
 1 "Hase de aduertir, que todas las figuras de muger desta Comedia, las 
 pueden hazer solas dos mugeres." (Ocho Comedias, etc., Madrid, 1615, 
 fol. 112.) 
 
 2 These decrees regulating theatrical companies will be considered in 
 Chapter X. 
 
CLARAMONTE'S COMPANY 147 
 
 autor or manager, and those in which the players worked 
 on shares. The latter were called companias de parte. 
 Such a company was organized in June, 1614, by the well- 
 known autor and dramatist Andres de Claramonte. 1 The 
 agreement has been preserved, and is as follows : 
 
 Agreement and obligation of Andres de Claramonte, one of the 
 autores de comedias appointed by his Majesty, with Pedro Cerezo 
 de Guevara, Francisco Mendoza, Juan Gasque, Miguel de Ayuso, 
 for himself and for Luisa de Reinoso, his wife, Fernando Perez and 
 Maria de Montesinos, his wife, Maria Gabriela and Francisca 
 Maria, her daughter, Sebastiana Vazquez, sister of the said Fer- 
 nando Perez, and Alonso Garcia, to form a company of players. 
 And first that the said Andres de Claramonte, Pedro Cerezo de 
 Guevara, etc., . . . form a partnership company (compania de 
 partes) for the time and space that still remains of the present year, 
 and which shall end at Shrovetide of the coming year, during which 
 time the above-mentioned and each one of them bind themselves to 
 go together in the form of a company and to play in all the towns 
 of this kingdom and beyond during the said time, and to represent 
 therein all the comedies and plays which the said Andres de Clara- 
 monte possesses, by virtue of which the said Andres de Claramonte 
 binds himself to furnish (in order that they may be represented by 
 the said company) as many as forty comedias and such others as 
 the said company may require, besides the necessary entremeses, 
 letras, and bailes. 
 
 Item: That the various roles in the comedias shall be assigned 
 amongst the members of the said company in such manner as shall 
 seem most suitable to each in the opinion of the said company. 
 
 Item: During the said time the said members and each of them 
 shall be bound, and by these presents are bound, to attend with all 
 care and punctuality the rehearsals of all the comedias to be repre- 
 sented each day, at nine o'clock, at the house of the said Andres de 
 Claramonte, where rehearsals are ordinarily to take place, and shall 
 not fail to be present at any one of the said rehearsals, under penalty 
 of two reals to each one who shall not attend them in time and 
 
 1 Claramonte, whose wife was Beatrix de Castro, died in the Calle del 
 Nino, Madrid, on September 19, 1626. (Perez Pastor, Nuevos Datos, p. 
 211.) 
 
148 THE SPANISH STAGE 
 
 when he is called upon to speak; and if, being present at the said 
 rehearsal, he shall leave it, and another should be obliged to speak 
 for him, he shall pay likewise as a penalty one real every time that 
 this happens. And the said fines and penalties are to be deposited 
 with a certain person to be appointed, so that they may be dis- 
 tributed according to the will of the said company, in charities and 
 pious works, masses, etc. The said fines to be paid on the same 
 day by the member thus incurring them, out of the amount to be 
 received by him on that day for acting and for maintenance (de 
 ration). 
 
 Item: That during the said term there is to be a deposit chest 
 with three keys, which chest is to remain in the custody of the said 
 Maria Gabriela, the which keys the company will in due time 
 deliver to the persons who may be agreed upon. Into this chest 
 are to be put, from each performance that may be given, public as 
 well as private, during the said time, twenty-five reals, which are 
 always to remain deposited, and the chest is not to be opened until 
 the said day of Shrovetide, which is the term when the said com- 
 pany ceases to be effective, in the said year one thousand six hundred 
 and fifteen ; and then the said chest is to be opened, and the money 
 which may be deposited therein is to be divided amongst all the 
 members of the said company conformably to what each one may 
 be entitled to, according to this writing and which will be declared 
 below. 
 
 Item: That from the proceeds of each of the comedias which 
 may be represented are to be taken two reals, which the company 
 may distribute in alms, masses, and pious works, together with the 
 fines to be imposed upon the members for failing to be present at 
 the rehearsals. 
 
 Item: If during the said time any member of the said company 
 should fall sick, there is to be given to him the share which may be- 
 long to him in conformity with this writing — just as if he had really 
 acted and taken part — as well for acting as for maintenance, and 
 if he should remain behind sick in any place where the company 
 should happen to be, he is to be paid the expense which he incurs 
 for conveyance from that place to the place where the company may 
 then be. 
 
 Item : That during the said time the said Andres de Claramonte 
 is to have and to take from what may proceed from all the said 
 
LOS CONFORMES 149 
 
 representations which may be given and from each one of them, 
 public as well as private, on account of the labor of composition and 
 study of them, six reals, and besides these six reals he is to have as his 
 share (de parte) ten reals, and four reals for maintenance every day 
 that there may be representations ; . . . and the said Pedro Cerezo de 
 Guevara also ten reals as his share and four reals for maintenance ; 
 . . . Juan Gasque four reals as his share and four reals for mainte- 
 nance; Fernando Perez and Maria de Montesinos, his wife, four- 
 teen reals as their share, besides eight reals for maintenance ; Maria 
 Gabriela and Francisca Maria, her daughter, sixteen reals, besides 
 four reals for maintenance ; Miguel de Ayuso and Luisa de Reinoso, 
 his wife, ten reals, besides seven reals for maintenance ; and Alonso 
 Garcia, four reals and three for maintenance. 
 
 Item: That if, during the said time, any member of the said 
 company shall absent himself from it, he shall lose all that would 
 have fallen to his share, as well of the amount that may be de- 
 posited in the said chest as of the costumes which the said company 
 may have acquired during the said time, and shall lose fifty ducats 
 besides, . . . which sum is to be shared amongst the other members 
 of the said company who may remain therein. 1 
 
 This agreement fairly represents all those made in simi- 
 lar cases. In another, executed on July 8, 16 14, the 
 various members are to meet at nine every morning, at the 
 house of Pedro Bravo, for rehearsal. Here four reals 
 are set aside from the proceeds of each performance until 
 the amount reaches 400 reals, which are to be paid to Luis 
 de Monzon for providing the costumes for the company. 2 
 A similar troupe, called Los Conformes, was organized by 
 Juan de Vargas, Andres de Chavarria, Sebastian Gon- 
 zalez, and others in Madrid, in 1623. They were to go 
 to the town of Leganes on October 14 and perform the 
 comedia La Morica garrida of Juan de Villegas, with its 
 loa, music, entr ernes, and bayles, for the sum of 400 reals. 3 
 
 'Perez Pastor, Nuevos Datos, pp. 145-148. Such a company was also 
 formed in 1634 by Fernan Sanchez de Vargas and Juan de Malaguilla. 
 (See ibid., p. 235.) 
 
 'Ibid. 
 
 "Ibid., p. 202. Other companies were La Campania espanola in 1602 
 
i 5 o THE SPANISH STAGE 
 
 Besides the companias reales and the companias de parte, 
 there were many other kinds, ranging down the whole 
 gamut to the lone traveling mountebank. They can best 
 be described in the words of Agustin de Rojas Villan- 
 drando, whose Viage entretenido, first published at Madrid 
 in 1603, is one of the most interesting works that we 
 possess concerning the early Spanish stage. Rojas was 
 born in Madrid about 1575, and was in turn page, soldier, 
 scrivener in Granada ( 1599) , and finally an actor. It was 
 in Seville, as he tells us, that he first saw a comedia acted, 
 and there he became a member of the company of Antonio 
 de Villegas, probably in 1600. 1 As he wrote his Enter- 
 taining Journey in 1602, his professional experience was 
 very limited, not extending over more than two or three 
 years. Many of his statements concerning the history of 
 the stage are therefore to be received with caution, but, 
 as he had been himself a strolling player, his description 
 of the various bands of actors which were then perambu- 
 lating the peninsula are, in the main, trustworthy, though 
 doubtless somewhat highly colored for effect. 2 
 
 The Viage entretenido, it may be observed here, is in 
 
 (Nuevos Datos, p. 76) and Los Andaluces in 1605, the latter consisting of 
 Francisco Garcia de Toledo, Diego de Monserrate and his wife Mariana 
 Rodriguez, Juan de Ostos and his wife Maria de Herrera, Luis de Castro, 
 Cristobal de Barrio, and Luis de Alvarez. (Ibid., p. 89.) Such companies, 
 formed the nearest parallel in Spain to the "sharers" of the Elizabethan 
 theater, as distinguished from the "hired men." 
 
 1 Sanchez-Arjona, Anales, p. 105. Perez Pastor, Nuevos Datos, pp. 351— 
 353, publishes an interesting document concerning Agustin de Rojas. It is 
 an agreement made in Valladolid on February 26, 1602, between Miguel 
 Ramirez, autor de come di as, and Agustin de Rojas, actor, in which the 
 latter agrees to act in all the comedias that may be produced as well in this 
 city [Valladolid] as in any other place where the said Miguel Ramirez 
 may be, as well in the theater as in any other part or spot that may be 
 designated during the said year, from the date of this writing [February 
 26, 1602] until Shrovetide of the coming year, 1603, and for which the 
 said Ramirez is to pay Rojas 2800 reals, and at the end of the year "a 
 doubloon for the washing of his linen," and shall furnish transportation 
 for Rojas, the latter binding himself to act with no other company during 
 the said time, etc. 
 
 'Among other works, Rojas was also the author of a comedia El natural 
 desdichado, which has been edited from the autograph in the Biblioteca. 
 
FARANDULEROS 151 
 
 the form of a conversation between four persons : [Nicolas 
 de los] Rios, [Miguel] Ramirez, [Agustin] Solano, and 
 the author of the work, Agustin de Rojas, all actors, and 
 the first two were, besides, famous autores de comedias or 
 directors of companies. In the course of the conversation 
 Rios had mentioned Cosme de Oviedo, "that well-known 
 autor of Granada, who was the first to use posters" 
 (p. 132). To which Solano adds: "And also the first 
 to take a gangarilla through the towns on the coast." 
 To the query of Ramirez, "What is a gangarilla?" Solano 
 replies : "It is clear that you have not had much experience 
 of the fardndula, for you ask about such a well-known 
 matter." To which Rios : "I have been an autor for more 
 than thirty years, and this is the first time that it has come 
 to my notice." 
 
 Solano: Well then, know that there are eight kinds of companies 
 of actors, and all quite different; . . . there is the bululu, Hague, 
 gangarilla, cambaleo, garnacha, boxiganga, fardndula, and the com- 
 pany. A bululu is a player who travels alone and afoot ; he enters 
 a village, goes to the curate, and tells him that he knows a comedia 
 and a loa or two; he asks him to call the barber and sacristan, 
 and he will recite it to them, so that they may give him something, 
 that he may proceed on his way. These having assembled, he 
 mounts upon a chest, and begins to recite, remarking as he goes on : 
 "Now the lady enters and says so-and-so," and continues his acting 
 while the curate passes around the hat, and having gathered four 
 or five quartos, the curate adds a piece of bread and a bowl of 
 soup, and with this he follows his star and continues his way. 
 A naque consists of two men ; they enact an entremes or portions of 
 an auto, recite some octavas and two or three loas; they wear 
 a beard of sheepskin (zamarro), play a drum, and charge an ochavo 
 [= 2 maravedis], or in other kingdoms [parts of Spain] a dinerillo 
 (that is what Rios and I used to do) ; they live contentedly, sleep 
 in their clothes, go barefoot, are always hungry, rid themselves of 
 their fleas amid the grain in summer and do not feel them on 
 
 Nacional, Madrid, and published by Sr. Paz y Melia in the Revista de 
 Archivos for 1900. 
 
152 THE SPANISH STAGE 
 
 account of the cold in winter. Gangarilla is a bigger company; 
 here there are three or four men : one who can play the fool (que 
 sabe tocar una locura) and a boy who plays the women's roles. 
 They represent the auto "The Lost Sheep," have beards and wigs 
 (cauellera) , borrow a woman's skirt and bonnet (which they some- 
 times forget to return), play two comic entremeses, charge each 
 spectator a quarto [=4 maravedis] , and also accept a piece of bread, 
 eggs, sardines, or any kind of odds and ends, which they put into a 
 bag. They eat roast meat, sleep on the ground, drink their draught 
 of wine, travel constantly, show in every farm-yard, and always 
 have their arms crossed. 
 
 Rios: Why? 
 
 Solano: Because they never have a cloak to their backs. The 
 cambaleo consists of a woman who sings and five men who lament ; 
 they have a comedia, two autos, three or four entremeses, a bundle 
 of clothes which a spider could carry, and transport the woman now 
 on their backs, now on a litter or hand-chair {silla de manos). 
 They act in the farm-yards for a loaf of bread, a bunch of grapes, 
 a stew of cabbage, and in the villages charge six maravedis, a piece 
 of sausage, a task of flax, and anything else that happens along (not 
 refusing the most worthless gift). They remain in one spot four 
 to six days, hire a bed for the woman, and if any of the men be on 
 good terms with the hostess, he gets a bundle of straw and a cover 
 and sleeps in the kitchen, while in winter the straw-loft is his con- 
 stant habitation. At noon they eat their beef-stew and each one 
 six bowls of broth, all sitting at a table or sometimes on the bed. 
 The woman distributes the food, shares out the bread and measures 
 the watered wine, and each one wipes his hands wherever he can, 
 for they have but one napkin amongst them, and the table-cloths are 
 so shy that they do not cover the table by a foot. A garnacha con- 
 sists of five or six men, a woman who plays first lady's roles and a 
 boy who plays the second ; they carry a chest containing two smock- 
 frocks, a coat, three pelisses, beards, wigs, and a woman's costume 
 of taffeta ( tiritaiia) . Their repertory consists of four comedias, three 
 autos and as many entremeses; they carry the chest on a donkey's 
 back and the woman, grumbling, on his rump, while the rest of the 
 company follow afoot, driving the donkey. They remain eight 
 days in a town, sleep four in a bed, eat a stew of beef and mutton, 
 and some evenings a fricassee well seasoned. They get their wine 
 
DUM FATA SINUNT, VIVITE LAETI 153 
 
 in drams, their meat in ounces, their bread in pounds, and hunger 
 by quarters [arroba = 11.5 kilos]. They give private perform- 
 ances for a fried chicken, a boiled rabbit, four reals in money, two 
 quarts of wine, and may be hired for a festival for twelve reals. In 
 a boxiganga there are two women, a boy, and six or seven com- 
 panions, and not seldom do they meet with vexations, for there is 
 never lacking a fool, a bully, an impatient, an importunate, a 
 sentimental, a jealous or a love-sick fellow, and having any 
 one of these you can never travel with security, live contentedly, or 
 even have much money. They are provided with six comedias, 
 three or four autos, five entremeses, two chests — one containing the 
 baggage of the company, the other the women's clothes. They hire 
 four pack-mules — one for the chests, two for the women, and the 
 other on which the men may alternate every quarter-league. They 
 generally have two cloaks among the seven players, and with these 
 they enter two by two, like the friars. Often, however, the mule- 
 driver makes off with them, leaving the actors cloakless. Such 
 players dine well; all sleep in four beds, perform by night and 
 at festivals by day, and sup mostly on hash (ensalada) , for, as 
 they finish the comedia late, they always find a cold supper. While 
 on the road they are fond of sleeping by the fireplaces, for perchance 
 these may be hung with blood-puddings, chines, or sausages. These 
 they enjoy with their eyes, touch with their' fingers, and invite 
 their friends, wrapping the sausages around their bodies, the blood- 
 puddings around their thighs, and stowing away the chines, pigs' 
 feet, chickens, and other trifles in holes in the yards or stables ; and 
 if they happen to be in a country inn, which is the safest, they mark 
 the spot, so that they may know where the dead are buried. That 
 sort of a boxiganga is dangerous, for it is more changeable than the 
 moon and more unsafe than the border-land, unless it has a good 
 head to rule it. The fardndula is next to the company : it has three 
 women, eight to ten comedias, two chests of luggage. The players 
 travel on mules with drivers and sometimes in carts ; visit the more 
 important towns, dine separately, wear good clothes, perform at 
 Corpus festivals for 200 ducats, and live contentedly (that is, those 
 who are not in love) .... In the companies there is every kind of 
 grub and trumpery; they know something of the seamy side and 
 also of good manners; there are very clever people among them, 
 men much esteemed and persons well born, and even very respect- 
 
154 THE SPANISH STAGE 
 
 able women (for where there are many there must be of all kinds). 
 They take with them fifty comedias, three hundred quarters of 
 luggage, sixteen persons who act, thirty who eat, one who takes the 
 money at the door (and God knows what he steals). Some want 
 mules, others coaches, some litters, others palfreys, and none there 
 are who are satisfied with a cart, because they say that they have 
 weak stomachs. Besides, there are generally many vexations. 
 Their labor is excessive because of the great amount of study, the 
 continuous rehearsals, and the varied tastes (though of this Rios 
 and Ramirez know only too much), so that it is better to pass this 
 in silence, for, in faith, much could be said on this subject. 1 
 
 Despite the trivial details and the absence of much that 
 would have been most desirable, this description of the 
 various bands of strolling players by one of their number 
 is so important that it could not be omitted here. 
 
 The traveling of theatrical companies at this time was 
 necessarily slow. We have just seen from Rojas's descrip- 
 tion how the smaller bands of actors moved from place to 
 place. The larger companies traveled with a little more 
 convenience, still this was, after all, one of the greatest 
 hardships they had to endure. We know the "strenuous 
 life" some of them lead in our own day, when they leave 
 the large cities and make "one-night stands" in the smaller 
 towns, while the "barn-storming aggregations," which 
 never remain more than a day or two in one place, suffer 
 even greater trials. Yet one can easily imagine how much 
 more laborious and toilsome must have been the life of 
 an actor at this time, when the means of transportation 
 were so primitive. Journeys which now, even on the 
 Spanish railways, are traversed in a few hours, it then took 
 as many days to accomplish. 
 
 Thus, in 1586, Nicolas de los Rios and Andres de 
 
 1 Viage enlretenido, ed. of 1603, pp. 132-140. Other anecdotes illustra- 
 tive of theatrical life in Spain may be found in Mateo Aleman's Guzman 
 de Alfarache, Part II, Book I, chap, ii (ed. of Milan, 1615, p. 17), where 
 a story, is related concerning Cisneros and Manzanos, two well-known 
 theatrical managers ; also in the spurious second part of this work by Mateo 
 
ON THE ROAD 155 
 
 Vargas contracted to have their company, consisting of 
 thirteen or fourteen persons and seventy quarters of bag- 
 gage, transported from Madrid to Seville (a distance of 
 about 270 miles) in thirteen days, at the rate of 38 reals 
 for each person and 6 reals for each quarter of baggage. 1 
 
 In 1 6 10 certain carters of Illescas contracted with 
 Alonso Riquelme to carry his company and their para- 
 phernalia from that town to Aldea Gallega [near Lisbon, 
 a distance of about 330 miles], at 70 reals for each person 
 and 3 reals for each quarter of baggage, the carters 
 agreeing to be in the said village within twenty-two days. 2 
 The costumes and properties were loaded on the backs 
 of mules or upon carts, while the players also traveled in 
 carts, or the larger companies in coaches. It appears from 
 a document dated 1613, concerning the company of Anto- 
 nio Granados, that a distinction was made between the 
 comediantes and the danzantes, the former being carried 
 in coaches and the latter in carts (carros). 3 Sometimes, 
 in the case of distinguished players, another form of con- 
 veyance was especially stipulated, as in 1623, when the 
 actor Juan Vazquez and Francisca de Torres, his wife, are 
 to have three pack-animals (tres caballerias iguales), "for 
 they are not to go upon the laden carts." 4 
 
 How very expensive traveling was in these early days 
 we also learn from an agreement made in 1630 by Fran- 
 cisco Moreno to furnish three mules (one with a saddle) 
 for the journey which Antonia Manuela, wife of the autor 
 de comedias Bartolome Romero, made from Madrid 
 to Seville, paying 100 reals for each mule and 100 reals 
 to the mule-driver. 5 Sometimes, when a small town 
 resolved to give a theatrical performance in connection 
 with some church festival, it was especially stipulated that, 
 
 Lujan de Sayavedra, Book III, chapters vii and viii (Bibl. de Autores 
 Espanoles, Vol. Ill, pp. 418 ff.), where Guzman joins the company of 
 Heredia. 
 
 "Perez Pastor, Nuevos Datos, p. 17. 
 
 1 Ibid., p. 120. a Ibid., p. 135. *Ibid., p. 193. "Ibid., p. 219. 
 
i 5 6 THE SPANISH STAGE 
 
 in addition to the money, certain provisions were to be 
 furnished to the actors, as when, in 1593, Gabriel Nunez, 
 autor de comedias, agreed to go to Navalcarnero (the 
 little village where, more than half a century afterward, 
 in 1649, Philip IV. married his second wife, Mariana of 
 Austria) with his company to perform Lope de Vega's 
 Los Comendadores and two other comedias for 300 reals, 
 besides 24 cuar tales [= 6 fanegas or about 10 bushels] of 
 bread, 4 arrobas [=12 gallons] of white wine, 24 pounds 
 of veal and 1 6 pounds of beef, a pig, a goose, two conies, 
 and a hen, besides people to do the cooking, and free lodg- 
 ing. 1 
 
 As early, at least, as 1602 some companies possessed 
 such an extensive wardrobe that a particular person 
 was charged with the care of it; with arrangements for 
 traveling, etc. Thus we find Agustin Coronel, an actor, 
 employed by Alonso Riquelme, autor de comedias, in 
 March, 1602, to work in the company of the latter, 
 "taking part in the comedias as well as in the bayles, and 
 also to take care of the wardrobe and to arrange for the 
 pack-animals and the traveling," 2 etc. 
 
 Traveling in open carts in Spain in summer is not a very 
 comfortable method of transportation, and at a later period 
 we find covered carts especially provided for the players, as 
 when, in 1633, five covered carts were furnished to 
 the company of Fernan Sanchez de Vargas, to go from 
 Madrid to the village of Parla. 3 In another case six carts, 
 four of them covered, board, and lodging are to be pro- 
 vided for the company. 4 Sometimes a whole company 
 traveled on mules, as in 1636, when Juan Rodriguez, an 
 innkeeper, and Andres de Lobera, who hired out mules, 
 agreed to furnish to Pedro de la Rosa, autor de comedias, 
 thirty-three mules, with six drivers and a litter (for the 
 
 1 P6rez Pastor, p. 37. 
 
 'Ibid., p. 68. *Ibid., p. 233. l Ibid., p. 234. 
 
THE STRENUOUS LIFE 157 
 
 autora Catalina de Nicolas, we presume), "to take the 
 said autor and his company to the city of Segovia, the said 
 autor paying 28 reals for each mule, including the drivers, 
 and 50 reals for the litter." In this case the baggage was 
 transported separately. 1 Indeed, Pedro de la Rosa seems 
 to have furnished especial facilities for the traveling of his 
 company, for on September 19, 1637, he provided "a 
 coach with five mules to carry eight persons of his com- 
 pany from Madrid to Valencia for 660 reals." 2 And in 
 1638 the company of Luis Lopez, twenty in number, were 
 conveyed in three "comfortable carts" (carros bien acomo- 
 dados) from Guadalajara to Cuenca for 28 reals each. 3 
 A further conception of the expense of traveling may be 
 formed from the fact that Antonio de Rueda, autor de 
 cotnedias, in 1639 paid 850 reals each for four coaches to 
 take his company from Madrid to Granada. 4 
 
 Another hardship incident to the profession of acting 
 was the unusual hour at which a performance was some- 
 times required to be given. In 161 2 the company of 
 Fernan Sanchez de Vargas was to take part in the Corpus 
 festival in the town of Esquivias, and the agreement was 
 that he should have his company in Esquivias on the Tues- 
 day following Corpus at sunrise (al salir del sol), and on 
 that day he was to represent in the morning the same autos 
 that he had performed in Madrid, besides a comedia in the 
 afternoon. 5 And in 1 6 1 3 Pedro de Valdes was to have his 
 company at Leganes on June 1 1 at six o'clock in the morn- 
 ing, to represent two autos sacramentales in the morning 
 and a comedia in the afternoon, with all their bayles and 
 entremeses* Again, in March, 161 7, Cristobal de Leon, 
 autor de comedias, agreed to represent two autos, with 
 their entremeses, at the Corpus festival in Madrid, on 
 Thursday, from two o'clock in the afternoon until twelve 
 
 *Ibid., pp. 254-255. 'Ibid., p. 276. 'Ibid., p. 301. 
 
 1 Ibid., p. 316. 'Ibid., p. 127. 'Ibid., p. 134. 
 
158 THE SPANISH STAGE 
 
 at night, and on Friday from six in the morning till noon, 
 in such places as may be designated, for 600 ducats. "And 
 if the court should be in Madrid, and it should be necessary 
 to give more performances on Saturday, he is to receive the 
 customary gratuity." 1 Indeed, the tribulations of the 
 actor's life have probably not been overdrawn in the ac- 
 counts that have come down to us. Rojas, who was for 
 a time a farandulero, speaks with authority upon the sub- 
 ject, and to his narrative we now turn. 
 
 'Perez Pastor, pp. 161, 162. 
 
CHAPTER VIII 
 
 The actors. Their hardships. Alonso de Olmedo. Juan de 
 Morales. Roque de Figueroa. Maria de Riquelme. La Cal- 
 derona. Adventures of actors related in the "Entertaining Jour- 
 ney." The term autor de comedias. Relations of dramatist and 
 manager. The stealing of plays. Honorarium of dramatists. 
 Collaboration. 
 
 While some conception of the hardships suffered by actors 
 in Spain may be gained from what has been said in the pre- 
 vious chapter, we must turn once more to Agustin de Rojas 
 for such a graphic description of the actor's trials and suf- 
 ferings as we shall look for in vain elsewhere. Rojas 
 speaks from experience, and let us hear what he says of 
 the life of his fellow-players. "There is no negro in Spain 
 or slave in Algiers but has a better life than the actor. A 
 slave works all day, but he sleeps at night ; he has only one 
 or two masters to please, and when he does what he is com- 
 manded, he fulfils his duty. But actors are up at dawn and 
 write and study from five o'clock till nine, and from nine 
 till twelve they are constantly rehearsing. They dine and 
 then go to the comedia; leave the theater at seven, and 
 when they want rest they are called by the President of the 
 Council, or the alcaldes, whom they must serve whenever 
 it pleases them. I wonder how it is possible for them to 
 study all their lives and be constantly on the road, for there 
 is no labor that can equal theirs." 1 And Cervantes, who 
 
 1 "Porque no hay negro en Espana, El esclauo que es esclauo 
 
 Ni esclavo en Argel se vende quiero que trabaje siempre, 
 
 Que no tenga mejor vida por la manana y la tarde, 
 
 Que un farsante, si se aduierte pero por la noche duerme. 
 
 159 
 
160 THE SPANISH STAGE 
 
 doubtless knew them well, says this of actors: Also 
 I can say of them that in the sweat of their brows 
 they gain their bread by insupportable toil, learning con- 
 stantly by heart, leading a gipsy life perpetually from place 
 to place, and from inn to tavern, staying awake to please 
 others, for in other men's pleasure lies their profit; they 
 have, besides, the merit that with their calling they deceive 
 nobody, for continually they bring out their wares on the 
 public square, submitting them to the judgment and in- 
 spection of everybody. The toil of the managers is incred- 
 ible, and their anxiety extraordinary, and they need to gain 
 much in order not to find themselves at the end of the year 
 so embarrassed that it is needful for them to call a meet- 
 ing of their creditors." * 
 
 But such recitals of the tribulations of the profession 
 never did and never will deter others from joining their 
 ranks. In all ages and in all countries 2 the mimic life of 
 the stage has exercised a powerful attraction. And though 
 no slave in Algiers, as Rojas says, had a harder lot than 
 Spanish actors, their ranks were ever full, for generally 
 they were a careless and shiftless lot, who took the days 
 as they came, with little thought for the morrow. They 
 
 No tiene a quien contentar Y quando han de descansar, 
 
 sino a un amo 6 dos que tiene, los Hainan al Presidente, 
 
 y haziendo lo que le mandan los Oydores, los Alcaldes, 
 
 ya cumple con lo que deue. los Fiscales, los Regentes, 
 
 Pero estos representantes Y a todos van a seruir 
 
 antes que Dios amanece, a qualquier ora que quieren, 
 
 escriuiendo y estudiando, que es esso ayre, yo me admiro 
 
 desde las cinco a las nueue. corao es possible que pueden 
 
 Y de las nueue a las doze Estudiar toda su vida 
 
 se estan ensayando siempre, y andar caminando siempre, 
 
 comcn, vanse a la comedia, pues no ay trabajo en el mundo 
 
 y salen de alii a las siete. que puede ygualarse a este. . . ." 
 
 (Viage entretenido, pp. 368, 369.) 
 
 1 El Licenciado Fidriera, in Exemplary Novels, translated by Maccoll, 
 Glasgow, 1902, Vol. I, p. 191. See also Cervantes's comedia Pedro de 
 Urdemalas, Act III, for a description of the qualifications of a good actor. 
 (Ocho Comedias, etc., Madrid, 1615, fol. 217, verso.) 
 
 ' In France the earliest contract with a professional actor that has been 
 preserved is eloquent testimony to the wretched condition of wandering 
 
ANOTHER ENOCH ARDEN 161 
 
 were mostly drawn from the common people and were 
 notorious for their loose manner of living, especially the 
 women. To this statement, however, there were some 
 notable exceptions, and occasionally we find a hidalgo or a 
 person of the better class attracted to their number by the 
 glamour of the stage. Among these was Alonso de 01- 
 medo, afterward a distinguished actor and autor de cotne- 
 dias. He was born in Talavera de la Reina, the son of 
 the mayordomo of the Count of Oropesa, and served the 
 latter as a page. A theatrical company visiting his native 
 town one day, he fell desperately in love with one of its 
 members, Luisa de Robles. Olmedo joined the company 
 in order to follow his adorada, but unfortunately the fair 
 Luisa was married. However, fate decreed that her hus- 
 band, Juan de la Abadia, should embark for Velez Malaga, 
 when the vessel in which he sailed was attacked by Moors 
 and sunk, and the captives taken to Barbary. Believing 
 her husband dead, and presumably having no use for a 
 dead husband, Luisa married Olmedo. Three years after- 
 ward, much to the surprise of both, probably, the husband, 
 like another Enoch Arden, suddenly reappeared. Olmedo, 
 much of whose former enthusiasm had doubtless cooled 
 by this time — so we are told — with admirable resignation 
 said to Luisa : "My dear, it is all over with our marriage ; 
 you take half of my wardrobe for your first husband, and 
 half of the money and of the white linen for yourself, and 
 good-by." And, as Sr. Sanchez-Arjona tells us, to console 
 
 players in that country. It antedates by a number of years the earliest 
 Spanish document of a similar nature. It is dated 1545, and has already 
 been referred to (p. 138). In it Marie Ferre (or Fairet) binds herself to 
 perform in the troupe of Anthoine l'Espeyronnyere, in histories, farces, and 
 somersaults, "en telle maniere que chacun qui assistera prendra joyeusete 
 et recreation, pour gagner, amasser et lever deniers des personnes qui 
 vouldront voir joer pour et au proffict dudict de l'Espeyronnyere," for 
 which she is to receive, besides board and lodging, twelve livres Tournois 
 [a very small sum], and if any one during the engagement should give 
 her money or clothes, then "Gailharde, wife of the said l'Espeyronnyere, 
 shall receive one half thereof." (Creizenach, Geschichte des neueren Dra- 
 mas, Vol. Ill, p. 75.) 
 
1 62 THE SPANISH STAGE 
 
 himself for his loss, he shortly afterward went to Zara- 
 goza, where he married a daughter of the mayordomo of 
 the Count of Sastago, named Jeronima [de Ornero], by 
 whom he had six children. 1 
 
 Thus runs the story. Unfortunately, however, facts 
 have more recently come to light which cast some doubt 
 upon the tale as just related. While it may be true in its 
 main incidents, Luisa was certainly not the siren who first 
 lured Olmedo upon the stage. In a petition to the town 
 council of Seville in 1640, 2 Olmedo says that he had 
 served the King at the Corpus festivals for forty years 
 and that he had been director of a company for twenty- 
 four years. This would place the beginning of his theat- 
 rical career in the year 1600, and his beginning as an 
 autor de comedias in 161 6. What we know of Luisa de 
 Robles is briefly this : in June, 161 8, she is described as the 
 widow of Juan Labadia; 3 in September, 1623, she is 
 called a single woman over twenty-five years old, and 
 then belonged to Manuel Vallejo's company; 4 in 1624 
 she was in Antonio de Prado's company in Madrid, and 
 in 1627 she and her husband, Juan de Labadia, 5 were in 
 Manuel Simon's company in Seville. As Olmedo's wife 
 Jeronima de Ornero and his daughter Maria were act- 
 ing in his company in 1635, he playing old men's parts 
 in his own company, 6 the episode related above must have 
 taken place about 161 8 or somewhat earlier. At this 
 time, however, as we have seen, Olmedo had been upon the 
 stage many years. Alonso de Olmedo was an hidalgo, and 
 by a special decree of Philip IV., dated May 20, 1647, all 
 the privileges of his rank were preserved to him, "although 
 he had been an autor de comedias." He died in 1 65 1 . 
 
 In 1630 Juan de Morales Medrano, one of the best- 
 
 1 Sanchez-Arjona, Anales del Teatro en Sevilla, p. 223. 
 
 2 Ibid., p. 224. 
 
 ' Nuevos Datos, p. 167. * Ibid., p. 201. 
 
 The name is spelled in various ways; I have given it in each instance 
 as I found it. ° Sanchez-Arjona, Anales, p. 297. 
 
MARIA DE RIQUELME 163 
 
 known actors and theatrical directors of his time, was sued 
 for a debt of 1400 ducats, the balance of the purchase- 
 money of a house in the Calle del Prado, as well as for the 
 cost of improvements made on the said house. On notifi- 
 eationto pay the debt under threat, of arrest, he replied by 
 claiming the privilege of hidalguia, having received a 
 patent of nobility from the chancellery of Valladolid, by 
 virtue of which "his person could not be taken for any 
 debt unless it resulted from a crime, nor could his clothing 
 or that of his wife, nor his arms or his horses, be attached, 
 nor the other things which are reserved to hijosdalgo." x 
 
 Roque de Figueroa was also a celebrated actor who had 
 received a very careful education, "and the story is related 
 of him that on one occasion when a festival was to take 
 place in the parish of San Sebastian in Madrid, an accident 
 having happened to the preacher, Roque de Figueroa took 
 off his sword, ascended the pulpit, and delivered an oration 
 in Latin, much to the surprise of all present. 2 
 
 Among actresses the famous Maria de Riquelme was 
 no less noted for her beauty than for her virtuous and ex- 
 emplary life. She was the wife of the autor de comedias 
 Manuel Vallejo, upon whose death, in 1644, she aban- 
 doned the stage and devoted herself to religion, dying in 
 Barcelona in 1656. 3 
 
 Quite different had been the life of the celebrated Maria 
 
 'Perez Pastor, Nuevos Datos, p. 239. 
 
 ' Sanchez- Arjona, Anales, p. 254. 
 
 3 Maria de Riquelme was the second wife of Manuel Vallejo, and must 
 have married him after November 21, 1627, for on that date Francisca 
 Maria, Vallejo's first wife, died. (See Bulletin Hispanique (190S), p. 
 255.) In April, 1631, Maria de Riquelme was in Vallejo's company and 
 is called his wife. (Cotarelo, Tirso, p. 220.) She appeared as Casandra 
 in Lope de Vega's El Castigo sin Venganza as it was performed before the 
 King on February 3, 1632, by the company of Manuel Vallejo, who played 
 the part of the Duke of Ferrara. (See my Life of Lope de Vega, Glas- 
 gow, 1904, pp. 340, n., et passim.) In a letter dated September 4, 1633, 
 Lope de Vega says of her: "She is extraordinary in depicting passion in a 
 way that imitates nobody, nor can any one be found to imitate her." (Ibid., 
 p. 350.) Caramuel says of her: "era tan impresionable por naturaleza, 
 que, con asombro de todos, mudaba representando el color de su rostro, de- 
 
i6 4 THE SPANISH STAGE 
 
 Calderon, though it ended also in religious devotion. La 
 Calderona, as she was called, was one of the many favor- 
 ites of Philip the Fourth and the mother of his son Don 
 John of Austria, born April 17, 1629. After a far from 
 exemplary life she professed in the convent of Villaher- 
 moso, in the province of Guadalajara, where, "esteemed 
 by the whole community, she was made abbess, and re- 
 penting of her past errors, there are those who declare 
 she died in the odor of sanctity." 1 
 
 The Spanish stage of this period, it is to be feared, could 
 boast of few such exemplars of womanly virtue as Maria de 
 Riquelme. But it would be most uncharitable to condemn 
 all actresses on the evidence that we have concerning some 
 of them. Still, in all probability, such incidents as the one 
 related in a previous chapter concerning Jacinta Herbias 
 and Ana de Espinosa were not rare. Indeed, as we shall 
 see, the conditions of the Spanish stage, the publicity of 
 the green-rooms, etc., rendered it almost impossible for a 
 decent woman to remain upon the boards. Actors were 
 mostly a shiftless lot recruited from the understrata of 
 society, of whose free and easy lives we get many a glimpse 
 in the work of Rojas, already cited. They were much 
 addicted to gambling, and the following narrative, related 
 
 mostrando sus facciones la alegria, si su papel lo demandaba, 6 la tristeza 
 mas profunda en Ios pasos pateticos, y figurando los afectos mas opuestos 
 en sus mas rapidas transiciones de tal modo que era inimitable y unica en 
 este genero de mimica." (Quoted by Sanchez-Arjona, Anales, p. 318.) It 
 may be added that Maria de Riquelme's name does not occur among the 
 players of Vallejo's company in 1643, when he represented autos in Seville. 
 (Ibid., p. 366.) 
 
 1 Sanchez-Arjona, Anales, p. 286. See also an excellent work, Hume, 
 The Court of Philip IV., London, 1907, who characterizes Philip as: 
 "Weak of will, tender of conscience, sensitive of soul. A rake without 
 conviction, a voluptuary who sought sensuous pleasures from vicious habit 
 long after they had ceased to be pleasures to him, and yet expiated them 
 with agonies of remorse which made his soul a raging hell" (p. 171). 
 Hume says: "It was in the Corral de la Cruz in 1627 that Philip first set 
 eyes upon the girl whom one of Olivares's agents had sent from the coun- 
 try to act upon the Madrid stage. Her name was Maria Calderon, and at 
 the time she appeared in the capital she was not more than sixteen years 
 of age. She was no great beauty, but her grace and fascination were 
 
GAMBLING IN THE GREEN-ROOM 165 
 
 by the actor Ramirez, occurs in the Viage entretenido 
 (p. 141) : "I recall a witty story which happened about 
 four years ago to Alcaraz [a theatrical manager] concern- 
 ing one of Cisneros's musicians, who, gambling with an- 
 other actor in the green-room (vestuario) , lost even the 
 clothes on his back, so that he was left with nothing but 
 his linen breeches. His turn came to sing in the third act. 
 Snatching up quickly a cloak which did not belong to him 
 and wrapping it about him under his arms, he sallied forth 
 upon the stage with the greatest unconcern. Alcaraz, 
 observing this shameless effrontery, determined that it 
 should not go unpunished, and, taking a pin, fastened the 
 cloak up as high as he could. The player, ignorant of 
 what had happened, began to sing in this fashion, while 
 the audience shouted. Nor did he learn the cause of the 
 merriment until, withdrawing quite ashamed, he became 
 aware of the joke that had been played upon him when he 
 saw his whole shirt hanging out." Rios also tells the 
 story of a companion of his in Antequera, who, one night, 
 had lost everything he had, so that he was obliged to 
 remain in bed until a suit of clothes was sent him with 
 which to go to the theater, and that night he had to go 
 home again and remain in bed. 1 
 
 supreme, and her voice was so sweet and her speech so captivating that 
 Madrid fell in love with her at once." (Ibid., p. 208.) La Calderona did 
 not, however, retire from the stage on the birth of her son Don John of 
 Austria. What we know of her stage life is this: In March, 1623, she was 
 the wife of Pablo Sarmiento and both were acting in the company of Juan 
 Bautista Valenciano. (Bull. Hispanique (1908), p. 248.) In 1624 she 
 appeared in Lope de Vega's El Poder en el Discreto, and in 1626 she 
 played the part of Fenis in Lope's Amor con vista. When she was again 
 married we do not know, but in 1632 her husband was Tomas de Rojas, 
 and in this year she received 1050 reals for acting in two comedias and two 
 autos in the village of Pinto, besides transportation for herself, her husband 
 and maid, lodging and eight reals maintenance for every day she was on 
 the journey. (Perez Pastor, Nue-vos Datos, p. 226.) She took part in the 
 Corpus festival of the same year at Seville, leaving the company of Juan 
 Jeronimo Valenciano, of which she was then a member, for this purpose. 
 (Sanchez-Arjona, Anales, p. 285.) We do not know when she retired 
 from the stage. 
 1 Viage entretenido, p. 143. 
 
1 66 THE SPANISH STAGE 
 
 A number of ludicrous adventures of actors are related 
 by the same author, of which one may find a place here : 
 
 We left Valencia on account of a misfortune that befell us— 
 Solano and I — one on foot and without a cloak, and the other walk- 
 ing and with only his doublet. We gave them to a boy who got 
 lost in the town, and we were left gentlemen of the road. At night 
 we arrived at a village, worn out and with only eight quartos be- 
 tween us. Without supper (sin las assaduras), we went to an inn 
 to ask for lodging, but they told us that they could not provide for 
 us, nor could a lodging be found anywhere, because a fair was being; 
 held. Seeing the little chance there was of our finding a lodging, 
 I resorted to a stratagem. I went to another inn and represented 
 myself as a West Indian merchant (for you see I resemble one in 
 the face). The hostess asked whether we had any pack-animals- 
 I replied that we came in a cart and that, while it was coming with 
 our goods, she should prepare two beds for us and some supper. 
 She did so, and I went to the alcalde of the village and told him 
 that a company of players had arrived, on their way through, and 
 asked his permission to give a play. He inquired whether it was a 
 religious play, to which I answered in the affirmative. Permission 
 being granted, I returned to the inn and advised Solano to re- 
 view the auto of "Cain and Abel," and then go to a certain 
 place to collect the money, for we were going to play that eve- 
 ning. Meanwhile I went to hunt up a drum, made a beard out 
 of a piece of sheepskin, and went through the whole village pro- 
 claiming our comedia. As there were many people in the place, 
 we had a large audience. This done, I put by the drum, took off 
 my beard, returned to the hostess, and told her that my goods 
 were coming and asked her for the key of my room, as I wanted 
 to lock them up. To her question what they were, I replied 
 spices (especeria). She gave me the key, and hastening to the 
 room, I stripped the sheets from the bed, took down some old 
 gilt leather hangings and two or three old cloths, and in order that 
 she might not see me descend the stairs, I made up a bundle, threw 
 it out of the window, and came down the stair like a flash. As I 
 reached the yard, the host called me and said : "Mr. Indian, do you 
 want to see a comedia by some strolling players who arrived a short 
 time ago ? It is a very good one." I answered, "Yes," and hurried 
 
CAIN AND ABEL 167 
 
 out to hunt up the bundle of clothes with which we were to play 
 the farce, anxious lest the host should see it ; but, though I searched 
 everywhere, I could not find it. Seeing the misfortune which faced 
 me, and that my back might suffer for it, I ran to the place 
 (hermita) where Solano was busy taking the money and told him 
 what had happened. He stopped "gathering," and we left with 
 what he had collected. Consider now the plight of all these people ! 
 Some without merchants or bedclothes, the others deceived and 
 without a comedia! That night we traveled but little and that on 
 the by-paths. In the morning we took account of our finances and 
 found we had three and a half reals, all in small coppers. As you 
 see, we were now rich, but not a little timid, when, about a league 
 off, we discovered a hut, and, arriving there, we were received with 
 wine in a gourd, milk in a trough, and bread in a saddle-bag. We 
 breakfasted and left that night for another town, where we directly 
 took steps to get something to eat. I requested permission [to per- 
 form], sought out two bed-sheets, proclaimed the eclogue through the 
 streets, procured a guitar, invited the hostess, and told Solano to col- 
 lect the money. Finally, the house being full, I came out to sing the 
 ballad, Afuera, afuera, aparta, aparta. 1 Having finished a couplet, 
 I could go no further, and the audience gazed in astonishment. 
 Then Solano began a loa with which he made some amends for the 
 lack of music. I wrapped one of the sheets about me and began 
 my part, but when Solano appeared as God the Father, with a 
 candle in his hand and likewise enveloped in a sheet, open in the 
 middle, and besmeared all around his beard with grape-skins, I 
 thought I should die for laughter, while the poor public (vulgo) 
 wondered what had happened to him. This being over, I appeared 
 as a fool and recited my entr ernes, then continued with the auto, 
 and the point arrived when I was to kill the unhappy Abel ; but I 
 had forgotten the knife with which I was to cut his throat, so, tear- 
 ing off my false beard, I cut his throat with it. Hereupon the mob 
 arose and shouted. I begged them to pardon our shortcomings, as 
 the company had not yet arrived. At last, with all the people in 
 an uproar, the host came in and told us that we had better get out, 
 and thus avoid a sound drubbing. Upon this good advice we put 
 distance between us, and that same night we left with more than 
 
 'A Moorish ballad printed in the Romancero General, Madrid, 1604, 
 fol. 25. 
 
1 68 THE SPANISH STAGE 
 
 five reals which we had taken in. After we had spent this money 
 and had sold what few effects we had, eating often only the fungi 
 which we gathered on the road, sleeping on the ground, walking 
 barefoot (not on account of the mud, but because we had no shoes), 
 helping the mule-drivers to load their animals or fetching water for 
 them, and living more than four days on turnips, we arrived timidly 
 one night at an inn, where four drivers, who were stopping for the 
 night, gave us twenty maravedis and a blood-pudding (morcilla) to 
 play a comedia for them. After this hardship and misery we reached 
 the end of our journey, Solano in doublet, without ropilla 1 (which 
 he had pawned at a tavern), and I bare-legged and shirtless, with 
 a large straw hat full of air-holes, dirty linen breeches, and jacket 
 torn and threadbare. Thus ragged, I determined to enter the 
 service of a pastry-cook, but Solano being a shrewd fellow, did not 
 take to any work, and this was the state of things when, one day, 
 we heard a drum beat and a boy announced the excellent comedia 
 Los Amigos trocados, to be performed that night in the town 
 hall. When I heard this my eyes began to open. We spoke 
 to the boy, and, recognizing us, he dropped the drum and began 
 to dance for joy. We asked him whether he had any small 
 coin about him, and he took out what he had, which was tied up 
 in the end of his shirt. We bought some bread and cheese and a 
 slice of codfish, and after our repast he took us to the autor 
 (who was Martinazos). I don't know whether it grieved him to 
 see us so ragged, but finally he embraced us, and after we had 
 related all our hardships to him, we dined, and he bade us rid 
 ourselves of our fleas, so that they might not cling to the costumes, 
 for we were to act in the comedia. That night, in fact, we took 
 part, and the next day he made an agreement with us to act in his 
 company, each one to receive three quartillos [= three fourths 
 of a real] for each representation. He now gave me a part to 
 study in the comedia "The Resurrection of Lazarus," and to Solano 
 the role of the resurrected saint. Every time the comedia was 
 played the autor took off a garment in the dressing-room and loaned 
 it to Solano, charging him especially to let no fleas get into it. 
 When the play was ended he returned to the dressing-room, took 
 off the costume, and donned his old clothes. To me he gave stock- 
 
 1 A close-fitting unbuttoned tunic reaching to the thighs, with open sleeves 
 hanging from the shoulder. (Hume, Philip IV., p. 447.) 
 
ARISE, LAZARUS! 169 
 
 ings, shoes, a hat with plumes, and a long silk coat (sayo), beneath 
 which I wore my linen breeches (which had been washed in the 
 meanwhile), and thus, as I am such a handsome fellow, I came on 
 the stage like a gewgaw (bringuino) with my broad beaming face. 
 We continued this happy life for more than four weeks, eating 
 little, traveling much, with the theatrical baggage on our backs, and 
 without ever making the acquaintance of a bed. Going in this way 
 from one village to another, it happened to rain a good deal one 
 night, so, on the next day, the director told us — as it was only 
 a short league to where we were going — to make a litter of 
 our hands and carry his wife, while he and the other two men 
 would carry the baggage of the company, the boy taking the 
 drum and the other odds and ends. The woman being quite 
 satisfied, we made a litter with our hands, and she wearing 
 a beard, 1 we began our journey. In this way we reached our 
 destination, completely worn out, foot-sore and covered with mud ; 
 indeed, we were half dead, for we were serving as pack-mules. 
 Arrived in the village, the director immediately requested permis- 
 sion to play, and we acted the farce of "Lazarus." My friend and 
 I put on our borrowed clothes, but when we arrived at the passage 
 concerning the sepulcher, the director, who took the part of Christ, 
 said several times to Lazarus, "Arise, Lazarus! surge! surge!" and 
 seeing that he did not arise, he approached the sepulcher, believing 
 that he had fallen asleep. He found, however, that Lazarus had 
 arisen, body and soul, without leaving a trace of the clothes behind. 
 Not finding the saint, the people were aroused, and it seeming that 
 a miracle had taken place, the director was much astonished. 
 Seeing the fix we were in, and that Solano had left without in- 
 forming me, I took the road to Zaragoza, without, however, finding 
 any trace of Solano, nor the director of his clothes, nor the specta- 
 tors of Lazarus, who, they doubtless thought, had ascended to 
 heaven. I then joined a good company and gave up that toilsome life. 2 
 
 As already observed, the earliest theatrical managers in 
 Spain also frequently wrote the pieces played by their com- 
 panies, hence the name autor, which was originally applied 
 
 1 Rojas explains that a beard and sometimes a small mask was worn as 
 a protection to the complexion. 
 1 Viage entretenido, Madrid, 1603, pp. 91-101. 
 
170 THE SPANISH STAGE 
 
 to them and which afterward merely designated the chief 
 or director of a company, whether he wrote plays or not. 
 A manager who could not write comedias for his company 
 naturally cast about him for some one who could provide 
 them, and hence at an early period we find men traveling 
 with companies of players whose office it was to furnish 
 comedias. In France at this time we find Alexandre 
 Hardy, and in England many playwrights wrote for Hens- 
 lowe's and other companies. Sometimes these dramatists 
 were also professional actors; but of this class Spain has 
 no names among its actor-authors that will even remotely 
 compare with Shakespeare or Moliere. 1 Its greatest 
 dramatists were churchmen, not players. Indeed, among 
 the great Spanish dramatic authors only one, Alarcon, was 
 not a member of the priesthood. Of actors who were also 
 playwrights the best-known names in Spain are Lope de 
 Rueda, Juan de Villegas, and Andres de Claramonte. 2 
 In 1589, when Lope de Vega had been writing for the 
 public stage at least three or four years, we find Alonso del 
 Castillo, an actor, making an agreement with Gaspar de 
 Porres, a theatrical manager, to work in the company of 
 the latter from December 1, 1589, till Shrovetide of 1591, 
 "and the said Alonso del Castillo is to furnish to the said 
 Gaspar de Porres nine comedias composed by him, and 
 amongst them he is to give him the comedia Las Escuelas 
 
 1 "Son nora de theatre [Moliere] parait pour la premiere fois dans l'acte 
 du 28 Juin, 1644, par lequel Daniel Mallet, danseur de Rouen, s'engage 
 a servir la troupe 'tant en comedie que ballets,' " etc. (Soulie, Recherches 
 sur Moliere, Paris, 1863, p. 38.) It is possible that Moliere may have seen 
 the performances of the company of Spanish players headed by Pedro de la 
 Rosa, which made a tour through France in 1643, and which visited Paris 
 in that year. ( Sanchez- Arjona, Anales, p. 329.) Rosa again returned to 
 Paris in 1674. Sebastian de Prado was also in the French capital with his 
 company in 1660, on the occasion of the marriage of Louis XIV. to Maria 
 Teresa, daughter of Philip IV. (Ibid., p. 342.) Moliere certainly saw 
 the latter company, for in the Registre de La Grange, p. 22, after 
 "Dimanche ii me Juillet, 1660," we read: "II vint en ces tems vne Troupe 
 de Comediens Espagnolz qui joua 3 fois a Bourbon: vne fois a demye pist, 
 la seconde fois a vn escu, et la 3 me fois fist vn four." 
 
 1 Alonso de la Vega, a contemporary of Lope de Rueda, and also an 
 
ALONSO DEL CASTILLO 171 
 
 de Athenas, which he is now writing, and he is to give them 
 to no other person, until the four years be past which begin 
 with Shrovetide of 1591. He is to receive five and a half 
 reals for acting and maintenance every day that he may be 
 in the company before he has delivered the said comedia. 
 On account of the said comedias and representations Gas- 
 par de Porres will give him food and drink, and clean linen 
 or two and a half reals per day, and is to furnish him 
 transportation and besides 3200 reals," paying 200 reals 
 on account in cash. 1 
 
 This remuneration for acting was by no means liberal. 
 Castillo could certainly not live extravagantly even in those 
 days on two and a half reals per day, the usual smallest 
 allowance being three reals, and when we consider that 
 Solano, an actor, in 1595 received 3000 reals per year, it is 
 likely that Castillo's histrionic ability was not of a very 
 high order. Unfortunately, we are unable to judge of his 
 merits as a playwright, as neither his Escuelas de Athenas 
 nor any other play of his has survived, so far as I know. 
 On the other hand, 3200 reals for nine comedias by an 
 author of no more reputation than Castillo was rather 
 liberal, when we remember that Lope de Vega, some years 
 after this, received only 500 reals for a comedia. 
 
 It is probable that the more important theatrical com- 
 panies always contained some one capable of patching 
 up or remodeling a play to suit the exigencies of the 
 occasion, and while but few cases are cited of Spanish 
 
 actor, was the author of three plays, which were first published at Valencia 
 in 1566. On the title-page he is called "illustre poeta y gracioso represen- 
 tante." He was a Sevillan by birth and took part in the Corpus festival 
 in that city in 1560. His plays have been republished by Sr. Menendez y 
 Pelayo, Dresden, 1905. Andres de la Vega, a well-known autor de come- 
 dias more than half a century later, was the author of a comedia entitled 
 San Carlos, a manuscript of which, dated at Madrid, March 21, 1642, is 
 now in the Biblioteca Nacional. (Paz y Melia, Catdlogo de Comedias 
 manuscritas, No. 3010.) 
 
 1 Perez Pastor, Nuevos Datos, p. 25. Lope de Vega had written a num- 
 ber of comedias for Gaspar de Porres prior to this time. See my Life of 
 Lope de Vega, p. 38. 
 
1 72 THE SPANISH STAGE 
 
 actors who could also perform this function, we learn that 
 Pedro de Pernia, an actor in the company of Roque de 
 Figueroa, could, in case of accident, furnish twelve to 
 sixteen columns on short notice. 1 
 
 As regards the relations between the dramatists and the 
 managers of companies, it depended entirely upon whether 
 the author was one of the well-known and recognized play- 
 wrights or whether he was an obscure poet struggling for 
 recognition. In the former case there was frequently great 
 rivalry among the autores de comedias to secure the latest 
 plays. Lope de Vega, because of some real or fancied 
 affront, had at one time ( 1614) refused to write any come- 
 dias for Hernan Sanchez de Vargas, one of the best-known 
 actors and autores of the time, while he greatly favored 
 Alonso de Riquelme, whom he then provided with come- 
 dias. Sanchez even appealed to Lope's patron, the Duke 
 of Sessa, to aid him in conciliating Lope, while the latter 
 persisted in his refusal, alleging that Sanchez had all the 
 poets of Andalusia, including Luis Velez de Guevara, to 
 write for him, while no poet would furnish comedias to 
 Riquelme, on account of the latter's friendship for Lope. 2 
 On the other hand, the nascent, struggling poet was fre- 
 quently treated with great severity by the actors and was 
 often subjected to the greatest indignities by both managers 
 and players. Cervantes, who knew the theater well and 
 who would doubtless have preferred to be one of the 
 playwrights idolized by the mob, than be the author of 
 
 1 In an entremes written by Quinones de Benavente and performed in 
 Madrid by the company of Figueroa in 1628 (?), we read: 
 
 "(Sale Pernia.) 
 4 No es Pernia este que sale, 
 Que representa, que bayla, 
 Que hace versos, que remedia, 
 Si sucede una desgracia, 
 Doce 6 diez y seis colunas 
 De la noche a la manana?" 
 (Entremeses, ed. Rosell, Madrid, 1873, Vol. I, p. 167.) 
 See also the story related by Quevedo, Vida del gran Tacaho, cap. xxii. 
 "Rennert, Life of Lope de Vega, Glasgow, 1904, p. 222. 
 
THE COLLOQUY OF THE DOGS 173 
 
 Don Quixote, tells a story of one of these poetasters in the 
 Coloquio de los Perros : "Gradually we arrived at the house 
 of a manager of plays, who, as far as I recollect, was called 
 Angulo the Bad, to distinguish him from another Angulo, 
 not a manager but an actor, the best comedian that plays 
 then had and now have. All the company was assembled 
 to hear the play of my master, . . . and, in the middle of 
 the first act, one by one and two by two they all went out 
 and departed, except the manager and me, who served for 
 listeners. The play was such that, although I was an ass 
 in the matter of poetry, it seemed to me that Satan himself 
 had composed it for the total ruin of the said poet, who 
 was already beginning to feel uneasy as he saw the solitude 
 in which his audience had left him, and it was no wonder 
 that his prophetic soul told him within of the calamity that 
 was threatening him, which was the return of all the actors, 
 who were more than twelve, and who, without uttering a 
 word, laid hold of my poet; and if it had not been that 
 the authority of the manager, full of entreaties and pro- 
 tests, interfered, without doubt they would have blanketed 
 him. I was in consternation at the result, the manager dis- 
 gusted, the players cheerful, and the poet fretful. With 
 much patience, although his face was somewhat contorted, 
 he took his play and put it in his bosom, while, muttering, 
 he remarked, 'It is not good to cast pearls before swine,' 
 and without saying a word more he quietly went off." * 
 
 But if the better-known playwrights were not subjected 
 to personal insult, they nevertheless frequently suffered in 
 their reputations at the hands of unscrupulous theatrical 
 directors. Even the greatest of them all, Lope de Vega, 
 frequently complains of his treatment by them. In the 
 dedication of his comedia Los Muertos vivos 2 to the 
 
 1 Exemplary Novels, translated by N. Maccoll, Glasgow, 1902, Vol. II, 
 p. 202. See also Castillo Solorzano, Aventuras del Bachiller Trapaza, 
 chap, xv, ed. of Madrid, 1905 (La Enciclopedia Moderna), pp. 234 ff., and 
 La Garduna de Sevilla, near the end. 
 
 'Printed in Part XVII of his Comedias, Madrid, 1621. 
 
i 74 THE SPANISH STAGE 
 
 dramatic poet Salucio del Poyo, Lope expresses himself 
 concerning the dishonest practices of theatrical managers. 
 After alluding in very flattering phrases to the fame ac- 
 quired by Poyo, he says that this is, in another sense, a 
 misfortune for the dramatist, "as, on account of the good 
 reputation which you have in this capital, the theatrical 
 managers, when they have any comedia whatever with the 
 author of which they are not satisfied, adorn their placards 
 with your name, and since most of these comedias, being 
 written by some ignorant fellow, are detestable, you would 
 lose much reputation among those who know, if the injury 
 and its discovery did not reach those who esteem you 
 at the same time." He adds that "a poor comedia, 
 after it has run the gauntlet of villages, servants, and men 
 who live by stealing them and adding to them, is so dis- 
 figured as to be scarcely recognizable." 1 
 
 But the dramatist had other difficulties to contend with 
 besides the unscrupulousness of theatrical directors; I 
 allude to the dishonest practices of booksellers who issued 
 pirated editions of the comedias, to the great detriment of 
 the poet's reputation. 2 That the playwright suffered any 
 financial loss through these fraudulent versions issued by 
 the booksellers is not very likely, for the plays were sold 
 by their authors to the managers of companies, except per- 
 haps in the rare cases of playwrights like Andres de Clara- 
 monte and Juan de Villegas, who were also actors and 
 
 1 Life of Lope de Vega, pp. 293, 294. See also the Prologue to Lope's 
 Part XVII (ibid., p. 291), in which he complains bitterly of the tricks 
 and deceptions of booksellers and theatrical managers. 
 
 2 Lope de Vega, as is well known, complained of the piratical booksellers 
 in his Peregrino (1604) and lastly in his Dorotea (1632). (See my Life of 
 Lope de Vega, pp. 156, 344.) So Montalvan in the Prologo to the first 
 volume of his Comedias, Madrid, 1635, is especially bitter against the 
 booksellers of Seville, "donde no ay libro ageno que no se imprima," and 
 says that they cut the comedias down to four pliegos although eight may 
 be necessary, and that they issue from the press full of errors, barbarisms, 
 lies, and nonsense. Calderon also frequently deplores their practices. 
 It is a curious fact that a comedia of Lope, Sin Secreto no ay Amor, circu- 
 lated as a suelta under the name of Montalvan, a disciple of Lope. 
 
LUIS REMIREZ DE ARELLANO 175 
 
 directed their own companies. Having bought a play 
 from its author, it was of course to the interest of the pur- 
 chasing manager to prevent its appearing in print and thus 
 becoming common property. Besides, plays were often 
 acquired surreptitiously by some individual possessing a 
 good memory, who visited the theater and noted down what 
 he could, filling in the rest from memory or de su cosecha, 
 and then disposing of them to some bookseller or theatrical 
 manager. Lope de Vega alludes with bitterness to the 
 pirated versions of his plays as early as 1603, in the Pro- 
 logue to El Peregrino en su Patria, and frequently there- 
 after, notably in 1620 in the Prologue to Part XIII of his 
 Comedias. He says: "... To this must be added the 
 stealing of comedias by those whom the vulgar call, the one 
 Memorilla, and the other Gran Memoria, who, with the 
 few verses which they learn, mingle an infinity of their own 
 barbarous lines, whereby they earn a living, selling them 
 to the villages and to distant theatrical managers; base 
 people these, without a calling, and many of whom have 
 been jail-birds. I should like to rid myself of the care of 
 publishing these plays, but I cannot, for they print them 
 with my name while they are the work of the pseudo-poets 
 of whom I have spoken. Receive then, Reader, this Part, 
 corrected as well as it was possible to do it, and with my 
 good will, for the only interest it has is that you may read 
 these comedias with less errors, and that you may not 
 believe that there is any one in the world who can note 
 down a comedia from memory, on seeing it represented; 
 and if there were such a person I should praise him and 
 esteem him as standing alone with this power, even though 
 he should lack understanding, for seldom are they found 
 together, as philosophers declare and as experience con- 
 firms." 1 
 
 A curious instance of this filching of plays, of which he 
 was an eye-witness, is related by Suarez de Figueroa: 
 
 1 Life of Lope de Vega, p. 272. 
 
i 7 6 THE SPANISH STAGE 
 
 "There is at present in Madrid a young man of remarkable 
 memory, named Luis Remirez de Arellano, a native of 
 Villaescusa de Haro and the son of noble parents. This 
 person takes from memory an entire comedia on hearing it 
 three times, without the slightest variation either in plot 
 or verses. The first day he devotes to the general dispo- 
 sition of the plot, the second to the variety of the composi- 
 tion, and the third to the exactness of the verses. In this 
 manner he commits to memory any comedia he desires. 
 He thus noted down in particular La Dama Boba, El Prin- 
 cipe perfeto, and La Arcadia [all comedias by Lope de 
 Vega], besides others. Being present on one occasion, 
 listening to El Galan de la Membrilla [also by Lope], 
 which was being represented by the company of Sanchez, 
 the latter began to interrupt the argument and cut short 
 the speeches so obviously that, being questioned as to the 
 cause of this hastening and mutilation of the play, he re- 
 plied publicly that some one was present in the audience 
 (and he pointed him out) who in three days took down 
 from memory any comedia, and that he recited the comedia 
 thus badly for fear that he might wrongfully get posses- 
 sion of it. Hereupon there was great excitement among 
 the auditors, who requested that the play be stopped until 
 Luis Remirez left the theater." 1 
 
 1 Plaza universal de todas Ciencias y Artes, Perpinan, 1630, pp. 254, 255. 
 Espinel had mentioned this Remirez years before, in his Marcos de Obre- 
 gon, ed. of Barcelona, 1618, fol. 240, where he says: "There is a young 
 man in Madrid named Luys Remirez, who, on seeing any comedia repre- 
 sented, can go home and write down the whole of it without missing a 
 letter or mistaking a verse." This Luis Ramirez was also a poet. Mon- 
 talvan says of him: "Luis Ramirez, Poeta elegante, vizarro, y conceptuoso 
 con muchisimo estremo, y de tan rara y prodigiosa memoria, que de oir 
 una dos vezes una comedia, la repite toda entera, cosa que no se ha 
 contado jamas de ningun antiguo, ni moderno." (Para Todos, Madrid, 
 1645, Prologue; see also ibid., fol. 273, verso. On the stealing of Mon- 
 talvan's plays, see ibid., Prologue.) Malone, Historical Account of the 
 English Stage, Basil, 1801, p. 156, remarks: "It was a common practice to 
 carry table-books to the theater, and either from curiosity, or enmity to the 
 author, or some other motive, to write down passages of the play that was 
 represented ; and there is reason to believe that the imperfect and mutilated 
 
THE PRICE OF A COMEDIA 177 
 
 As to the honorarium received by dramatic poets, it of 
 course varied greatly, depending upon the popularity and 
 reputation of the writer. Moreover, about the middle of 
 the seventeenth century comedias commanded a much 
 higher price than was paid for them at the beginning of 
 that period. This, however, is doubtless due in no small 
 measure to the great depreciation in the value of money 
 during the reign of Philip the Fourth. In 1601 Lope de 
 Vega, then the undisputed ruler of the Spanish stage, re- 
 ceived 500 reals for his comedia La hermosa Alfreda, and 
 we may assume that this was the customary sum paid to the 
 most prominent playwrights at this time and for some 
 years thereafter, while the average sum received by Lope 
 for an auto was 300 reals. 1 In 1625 Pedro de Valdes, a 
 theatrical manager, paid 460 reals for Guillen de Castro's 
 Las Maravillas de Babilonia, 2 in 1627 Andres de la Vega 
 sold to Hernan Sanchez de Vargas eight comedias for 
 3600 reals, 3 and in 1633 tne dramatist Don Rodrigo de 
 Herrera sold to Juan Martinez, theatrical manager, his 
 comedia Castigar por Defender for 700 reals "vellon," 4 
 and the same poet, in his last will and testament, dated at 
 Madrid, December 14, 1657, declared that 600 reals were 
 
 copies of one or two of Shakespeare's dramas, which are yet extant, were 
 taken down by the ear or in shorthand during the exhibition." 
 
 'As we shall see hereafter, four autos sacramentales were represented 
 annually in Madrid at the festival of Corpus Christi. Lope's services were 
 also greatly in demand for this species of dramatic composition, and in 
 1608 he wrote the four autos represented at Madrid in that year. They 
 were: El Adulterio de la Esposa, El Caballero de} Fenix, Los Casamientos 
 de Joseph, and La Ninez de Crista. (Perez Pastor, Bull. Hispanique 
 (1907), p. 374.) In 1611 Lope de Vega received 1200 reals for the four 
 autos which he wrote for the Corpus festival at Seville of that year. 
 ( Sanchez- Arjona, Anales, p. 149.) Calderon, Spain's religious poet par 
 excellence, received much larger sums after the middle of the seventeenth 
 century for his autos. (See below, pp. 320, 321.) 
 
 ' Perez Pastor, Nuevos Datos, p. 209. 
 
 'Ibid., p. 213. It is probable that in these instances a larger sum had 
 been paid for these comedias originally, inasmuch as when these sales took 
 place the plays had already been acted upon the stage, and it was the 
 neia comedia which was always in greatest demand. 
 
 'Ibid., p. 232. 
 
178 THE SPANISH STAGE 
 
 still due him for his comedia Lo Cauteloso de un Guante y 
 Confusion de un Papel, for which he had received 200 
 reals on account, as 800 reals was the sum that he had 
 received for the other comedias he had written. 1 
 
 Concerning the honorarium received by English play- 
 wrights in the time of Shakespeare, it seems to have been 
 greater than the sums paid Spanish poets, when the rela- 
 tive reputations of the writers are considered. Malone 
 says: "The customary price of the copy of a play in the time 
 of Shakespeare appears to have been twenty nobles or six 
 pounds thirteen shillings and fourpence." 2 In some cases 
 it seems that the poet received the profits of the second or 
 third performance of his play. The same writer says: 
 "From D'Avenant, indeed, we learn that in the latter part 
 of the reign of Queen Elizabeth the poet had his benefit on 
 the second day. As it was the general practice in the time 
 of Shakespeare to sell the copy of the play to the theater, 
 I imagine, in such cases, an author derived no other advan- 
 tage from his piece than what arose from the sale of It. 
 Sometimes, however, he found it more beneficial to retain 
 the copyright in his own hands; and when he did so, I 
 suppose he had a benefit. It is certain that the giving 
 authors the profits of the third exhibition of their play, 
 which seems to have been the usual mode during a great 
 part of the seventeenth century, was an established custom 
 in the year 161 2, for Dekker, in the prologue to one of his 
 comedies, printed in that year, speaks of the poet's third 
 day." 3 He further adds : "When an author sold his piece 
 
 'Pertz Pastor, Bibliografia Madrilena, Part III, Madrid, 1907, p. 386. 
 
 'Historical Account of the English Stage, Basil, 1800, p. 178. 
 
 * Ibid.,, pp. 172, 173. Henslotve's Diary gives the most authentic infor- 
 mation concerning the sums received by playwrights for .their pieces. In 
 1598 Michael Drayton received £6 for the play of William Longsviord. 
 The entry is as follows: "I receued forty shillings of m r Phillip Hinslowe 
 in part of vi" for the playe of Willm longsword to be deliu'd p r sent w" 1 2 
 or three dayes the xxi"> of January | 1598 |. Mih Drayton." (Henslotoe's 
 Diary, ed. Greg, Part I, 1904, p. 59.) In 1598 Anthony Munday received 
 £$ for Robin Hood: "Layd owt unto antony monday the 15 of febreary 
 1598 for a playe boocke called the firste parte of Robyne hoode, v"." 
 
ENGLISH DRAMATISTS 179 
 
 to the sharers or proprietors of a theater, it could not be 
 performed by any other company, and remained for sev- 
 eral years unpublished; when that was not the case, he 
 printed it for sale, to which many seem to have been in- 
 
 (Ibid., p. 83.) The same amount was paid for the second part of Robin 
 Hood, which seems to have been written by Munday, Chettle, and Shaw 
 (ibid., p. 84), while Drayton, Dekker, and Chettle received £4 5/. for 
 "the famos wares of henry the fyrste & the prynce of walles" (ibid., 
 p. 85), though a payment on account may have been previously made. 
 Again, in 1598, Drayton, Dekker, Chettle, and Wilson received £6 "for 
 the boocke of goodwine & his iii sonnes" (ibid., p. 85), and Richard 
 Hathwaye received £5 for "his boocke of kynge arthore" (ibid., pp. 86, 
 87). In 1599 Dekker received £6 for his History of Fortunatus (ibid., 
 pp. 114, 115), and in 1601 he was paid the same sum for Kynge Sebastian 
 of portyngall, while in 1602 Thomas Haywood received £6 for A Woman 
 killed •with Kindness (ibid., p. 189), so that £6 seems to have been the 
 usual price for a play at the beginning of the seventeenth century. The 
 following lucid statement of the matter is given by Greg (Hensloive's 
 Diary, II, p. 126) : "For the earlier period, that is, down to 1597, we 
 entirely lack evidence upon the subject, and in the absence of any reason- 
 able basis, conjecture would be worse than useless. From the end of 1597 
 onward, we have, on the contrary, very full evidence, which shows that 
 the sums paid to authors were gradually rising. This was only part of 
 the general rise in prices during this period, due to the steady deprecia- 
 tion of money consequent upon the continued influx of the precious metals 
 from the New World. The earliest play for which we have complete 
 records is Mother Redcap, for which Drayton and Munday received £6 
 in full. This appears to have been the usual sum, though it is probable 
 that in some cases not more than £5 was given, as for each part of Robin 
 Hood. The first part of Black Baldman was bought for £7, but for Part 
 II the authors only got the usual sum of £6. This continued the standard 
 for a long time, with occasional variations of £5 on the one hand and £7 
 on the other. We suddenly find Chapman receiving £8.10 for his World 
 runs on Wheels, though this may possibly include a payment for another 
 piece. Chapman appears, however, to have commanded prices rather 
 above the average, and Dekker and Jonson received £8 for Page of 
 Plymouth. Prices now begin to fluctuate considerably. Day and Haugh- 
 ton only get £5 for Cox of Collumpton and Thomas Merry, respectively, 
 but the authors of Sir John Oldcastle get £7 for each part, besides a 
 bonus of iar. on the occasion of the first performance, and Wilson £8 for 
 2 Henry Richmond, a play of which the first part is not recorded. The 
 highest price entered [in the Diary] also appears about this time, namely, 
 the £10 paid for Patient Grissel (Dekker). It is, however, pretty certain 
 that, though the company authorized the expenditure of sums amounting 
 to this total, the authors did not really get them, but only £6 most likely. 
 The prices drop again, moreover, to something between £5 and £7 till 
 about May, 1602, when £8 begins to be a not infrequent price. This sum 
 was obtained by the six or more playwrights concerned in Casar's Fall 
 and the three who sufficed to compose Merry as may be for court. The 
 prices paid by Worcester's men are exactly the same, and it may be said 
 
180 THE SPANISH STAGE 
 
 duced from an apprehension that an imperfect copy might 
 be issued from the press without their consent." 1 
 
 It may be observed that the custom then prevalent in 
 England, of two or three or even more authors collaborat- 
 ing in the production of a play, was also common in Spain. 
 Mira de Mescua claims to have been the first to introduce 
 this practice among his fellow-playwrights : 
 
 Porque soy el que ha inventado 
 El componer de consuno. 2 
 
 That three poets should collaborate in writing a comedia, 
 each undertaking an act, was not infrequent ; in the comedia 
 La Luna Africana, 3 eight "ingenios" took a hand, while La 
 Conquista de Toledo y Rey Don Alfonso el VI. was written 
 by eight wits in three hours, 4 and it took no less than nine 
 poets to write Algunas Hazanas de las muchas de Don 
 Garcia Hurtado de Mendoza, Marques de Canete." They 
 were: Mira de Amescua, the Conde del Basto, Luis de 
 Belmonte, Juan Ruiz de Alarcon, Luis Velez de Guevara, 
 Fernando de Ludefia, Jacinto de Herrera, Diego de Ville- 
 gas, and Guillen de Castro, any one of whom alone (with 
 the exception, perhaps, of the Conde del Basto) could 
 doubtless have written a better play. * 
 
 throughout the standard price remains £6, but that while in the earlier 
 period £5 is not uncommon, toward the end payments of £7 and even £$ 
 became comparatively frequent. A decade later prices had risen greatly. 
 A third-rate poet like Daborne, evidently deep in Henslowe's toils, gets 
 £10 to £20 a play, and is constantly asserting in his correspondence that 
 he can get £25 elsewhere." 
 
 1 Historical Account of the English Stage, p. 175. 
 
 1 Comedias de D. Juan Ruiz de Alarcon y Mendoza, ed. Hartzenbusch, 
 p. xxxiii (Bib. de Aut. Esp., Tomo XX). 
 
 ' Paz y Melia, Catdlogo, No. 1929. 
 
 * Ibid., No. 684. 
 
 "Published in Comedias de Alarcon, ed. Hartzenbusch, pp. 489 ff. 
 
CHAPTER IX 
 
 The salaries of actors in the sixteenth and seventeenth centuries. 
 Managers turn actors. Corrales in various cities. Valencia as a 
 theatrical center. It is visited by players from Madrid. Sums 
 received by managers for the performance of a comedia. For 
 autos sacramentales. Receipts of a representation. The rental 
 of the corrales. 
 
 Actors were generally engaged by the managers of com- 
 panies for a period of one or two years, beginning at 
 Shrovetide or Ash Wednesday. They were paid every 
 evening, as soon as the play was over, unless there was an 
 express agreement to the contrary. In the comedia El 
 mejor Representante : San Gines, by Cancer, Rosete, and 
 Martinez de Meneses, we read : 
 
 Know that every night the player 
 Gets the wages which he earneth ; 
 This the autor pays, if even 
 In the chest there be no money. 1 
 
 The salaries of actors varied greatly, of course, accord- 
 ing to their skill and proficiency, or the power they pos- 
 sessed of attracting an audience. Thanks to the investiga- 
 tions of that indefatigable scholar, Dr. Cristobal Perez 
 Pastor, to whom we owe nearly everything that has been 
 added to our knowledge of the old Madrid stage during 
 
 '"Un representante cobra 
 Cada noche lo que gana, 
 Y el Autor paga, aunque 
 No ay dinero en la caxa." 
 (Comedias Escogidas, Vol. XXIX, 1668, p. 199.) 
 
 181 
 
1 82 THE SPANISH STAGE 
 
 the last half-century, we now possess a mass of material 
 concerning the actors of the latter part of the sixteenth 
 and the whole seventeenth century which is of the greatest 
 interest and importance. Among the documents collected 
 in his various publications are many contracts and agree- 
 ments between managers and actors which give us all de- 
 sirable information in regard to the salaries received by 
 players. As we know little or nothing concerning the rela- 
 tive merits of the vast majority of these more than eighteen 
 hundred actors, it would be useless to specify any save 
 those who occupied the most prominent positions in their 
 profession or whose names are best known in the annals 
 of the Spanish stage. 
 
 It is interesting, however, to give the earliest case cited 
 by Dr. Perez Pastor, under the year 1574, a time when 
 neither the Corral de la Cruz nor the Corral del Principe 
 had yet been established in Madrid. On May 17, 1574, 
 Juan de Sigura, an actor, agreed to work in the company of 
 Jeronimo Velazquez, "from to-day until Shrovetide of 
 1575, for the sum of 100 ducats [=1100 reals], and 
 besides he is to receive food, drink, and lodging, and to 
 have his clothes washed, and is to be conveyed on horse- 
 back, whenever necessary. And if the said Sigura should 
 absent himself from the company during the said time, the 
 autor [Velazquez] may seek another actor in the place of 
 the said Sigura, and the latter shall pay the costs and be- 
 sides a ducat for every auto or comedia which he may 
 miss." 1 
 
 In May, 1595, Agustin Solano, a well-known actor and 
 one of the interlocutors in the Viage entretenido of Rojas 
 (1603), agrees to work in the company of Gaspar de 
 Porres for two years, from Shrovetide to Shrovetide, act- 
 ing such parts as may be assigned to him, and to receive 
 3000 reals per year. 2 
 
 Generally, besides the amount to be received for acting, 
 
 1 Nuevos Datot, p. 334. ' Ibid., p. 42. 
 
EARLY ACTORS 183 
 
 an additional sum was stipulated for the maintenance of 
 the player, and in earlier times it was also expressly stated 
 that the player was to be provided with clean linen, as 
 when, in 1595, Jusephe Gonzalez, actor, and his wife 
 Luisa Benzon are to receive, in addition to their wage, 
 "one doubloon each year to wash their clothes, as ii cus- 
 tomary, and as other managers give, besides mules and a 
 cart for them and their baggage, when they leave the 
 court." 1 
 
 Minors were frequently bound out to the managers of 
 companies for a term of years, as when Francisco Ortiz, 
 in May, 1600, was placed with Gaspar de Porres for four 
 years, "to serve him and help him in his farces and autos 
 in everything which may be required, as well in private as 
 in public representations, and the said Gaspar de Porres is 
 to clothe, feed, and shoe him, and furnish whatever else 
 may be necessary, and to take care of him in his illness, 
 and to provide lodging and clean clothes, and to furnish 
 transportation when the company leaves Madrid, for 
 which, at the end of the said time, he [Ortiz] is to receive 
 90 ducats." 2 This is probably the Francisco Ortiz whom 
 we find in 161 7 as manager of a company. 3 
 
 A list of some of the more prominent players and their 
 salaries here follows : 
 
 On February 26, 1602, Agustin de Rojas (author of the 
 Viage entretenido ) agrees to act in the company of Miguel 
 Ramirez (an interlocutor in the Entertaining Journey) 
 from that date until Shrovetide, 1603, for 2800 reals. 4 
 
 In March, 1604, Miguel Ruiz and his wife, the cele- 
 brated Baltasara de los Reyes (called la Baltasara), 
 agreed to act in the company of Gaspar de Porres for one 
 year, receiving 1 6 reals for each performance and 6 reals 
 daily for maintenance, besides traveling expenses. 5 
 
 In September, 1604, Juan de Angulo is engaged to act 
 
 l lbid., p. 39. 'Ibid., p. 53. 'Ibid., p. 161. 
 
 * Ibid., p. 3 5 1 . ' Ibid., p. 84. 
 
i8 4 THE SPANISH STAGE 
 
 in the company of Antonio Granado for one year, receiv- 
 ing 5 reals daily for each representation and 3 reals for 
 maintenance. 1 
 
 1606: Juan Catalan and his wife Mariana de Guevara 
 were engaged by Alonso Riquelme for one year from 
 Shrovetide to Shrovetide, "to sing, act, and help in the 
 entremeses," receiving 15 reals for each performance, be- 
 sides 6 reals daily for maintenance, while Agustin Coronel 
 is to receive from the same autor 7 reals for each repre- 
 sentation, besides 4 reals daily for maintenance. Diego 
 Lopez Basurto, a famous comic actor (gracioso), joined 
 the same company, receiving 9 reals for each performance 
 and 3 reals daily for maintenance. 2 
 
 1610: Luis Alvarez and his wife Mariana de Herbias 
 agreed to act in the company of Alonso Riquelme for one 
 year from Shrovetide, 1610. "To Mariana Herbias are 
 to be assigned all the parts formerly played by Lucia de 
 Salcedo, for she takes the latter's place, and in the new 
 comedias she is to share the principal roles with another 
 actress. They are to receive 22 reals for each representa- 
 tion and 10 reals daily for maintenance." 3 
 
 161 1 : Pedro Llorente and his wife Maria de Morales 
 agreed to act in the company of Tomas Fernandez de 
 Cabredo for one year, receiving 20 reals for each perform- 
 ance, 8 reals for maintenance, besides traveling expenses 
 for the couple and a servant. 4 
 
 1 6 14: Luis Quifiones engaged for one year to sing 
 either solos or accompanied, in the troupe of Pedro de 
 Valdes, receiving 14 reals for each representation, 6y 2 
 reals for maintenance, and 300 reals for Corpus. Also 
 
 1 Nuevos Datos, p. 355. This was probably the "Angulo, el malo," who 
 afterward became director of a company and who is mentioned by Cer- 
 vantes. See Don Quixote, ed. Clemencin, Vol. IV, p. 190, and also Nuevos 
 Datos, p. 169, where Juan de Angulo and Bernarda Gonzalez, his wife, re- 
 ceived (in 1619) 12 reals for each performance and 6 reals daily for main- 
 tenance, besides "the customary amount for the Corpus festival" and 
 transportation. 
 
 'Ibid., p. 93. * Ibid., p. 116. *Ibid., p. 126. 
 
THE SALARIES OF ACTORS 185 
 
 Juan de Villanueva, to receive 10 reals for each perform- 
 ance and 4 for maintenance. 1 Juan de Graxales and his wife 
 Catalina de Peralta agreed to act in the company of Alonso 
 de Villalba; they are to receive 22 reals for each repre- 
 sentation, 8 reals for maintenance, and 22 ducats for the 
 octave of Corpus, besides traveling expenses and costumes. 2 
 
 1 619: Francisco de Castro is to receive from Tomas 
 Fernandez, besides his pay, transportation for himself and 
 wife, and if the latter do not accompany him, she is to 
 receive several pairs of silk stockings. 3 Alonso Fernandez 
 de Guardo and his wife Ana Cabello agreed to act in the 
 company of Fernan Sanchez de Vargas for one year, "giv- 
 ing to the said Ana Cabello the first parts, of which she 
 may not be deprived, for this is the especial agreement." 
 They received 24 reals for each performance, 10 reals for 
 maintenance, and 400 reals for the Corpus festival, and 
 traveling expenses for the couple and servant. Bartolome 
 de Robles and his wife Mariana de Guevara are to go 
 with Maria Lopez to represent four comedias in the town 
 of Buendia, receiving food and lodging and 1080 reals; 
 700 for the married couple and 380 for Maria Lopez. 4 
 Pedro Garcia de Salinas (a famous comic actor) and his 
 wife Jeronima de Valcazar are to act for two years in the 
 company of Sanchez, beginning at Shrovetide, 1619; 
 Salinas to play the part of gracioso, and Jeronima second 
 women's roles, receiving 24 reals for each representation 
 and 8 reals for maintenance, besides traveling expenses and 
 costumes. 5 
 
 1620: Andres de la Vega and his wife, the famous 
 Maria de Cordoba, called Amarilis, agreed to act in the 
 company of Tomas Fernandez during the year 1621, re- 
 ceiving 36 reals for each representation and 14 reals for 
 maintenance, besides 600 reals for the Corpus festival and 
 four riding-animals for traveling. 6 
 
 1 Ibid., p. 138. 'Ibid., p. 141. 'Ibid., p. 169. 
 
 *Ibid., p. 171. 'Ibid., p. 172. 'Ibid., p. 187. 
 
1 86 THE SPANISH STAGE 
 
 1623 : Juan de Villegas, actor (and also a playwright of 
 distinction), agreed to act in the company of Manuel 
 Vallejo, receiving 22 reals for each representation and 8 
 reals for maintenance. 1 In the company of Domingo Bal- 
 bin in this year Roque de Figueroa (afterward a famous 
 director) and his wife Maria de Olivares received 22 reals 
 daily, besides 11 reals for maintenance. Juan de Bezon, 
 a well-known gracioso, and his wife Ana Maria {la 
 Bezona) received, in the company of Hernan Sanchez, 27 
 reals daily, 13 reals for maintenance, besides 700 reals for 
 the Corpus festival and three riding-animals for traveling. 2 
 Bartolome Romero and his wife Antonia Manuela, in the 
 company of Juan Bautista Valenciano, received 24 reals 
 for each representation and 14 reals daily for maintenance. 
 
 1632: In December Maria Calderon {la Colder ona, 
 mother of Don John of Austria, born in 1629) agreed to 
 go to the town of Pinto to act in two autos and two come- 
 dias on Corpus Christi and the following day, for which 
 she received 1050 reals, besides traveling expenses for her- 
 self, her husband Tomas de Rojas, and a maid, and lodg- 
 ing and 8 reals daily while going and returning. 3 
 
 1633 : Maria de Cordoba is to act, sing, and dance in 
 two comedias at Daganzo, furnishing the necessary cos- 
 tumes. The two comedias are to be selected from the 
 following: No hay Dicha ni Desdicha hasta la Muerte (by 
 Mescua? Rojas Zorrilla?) ; Amar como se ha de Amar 
 (Lope) ;ElMilagroporlos Celos (Lope) ; Sufrir mas por 
 querer mas (Villaizan) ; El Mariscal de Biron (Montal- 
 van) ; La Puente de Mantible (Calderon) ; La Dicha del 
 Forastero (Lope) ; and El Examen de Maridos (Alar- 
 con). She is to receive 800 reals, board and traveling 
 expenses for herself and maid. In 1639 the same actress 
 received 1000 reals for four comedias at Valdemoro. 4 
 It will be seen that players generally received an extra sum 
 
 1 Nuevos Datos, p. 19a. 'Ibid., p. 203. 
 
 'Ibid., p. 226. 'Ibid., pp. 226, 30a. 
 
THE SALARIES OF ACTORS 187 
 
 for the Corpus festival, and about this time the custom 
 came into vogue of also giving additional sums for other 
 festivals. 
 
 1634 : In the company of Pedro de la Rosa in this year 
 Francisco de Velasco, who played first young men's roles 
 (primera parte de galanes), and his wife Ana Fajardo, 
 who was to play any part that might be assigned to her, 
 received 19 reals for each performance, 4 reals for main- 
 tenance daily, and 400 reals for the Corpus festival, besides 
 three riding-animals, while Cosme Perez (called Juan 
 Rana), the greatest comic actor {gracioso) of his time, 
 received 20 reals for each performance, 10 reals for 
 maintenance, and 550 reals for Corpus, besides three 
 riding-animals. Players of old men's roles generally re- 
 ceived very small pay; Pedro Sanchez Baquero, who 
 played first old men's parts in this company ("primera 
 parte de" barba), getting but 5 reals daily and 5 reals for 
 maintenance, with one riding-animal and baggage car- 
 ried. 1 Musicians seem to have been well paid, for in 
 March, 1633, Alonso Gomez Camacho agreed with the 
 director Sanchez to take part in the Corpus festival and 
 its octave, playing the violin, dancing, and directing the 
 music for 500 reals. 2 
 
 1637 : Maria de Quinones played the principal parts in 
 the company of Tomas Fernandez, receiving 1 6 reals for 
 each representation, 9 reals for maintenance, and 500 reals 
 for the Corpus festival, besides three riding-animals. 3 
 
 1638: Pedro Manuel de Castilla, of the company of 
 Antonio de Rueda, and one of the most celebrated galanes 
 of his time, received 20 reals daily, 10 reals for mainte- 
 nance, and 500 reals for Corpus, while Diego Osorio, a 
 famous gracioso, received 15 reals, besides 8 reals daily 
 for maintenance and 350 reals for Corpus. 4 
 
 1639: Mariana de los Reyes played first parts in the 
 company of Andres de la Vega, receiving 100 ducats 
 
 1 Ibid., p. 245. 'Ibid., p. 232. 'Ibid., p. 258. * Ibid., p. 301. 
 
1 88 THE! SPANISH STAGE 
 
 (= noo reals) tor the Corpus festival, n ducats each 
 for the festivals in August and September, and 7 ducats 
 for each of the other festivals; besides, "a trunk full of 
 clothes which she had pawned is to be released, she to pay 
 the amount due and to be allowed 5 reals daily for mainte- 
 nance when the company travels." x In this year the com- 
 pany of Antonio de Rueda contained, among others, Pedro 
 de Ascanio and his wife Antonia Infante ; the former was 
 to act, dance, and sing, the latter to play third parts and 
 to sing and dance the principal part in the saynetes, they 
 receiving 30 reals daily and 500 reals for Corpus. This 
 is the earliest mention of the word saynete (in the sense 
 of a short interlude) that I have found. In the same 
 company Dona Jacinta de Herbias y Flores, widow, was 
 engaged to act second parts, dance, and sing, receiving 21 
 reals daily, besides 440 reals for Corpus. 2 
 
 These data are more than sufficient to show the re- 
 muneration received by actors and actresses in Spain dur- 
 ing the most flourishing period of the drama. 3 If, for the 
 purpose of comparison, we convert these sums into Eng- 
 lish money, and reckon that a real at the close of the six- 
 
 1 Nuevos Datos, p. 302. 
 
 3 Ibid., p. 304. These are the actresses who figure in the episode related 
 on p. 127. 
 
 "Concerning the pay of English actors Malone says: "It is not easy to 
 ascertain what were the emoluments of a successful actor in the time of 
 Shakespeare. They had not then annual benefits, as at present. The clear 
 emoluments of the theater, after deducting the nightly expenses for lights, 
 men occasionally hired for the evening, etc., which in Shakespeare's house 
 was but forty-five shillings, were divided into shares, of which part be- 
 longed to the proprietors, who were called housekeepers, and the re- 
 mainder was divided among the actors, according to their rank and 
 merit." (Historical Account, p. 188.) "About twenty pounds was a con- 
 siderable receipt at the Blackfriars and Globe theater on any one day." 
 (Ibid., p. 194.) He further says that Hart, the celebrated tragedian, after 
 the Restoration had but three pounds per week as an actor, but he had 
 besides six shillings and three pence every day on which there was a 
 performance at the King's theater, making in all about one hundred and 
 forty-six pounds for a season of thirty weeks. (Ibid., p. 198.) It appears 
 that English actors were also frequently hired at Shrovetide. Of the 
 actors in the pay of Henslowe, we find a contract with Thomas Downton, 
 who on January 25, 1599, "ded hire as his couenante servante for ii yers 
 
ACTRESSES WELL PAID 189 
 
 teenth century was equivalent to sixpence, 1 we shall see 
 that their pay was large in comparison with other voca- 
 tions, and was probably much higher than the sums re- 
 ceived by English players of the same period, who were not 
 shareholders. The 3000 reals per year received by Agus- 
 tin Solano in 1595 was the equivalent of about £75, while 
 Agustin de Rojas in 1602 received 2800 reals, or about 
 £70, per annum. Where the player was paid a certain sum 
 for each representation, which was the almost universal 
 rule, as we have seen, it is much more difficult to calculate 
 the total sum, for representations were not given every 
 day and never on Saturdays, and the length of the theat- 
 rical season varied, though it was generally from thirty to 
 thirty-two weeks in a year. Still, how liberally Spain, as 
 poor as she was in 1632, was willing to pay for theatrical 
 exhibitions may be seen in the case of the great actress 
 Maria Calderon, who received 1050 reals for four per- 
 formances on two days, besides all expenses paid, the 
 equivalent of over £26, and Maria de Cordoba in the fol- 
 lowing year received 800 reals (=£20) for two repre- 
 sentations. Even larger sums were received by players in 
 
 to beg[a]yne at shrofe tewesday next & he to geue him viii s. a wecke as 
 long as they playe & after they lye stylle one fortnyght then to geue him 
 hallfe wages." (Henslowe's Diary, ed. Greg, p. 40.) And in a memo- 
 randum of July 27, 1597, we read: "I heayred Thomas hearne with ii 
 pence for to searve me ii yeares in the qualetie of playenge for fyve 
 shellynges a weacke for one yeare & vi s. viii d. for the other yeare which 
 he hath covenanted hime seallfe to searue me & not to departe from my com- 
 paney tyll this ii yeares be eanded." (Ibid., p. 201.) See also the agree- 
 ment of Henslowe with "John Helle the clowne" "to contenew with me 
 at my howsse in playinge tylle strafe tyd next after the date aboue 
 written" (August 3, 1597), etc., and the contract with William Borne, 
 ibid., p. 203. Here from Shrovetide to Shrovetide was also frequently the 
 term of the contract. Soulie, Recherches sur Moliere, Paris, 1863, p. 61, 
 prints two contracts with actors of a much later period (1664), in which 
 the players are obliged to be "dans la ville d' Abbeville en Picardie avec 
 leurs hardes, bagages et paquets pour commencer la representation des 
 pieces qui seront convenues entre eux du jour des fetes de Paques prochain 
 jusqu'au mercredi des Cendres aussi prochain." One of the actors agrees to 
 play the comic roles and "travailler aux decorations desdites pieces pour 
 les peintures qu'il y conviendra faire." 
 1 Minsheu's Spanish Dictionary, London, 1599, ad verb. 
 
i 9 o THE SPANISH STAGE 
 
 the succeeding years, though perhaps, on account of the 
 great depreciation in the value of money, the actual value 
 was no greater. 
 
 During this whole period which we have been consider- 
 ing the manager of every theatrical company, or autor de 
 comedias as he was called, was invariably also an actor. 
 The cases are therefore very frequent in which we find an 
 autor one year becoming a member of another's company 
 in the next, and in the succeeding year reappearing at the 
 head of a company, according as fortune was favorable or 
 adverse to him. 
 
 There is an early and interesting example in 1602, when 
 Jeronimo Lopez de Sustaya, autor de comedias, and his 
 wife Isabel Rodriguez agreed with Antonio Granado, also 
 an autor de comedias, to act in the latter's company for two 
 years, receiving 6 reals daily for maintenance and 5300 
 reals yearly, to be paid every four months. However, 
 Jeronimo Lopez is to give Granado "the comedias which 
 he may have, and among them the following four: San 
 Reymundo, Los Caballeros nuevos, La Fuensanta de Cor- 
 doba, and El Trato de la Aldea," all of which he declared 
 that "he had bought from the poets who had written them, 
 paying his money for them, so that the said Antonio Gra- 
 nado may use them as to him may seem best." 1 In like 
 manner Francisco de Sotomayor, who had been director 
 of a company in 1631, and his wife Vicenta Lopez joined 
 the company of Roque de Figueroa in 1632, as we learn 
 from a Loa by Benavente : 
 
 Bezon : Who are you ? 
 
 Sotomayor: Sotomayor, 
 
 Who, an authorized director, 
 Have this year become a player, 
 Since to me players are lacking. 2 
 
 'Perez Pastor, Nuevos Dales, p. 64. 
 
 ' Entremeses, edited by Rosell, Vol. I, p. 231. So in 1638 Pedro Manuel 
 de Castilla and Tomas de Heredia, who had been directors of companies in 
 
LOPE IN VALENCIA 191 
 
 With the establishment of fixed correles in Madrid, as 
 already observed, the taste for theatrical representations 
 grew rapidly until it became a passion with all classes, high 
 and low. Every large city possessed a theater, while every 
 town and hamlet, be it never so poor, looked forward with 
 eagerness to the advent of a company of strolling players, 
 whose visits seem to have been looked upon as the crowning 
 event of the year, and for whose representations, especially 
 those upon some festival, large sums of money were ex- 
 pended. We have already described the corrales of 
 Madrid and Seville, but Valencia, Granada, 1 Valladolid, 
 and Salamanca must have had theaters at a very early 
 date. It has been already remarked that the importance 
 of Valencia as a theatrical center has generally been exag- 
 gerated. While a corral certainly existed in that city as 
 early as 1583 or 1584, there is no evidence of any 
 unusual dramatic activity in Valencia before the ar- 
 rival of Lope de Vega in that city in 1588. In this 
 year Lope was tried for criminally libeling Jeronimo 
 Velazquez, a theatrical director, and several members 
 of his family. He was convicted and sentenced to ban- 
 ishment for two years from the kingdom of Castile, 
 and for eight years from the court (Madrid) and five 
 leagues therefrom. The first two years of his banishment, 
 till 1590, he expiated in Valencia, whither he went with his 
 wife and family. That Lope was very active in writing 
 for the stage during this period is evinced by the testimony 
 
 the preceding year, belonged to the company of Rueda and Ascanio. 
 (Ibid., pp. 368, 369.) 
 
 'According to Pedraza, Historia ecclesiastica de Granada, quoted by 
 Schack, Nachtrage, p. 18, Granada possessed a permanent theater a few 
 years after the conquest by Ferdinand the Catholic in 1492. Representa- 
 tions took place in the Casa de Carbon on the Darro, until the Coliseo 
 was erected in the Puerta del Rastro, called now the Puerta Real. "It 
 was arranged in the form most suited for this purpose, with aposentos 
 divided for men and women, and a patio surrounded by gradas, protected 
 from the sun and rain, but open to the sky in the center, as was the 
 Amphitheater at Rome." Of the Coliseo in the Puerta Real, Pedraza 
 says: "El Coliseo donde se representan las comedias es un famoso teatro: 
 
1 92 THE SPANISH STAGE 
 
 of Gaspar de Porres, a theatrical manager, who testified at 
 the trial for libel that he received comedias from Lope 
 every two months, and Porres's testimony is supplemented 
 by that of Quiros, another autor de comedias. 1 It is to 
 Lope's sojourn in Valencia in 1588-90 that the powerful 
 impulse which the drama received in that city is wholly 
 due. He was the founder of the Valencian School, for we 
 hear nothing of it before Lope visited Valencia, and that 
 the latter city was always dependent upon Madrid in 
 theatrical matters is shown by abundant evidence. After 
 the capital, as already observed, the most important theat- 
 rical center was Seville, yet the corrales of Seville were 
 also frequently visited by the large theatrical companies 
 of Madrid. Concerning the establishment of fixed co- 
 rrales in the other principal cities, there are no data 
 at hand, so far as I know, but they certainly possessed 
 them before the close of the sixteenth century. In 
 the Archivo Historico National there is a petition, dated 
 1602, to establish a theater in the "Carcel vieja" 
 in Cordoba, 2 but it is probable that a corral existed 
 there prior to this date. In 1606 the company of Juan 
 de Morales Medrano inaugurated the playhouse (casa 
 de comedias) in Zamora, 3 and in the same year they 
 appeared in Segovia, though it seems doubtful whether 
 there was then a fixed theater in the latter city. 4 In 1608 
 Alonso de Riquelme took his company to Toledo, to re- 
 main thirty days, the lessee of the casa de comedias in 
 Toledo, Juan Gallegos, agreeing to pay 50 ducats (= 550 
 
 apenas la fama del Romano le quita el primer lugar. Es un patio qua- 
 drado con dos pares de corredores que estriban sobre colunas de marmol 
 pardo, y debaxo gradas para el residuo del pueblo. Esta cubierto el 
 teatro de un cielo bolado, la entrada ornada de una portada de marmol 
 bianco y pardo con un escudo de las armas de Granada." 
 
 1 Life of Lope de Vega, pp. 38-40. 
 
 ' Nuevos Datos, p. 79. 
 
 * Sanchez-Arjona, Anales, p. 125. But see ibid., p. 109, note, from which 
 it appears that there was a casa de comedias in Zamora in 1599. 
 
 * Nuevos Datos, p. 96. 
 
ACTORS VISIT VALENCIA 193 
 
 reals) daily "for the whole company." 1 At least as early as 
 1584 Valencia was visited by a company of players from 
 Madrid, when Alonso de Cisneros represented there for 
 three months, prior to November 6 of that year. 2 In this 
 same year, apparently, for the account is not clear, "N. 
 Velazquez," whom I take to be Jeronimo Velazquez, 
 had also performed in Valencia, 8 while Rodrigo and Fran- 
 cisco Osorio were in the same city in 1588, 4 Bartolome 
 Lopez de Quiros in 1588 or 1589, and Juan de Vergara in 
 1594-95. In 1601 Gaspar de Porres took his troupe 
 there from Toledo, 5 and in 1619 we find a theatrical 
 manager, Hernan Sanchez de Vargas, who had always 
 been connected with companies organized in Madrid, 
 where he resided from the beginning of his career, taking • 
 up his residence in Valencia. 6 In 1623 Cristobal de 
 Avendano and Maria Candau, his wife, took their com- 
 pany to Valencia for fifty representations, and he again 
 visited the city with his company in 1 63 1 , being guaranteed 
 a subsidy (ayuda de costa) of 140 reals of plate double 
 for each representation. 7 In April, 1628, Juan Jeronimo 
 Almella or Amelia took his company to Valencia for sixty 
 performances, 8 and in 1635' Sebastian Gonzalez and his 
 wife Maria Manuela went' to Valencia to give one hun- 
 dred and forty performances, receiving 140 reals for each 
 
 1 Ibid., p. no. 
 
 'Lamarca, El Teatro de Valencia, Valencia, 1840, p. 18. 
 
 " Ibid., p. 19. 
 
 *Cotarelb, Lope de Rueda, p. 30; Life of Lope de Vega, p. 39. 
 
 " Nuevos Datos, p. 59. 'Ibid., p. 186. ''Ibid., pp. 195, 2Zo. 
 
 8 A melancholy record of the disastrous sojourn of Amelia's company 
 at Valencia in this year has recently been published by Henri Merimee 
 (Bulletin Hispanique (1906), p. 377) ; the company came to grief in June, 
 when Amelia's wardrobe and comedias were seized by one Jeronimo 
 Alfonso, clavarius of the General Hospital of Valencia, for money ad- 
 vanced to and expended in behalf of Amelia. The document, dated June 
 14, 1628, declares that "Ego hieronimus Alfonso, etc. . . . conffiteor et in 
 veritate recognosco me habere in commandam et purum depositum a vobis 
 Hieronymo Amelia, fabularum Aucthore, et domna Emanuela Henrriques, 
 vidua, valentis commorantibus, presentibus, acceptantibus, et vestris pro 
 tuhitione et securitate quantitatum per me vobis et pro vobis solutarum, 
 prestitarum et bistractarum raupas et fabulas siue comedias infrascriptas 
 
i 9 4 THE SPANISH STAGE 
 
 performance, 1 while in 1637 Pedro de la Rosa gave fifty 
 representations in the same city, 2 followed by Bartolome 
 Romero in the next year, who likewise gave fifty repre- 
 sentations, "the amount for each comedia to be no less 
 than 150 reals plate." 3 
 
 Not only all the large cities of Spain, but the theaters 
 of Lisbon also, drew upon the companies of the capital. 
 Of Madrid companies visiting Lisbon I have found no 
 earlier record than 1610, though we may be quite certain 
 that this was not their first advent in the Portuguese 
 capital. In that year the company of Alonso Riquelme 
 and Pedro de Villanueva went to Lisbon, 4 to be followed 
 in 1 6 1 5 by Pedro de Valdes and Jeronima de Burgos, 5 and 
 by Cristobal Ortiz de Villazan in 1619, who agreed with 
 the Royal Hospital of All Saints of Lisbon to go to the 
 latter city and perform during the months of October and 
 November, "producing new comedias, bailes, and entre- 
 meses." Dona Catalina de Carvajal is named as the owner 
 of the casa de comedias of Lisbon, and in the same year 
 Pedro Cebrian is to bring his company from Madrid and 
 to act there for three months, beginning on December r, 
 1619. 6 In 1639 Bartolome Romero's company visited 
 Lisbon, and in the same year they were followed by Pedro 
 Ascanio and Antonio de Rueda, T while Romero again rep- 
 resented in Lisbon from November, 1640, till Shrovetide 
 of 1641. 8 
 
 We have several times had occasion, in the course of 
 these pages, to mention the sums received by a director and 
 his company for a theatrical performance. This sum, of 
 course, not only varied greatly at different periods, being 
 
 et inmediate sequentes." A list of Amelia's theatrical costumes follows, 
 as well as of the comedias that constituted the repertory of his company. 
 This list of comedias, no less than seventy-two in number, is important, 
 as it appears to contain several which are otherwise unknown. 
 
 1 Nuevos Datos, p. 242. 
 
 'Ibid., p. 261. * Ibid., p. 292. * Ibid., p. 122. 
 
 'Ibid., p. 158. 'Ibid., p. 178. ''Ibid., pp. 289, 290. 
 
 'Ibid., p. 323. 
 
SUM PAID FOR A PERFORMANCE 195 
 
 much larger as we advance further into the seventeenth 
 century, but at one and the same period it depended upon 
 the size and excellence of the company. A few examples, 
 in addition to those already cited, may follow here. 
 
 In 1593 Gabriel Nunez and Andres de Naxera, autores 
 de comedias, agreed to go to the village of Villa verde and 
 represent a comedia "a lo divino" and one "a lo humano," 
 with their entremeses, receiving 20 ducats (= 220 reals), 
 besides traveling expenses, lodging, "and somebody to do 
 their cooking"; 1 and in 1602 the company of Luis de 
 Castro went to Salvanes to represent an auto in the morn- 
 ing and a comedia in the afternoon, for which they re- 
 ceived 900 reals, "besides twelve beds for the nights they 
 may spend there, a fanega of wheat baked into bread, and 
 three carts to take them from Torrejon to Salvanes." 2 
 It is very probable that these were companies of the 
 poorer kind, but at a much later time, in 1634, we find 
 that one of the most famous directors, Hernan Sanchez de 
 Vargas, played three comedias at the town of Villarubia 
 de Ocafia, receiving 2000 reals, besides a sheep, eight hens, 
 a fanega of baked bread, and three arrobas (= about 
 twelve gallons) of wine. 3 
 
 Generally the director's compensation was in money 
 only. In 1601 Pedro Jimenez de Valenzuela and Gabriel 
 Vaca took their company to the town of Barco and per- 
 formed four comedias, with their entremeses, at a festival, 
 receiving 3450 reals. 4 This seems to be a large sum and 
 doubtless included all traveling and other expenses. In 
 the following year Pedro Rodriguez, Diego de Rojas, and 
 Gaspar de los Reyes, managers of the company called La 
 Compania Espanola, performed in the same town two 
 comedias "a lo divino" : El Castigo en la Vanagloria and 
 Los Mdrtires Japones, with two entremeses each, and two 
 comedias "a lo humano" : El Conde Alarcos and El Cerco 
 
 1 Ibid., p. 37. 'Ibid., p. 69. 'Ibid., p. 237. 
 
 * Ibid., p. 55. 
 
i 9 6 THE SPANISH STAGE 
 
 de Cordoba, with two entremeses each, music and baile, for 
 3630 reals ; no transportation was furnished, but the ma- 
 yordomos" of the village were to provide fifteen pounds of 
 trout. 1 In 1605 Gaspar de Porres and his company repre- 
 sented on three consecutive days, also in Barco de Avila, 
 the following four comedias : La prosper a Fortuna de Rui 
 Lopez de Avalos (by Salustio del Poyo) ; La adversa 
 Fortuna de Rui Lopez de Avalos (also by Poyo) ; La Con- 
 desa Matilda (Lope de Vega) ; and either of the "comedias 
 divinas" : El Lego del Carmen or El Hermano Francisco, 
 and an entremes with each comedia, for 4200 reals. 2 In 
 1 61 2 the company of Tomas Fernandez went to Torrijos, 
 and on June 26 and 27 represented three comedias, with 
 their bailes and entremeses, for 1400 reals and lodging for 
 sixteen persons, besides six or eight carts "to take his com- 
 pany to the said town and afterward to Toledo." 3 In 1 614 
 Juan de Morales Medrano agreed to go to Torrijos with 
 his company and give two representations, a comedia "alo 
 divino" in the morning and one "alo humano" in the after- 
 noon, with their bailes and entremeses, for 1250 reals; 
 the comedia to be La Honra hurtada, "which must not 
 have been represented in any of the surrounding towns." 4 
 In 1 619 Tomas Fernandez received 2300 reals for four 
 comedias performed on July 6 and 7." In 1623 Juan de 
 Vargas and the company called Los Conformes represented 
 in Leganes the comedia La Morica garrida of Juan de 
 Villegas, with its music, entremeses, and bailes, for 450 
 reals. 6 In 1634 Hernan Sanchez de Vargas gave four 
 comedias in two days at Santa Cruz de la Zarza for 2500 
 reals, 7 and on the following day, Sunday, June 18, at 
 Villarubia de Ocafia he represented two comedias, and one 
 on the succeeding day in the morning, for 2000 reals. 8 In 
 1636 Pedro de la Rosa and his company received 1500 
 
 1 Nuevos Datos, p. 75. 'Ibid., p. 90. 'Ibid., p. 130. 
 
 4 Ibid., p. 143. 'Ibid., p. 183. "Ibid., p. 202. 
 
 r Ibid., p. 236. 'Ibid., p. 236. 
 
OCCUPET EXTREMUM SCABIES 197 
 
 reals for representing two comedias atTorrejon de Ardoz, 1 
 and we find that down to about 1 640, this was the usual 
 amount received for performing a comedia, i.e., about 750 
 reals. Toward the middle of the century this sum rose and 
 gradually increased till 1660, after which time no data are 
 available. In 1648 Antonio Garcia de Prado gave four 
 representations in the town of Brihuela, for which he re- 
 ceived 4900 reals, 2 and in 1655 Alonso de la Paz, autor de 
 comedias, represented Calderon's comedia Santa Maria 
 Egipciaca and two others at the town of Torija for 2850 
 reals and lodging for his company, 3 while in 1659 Diego 
 Osorio and his company performed three comedias and an 
 auto in the villa de Sonseca for 4000 reals ; 4 indeed, in the 
 previous year this same director had received an even 
 larger sum, the largest, in fact, of which I find any record, 
 when he represented an auto and the comedia La Dama 
 Corregidor, by Sebastian de Villaviciosa and Juan de Zaba- 
 leta, at Colmenar Viejo on June 23, receiving 5200 reals, 
 besides traveling expenses, food, and lodging. 5 
 
 It seems that about this time the wretched condition to 
 which Philip the Fourth had reduced his country, which 
 was now entirely exhausted, and the universal poverty 
 and destitution of the common people, due perhaps no less 
 to the contempt for honest labor than to oppressive taxa- 
 tion, also affected the theater in no small degree. The 
 King continued to give great and expensive festivals and 
 comedias at the palace, besides spending large sums on 
 the yearly autos at the Corpus festival, although he was 
 practically bankrupt. Still, there can hardly be a doubt 
 that the theater was no longer in the flourishing condition 
 in which it was prior to the middle of the seventeenth 
 century. Theatrical companies seemed to be quite as much 
 
 1 This village recently achieved notoriety through the dastardly attack 
 made upon the life of Alfonso XIII. and his bride in Madrid on June i, 
 1906. The assassin was killed in Torrejon. 
 
 1 Perez Pastor, Calderon Documentos, Part I, p. 159. 
 
 'Ibid., p. 226. 'Ibid., p. 262. " Ibid., p. 256. 
 
198 THE SPANISH STAGE 
 
 dependent upon the King for support as they were upon 
 the populace. Philip the Fourth interfered with the play- 
 houses in the most arbitrary manner, suddenly command- 
 ing actors and actresses or whole companies to appear at 
 the palace for his own private festivals or comedias, with- 
 out notice to the public. A comedia would be advertised 
 and the theater filled with spectators, when a command 
 would be received from the King that certain actors or 
 actresses in the play were to appear at the palace. As an 
 instance we may cite the declaration (on February 28, 
 1658) of the autor de comedias Francisco Garcia, called 
 Pupilo, who says that "there will be no representation 
 to-day of La Adultera penitente, because at eight o'clock 
 this morning, by order of the Marquis of Eliche, they 
 took him [Garcia] to the Buen Retiro to rehearse the 
 comedia which he is to represent before his Majesty on 
 Shrove Tuesday, the title of which is Afectos de Odio y 
 Amor [by Calderon]. . . . And they likewise took away 
 Isabel de Galvez, Maria de Escamilla, and Manuela de 
 Escamilla to rehearse another comedia entitled El Embus- 
 tero, which is to be represented before his Majesty." And 
 the same Francisco Garcia declared on March 4 that 
 "yesterday, being about to represent the comedia La 
 Adultera penitente, and there being many people in the 
 corral, at about two o'clock in the afternoon there came 
 an order from the Marquis of Eliche, and they took away 
 Isabel de Galvez and Maria and Manuela de Escamilla 
 and others of his company to the comedia which is to be 
 rehearsed in the Zarzuela for representation before his 
 Majesty." i A like instance occurred in the previous year, 
 when Francisco Garcia did not perform on February 10, 
 and the Teatro de la Cruz was closed, "because they had 
 taken the women of his company to represent the comedia 
 of Lazarillo before his Majesty." 2 
 
 1 Perez Pastor, Calderon Documentos, Part I, pp. 253, 254. 
 'Ibid., p. 244. 
 
EMPTY THEATERS 199 
 
 An instance of the waning popularity of the theater 
 may be seen in the fact that on Friday, April 30, 1660, 
 Vallejo represented in la Cruz Juan de Zabaleta's comedia 
 No Amar la mayor Fineza, "never before seen or per- 
 formed," and which we are told was a failure "on account 
 of the few people who were in the theater, the lessees tak- 
 ing but 294 reals." "On Saturday, May 1, Vallejo did 
 not represent, because there was not a soul in the theater," 
 while on Sunday, May 2, Vallejo again represented Zaba- 
 leta's comedia, when the lessees had but 203 reals. On 
 Thursday, May 17, Vallejo represented Montalban's Los 
 Amantes de Teruel in the Teatro del Principe; "the whole 
 receipts were given to him, and in all there were but 116 
 reals for the poor company." * 
 
 Where long engagements were made the lessee of the 
 theater generally guaranteed to the director of the com- 
 pany a certain amount daily as an ayuda de costa, besides 
 which he received a share of the receipts. In one instance, 
 in 1623, when the company of Cristobal de Avendario 
 gave fifty representations in Valencia, he received 40 
 ducats [=440 reals] for each performance, besides an 
 advance payment of 1000 ducats. 2 The largest sum re- 
 corded as having been received by an autor de comedias 
 is 1000 reals for each of sixty performances at the Coliseo 
 in Seville, which was paid to Hernan Sanchez de Vargas 
 in 1619. 3 If the company was inferior the remuneration 
 of the manager was, of course, correspondingly low, as 
 when Juan de Pefialosa in 1636 represented the two 
 famous comedias Casa con dos Puertas mala es de guar- 
 dar, by Calderon, and Nunca mucho costo poco, by Lope 
 de Vega, for 100 reals, besides traveling expenses. 4 A 
 company must surely have been in desperate straits to act 
 for such a small sum. 
 
 1 Ibid., pp. 375, 276. 
 
 ' Nuevos Datos, p. 195. 
 
 'Ibid., p. 177. 'Ibid., p. 256. 
 
200 THE SPANISH STAGE 
 
 For the production of the antos sacramentales at the 
 festival of Corpus Christi a much larger amount was paid 
 to the managers of companies than was paid for the per- 
 formance of a comedia. This was not only on account of 
 the length of the festival, but also because of the greater 
 expense which had to be incurred for costumes and other 
 accessories, though the carros were at the expense of the 
 municipality. As early as 1 599 ( and doubtless there were 
 earlier instances) it is expressly stipulated in the agree- 
 ments made with autores de comedias for the representa- 
 tion of autos that no other company except the one so 
 chosen shall have the right to perform in Madrid from 
 Easter until Corpus. 1 
 
 In 1578 Alonso de Cisneros represented three autos 
 in Madrid, for which he received 3300 reals, besides 275 
 reals for drawing the carts from place to place. 2 In 1592 
 Gaspar de Porres received 600 ducats [= 6600 reals] 
 for representing the autos entitled Job and Santa Catalina 
 at the Corpus festival at Madrid in that year. 3 In 1606 
 the four autos were represented in Madrid by the com- 
 panies of Juan de Morales Medrano and Baltasar Pinedo, 
 each representing two autos, for which each director re- 
 ceived 650 ducats. 4 In 1609 the companies of Domingo 
 Balbin and Alonso de Heredia performed two autos each 
 at Corpus in Madrid for 600 ducats, 5 and in 1610 Alonso 
 Riquelme agreed to represent two autos at the festival of 
 Corpus of that year "on Thursday and Friday until twelve 
 o'clock at night in such places as may be designated, re- 
 
 1( '5 Abril 1599. — Obligacion de Gaspar de Porres, autor de comedias 
 (fiador Jeronimo Lopez) de hacer dos autos para la fiesta del Corpus con 
 sus entreraeses, con condicion de que desde resurreccion hasta el Corpus 
 no han de traer a esta Villa otra compania sino es la suya." (Perez 
 Pastor, Nuevos Datos, p. 49.) And in 1627, when Roque de Figueroa and 
 Andres de la Vega represented autos in Madrid, we read: "Es declaration 
 que no se ha de permitir trabajar a otro autor en Madrid desde fin de 
 Cuaresma hasta pasado el Corpus." (Bull. Hisp. (190S), p. 254.) 
 
 2 Nuevos Datos, p. 11. * Ibid., p. 31. l Bull. Hisp. (1907), p. 372. 
 
 ° Nuevos Datos, p. 112. 
 
SUM FOR REPRESENTING AUTOS 201 
 
 ceiving for the said autos with their entremeses 600 
 ducats." 1 The same sum was received by Hernan San- 
 chez de Vargas for representing the other two autos in 
 this year. In fact, 600 ducats was the amount paid to 
 every theatrical director for representing two autos at 
 Corpus in Madrid down to the year 1637. In 1615 the 
 autos at Madrid were given by the companies of Pedro de 
 Valdes and Hernan Sanchez de Vargas, and it was stipu- 
 lated that "before Corpus no other company was to repre- 
 sent in Madrid except these two," 2 and in 161 7, when 
 Cristobal de Leon performed them, it was agreed that he 
 should represent two autos at Corpus on Thursday "from 
 two in the afternoon till twelve at night and on Friday 
 from six in the morning until noon, in such places as may 
 be assigned to him," 3 while when Pedro de Valdes repre- 
 sented the autos in 1 621, he was to give them on Thursday 
 from two in the afternoon till twelve at night and on 
 Friday from six in the morning until midnight. 4 In 1632 
 they were performed by Manuel Vallejo's company, who 
 received 600 ducats "for the two days, and if they should 
 represent on the Saturday after Corpus he is to receive 
 1000 reals, or 100 ducats, and besides an 100 ducats 
 gratuity, obliging himself to pay the half of the 100 
 ducats which he receives to the ganapanes who draw the 
 carts." 6 In 1637 the companies of Pedro de la Rosa and 
 Tomas Fernandez Cabredo received 800 ducats each for 
 the Corpus festival at Madrid, 6 and the same sum was 
 paid to Rueda and Ascanio in 1638, and to Bartolome 
 Romero for two autos in 1640. 7 This latter document is 
 dated March 14, 1640. On the other hand, a document 
 dated March 12, 1640, states that Bartolome Romero 
 was to receive 950 ducats "for half the festival of Cor- 
 pus," i.e., for two autos, the other two autos being given 
 
 l Ibid., p. 117. 'Ibid., p. 156. 'Ibid., p. 161. 
 
 'Ibid., p. 188. " Ibid., p. 224. 'Ibid., pp. 266, 369. 
 
 7 Ibid., p. 322 
 
202 THE SPANISH STAGE 
 
 by the companies of Luis Lopez de Sustaete and Damian 
 Arias de Penafiel "under the same conditions." 1 In 1645 
 each company received 925 ducats for two autos, 2 and in 
 1655 the companies of Diego Osorio and Francisca Ver- 
 dugo, widow of Riquelme, each represented two autos at 
 Madrid, receiving 10,750 reals, or about 975 ducats. 3 
 
 After 1658 only two autos were represented each year 
 in Madrid at Corpus. In 1 660 they were entitled La Paz 
 universal (El Lirio y la Azucena) and El Diablo mudo, 
 both written by Calderon, and they were acted by the com- 
 panies of Diego Osorio and Jeronimo Vallejo, who re- 
 ceived 950 ducats each, which amount was paid until the 
 death of Philip the Fourth. 4 
 
 Concerning the receipts of a theatrical performance, 
 something has already been said. 5 About 1575, before 
 either of the permanent theaters of Madrid were built, 
 the profits of a representation in one of the corrales were 
 from 140 or 160 to 200 reals. This was the sum received 
 by the hospitals to which the corrales belonged, exclusive 
 of the share of the autor de comedias and his company. 6 
 On February 8, 1580, when Juan Granados was repre- 
 senting in one of the corrales of Madrid, he contributed 
 his share of the profits of the performance toward defray- 
 ing the expenses of the new Corral de la Cruz. This 
 share amounted to 200 reals vellon. 7 And Alonso de 
 Cisneros, not to be outdone in generosity by his rival, 
 contributed the proceeds of a performance on October 19, 
 1580, to the same purpose. His share, which was the 
 money paid at the door (entrada), was 233 reals, while 
 
 1 Perez Pastor, Calderon Documentos, Vol. I, p. 121. 
 
 2 Ibid., p. 126. * Ibid., p. 238. 
 4 Ibid., p. 269 et passim. 
 
 "See above, pp. 31, 41, 56. 
 
 Pellicer, Histrionismo, I, p. 56. 
 
 7 Ibid., p. 60. According to Perez Pastor, it was Cisneros who repre- 
 sented on that day in the Cruz, "y dio para ayuda de costa del corral 200 
 reales que le correspondian de su aprovechamiento como autor." (Bulle- 
 tin Hispanique (1906), p. 77.) 
 
THE THEATERS OF SEVILLE 203 
 
 the deputies of the brotherhoods received 174 reals. 1 It 
 thus appears that at this time the total receipts of a per- 
 formance varied from about 350 to 450 reals vellon. 
 About three years after this, in 1583, "on some occasions" 
 the hospitals realized as much as 300 reals as their share 
 of a single performance. 2 On February 10, 1586, Jero- 
 nimo Velazquez gave a representation to which women 
 only were admitted, 3 which realized 760 reals, the charge 
 being one real for each person. From a representation 
 given on August 10, 1603, the share of the brotherhoods 
 was 282 reals. 4 
 
 The theaters of Seville furnish interesting information 
 upon this point. We learn that from April 3, 161 1, to 
 February 4, 1614, five hundred and twenty-six representa- 
 tions of comedias were given in that city: two hundred 
 and sixty-eight in Dona Elvira and two hundred and fifty- 
 eight in the Coliseo. During this period of nearly three 
 years the city received as its share of the takings of the 
 theaters 53,346 reals, or a little over 101 reals for each 
 representation. 5 As the city's portion consisted of eight! 
 maravedis from each person who entered the theater, wel 
 find that the average attendance at these popular theaters 
 during this period, when the drama was at its height, was 
 about 431. We have seen above (p. 56) that in 1622 
 in Seville the average number of persons who paid an 
 admission to the theater was 350. Indeed, the renting of 
 the corrales in Seville seems frequently to have been a 
 losing speculation for the lessees, and as early as 161 9 
 
 '"Valio el aprovechamiento de la entrada de la puerta, que pertenecia 
 al dicho Cisneros, 233 reales . . . y para las Cofradias hubo aquel dia de 
 entramos tablados (gradas), corredor (de las mugeres), y ventanas (apo- 
 sentos) 174 reales." (Pellicer, I, p. 61.) That Cisneros represented on 
 October 18 is confirmed by Perez Pastor, Bull. Hisp. (1906), p. 77. 
 
 'Ibid., p. 76. 
 See above, p. 43. 
 
 4 "De las mugeres=:97 rs.; de los hombres=ii9 rs.; de las ventanas = 
 48 rs.; de las celosias y sillas = i8 rs., = 283 reals." (Pellicer, Histrio- 
 nismo, I, p. 85.) 
 
 5 Sanchez-Arjona, Anales, p. 147. 
 
2o 4 THE SPANISH STAGE 
 
 we find that "comedias have reached such a point in this 
 city [Seville], that very few people come to see them, and 
 all autores or managers of companies who visit the city 
 leave it in debt and ruined." x 
 
 As regards the rental paid for the corrales, we have, 
 for the early period at least, some definite information. 
 On May 5, 1568, Jeronimo Velazquez began to represent 
 in one of the corrales of Madrid and paid 6 reals for 
 each day that he gave a performance. 2 In 1574 the 
 Italian, Ganassa, paid 10 reals per day for the rent of the 
 Corral de la Pacheca, 3 and in 1583 Antonio Vazquez and 
 Juan de Avila, who performed in the Corral del Principe, 
 also paid a daily rental of 10 reals. 4 It seems that for 
 the year 1579 the sum of 6000 maravedis was paid for 
 the rental of the Corral de Puente. 5 
 
 For a number of years following 1583 we have no 
 information, but it appears that even prior to 1600 the 
 brotherhoods had sublet various privileges. In 1602 the 
 bancos and ventanas of the two Madrid theaters were let 
 to Alonso and Juan Estebanez. Afterward, instead of a 
 partial renting, the deputies of the brotherhoods deter- 
 mined upon a total rental. This began in 161 5, accord- 
 ing to Pellicer, when the two corrales were rented to Juan 
 de Escobedo for two years for 27,000 ducats, and at the 
 expiration of this lease, in 161 7, to Matias Gonzalez for 
 four years for 105,000 ducats, and in 1621 to Luis Mon- 
 zon, Gabriel de la Torre, and Gabriel Gonzalez, also for 
 the term of four years, for 106,500 ducats, beginning on 
 St. John's day of that year and ending in 1625. The two 
 theaters were then leased to Francisco de Alegria from 
 1629 to 1633, for 115,400 ducats, and for the four fol- 
 lowing years to Juan de la Serna y Haro for 100,700 
 
 1 Sanchez-Arjona, Anales, p. 197. 
 
 * Pellicer, I, p. 48. * Ibid., p. 54. ' Ibid., p. 69. 
 
 'Bulletin Hispanique (1906), p. 77. This sum is almost incredibly 
 small, less than 200 reals, while there were at least fifty representations 
 in the corral during that year. {Ibid., pp. 73-75.) 
 
THE RENTAL OF THE CORRALES 205 
 
 ducats. 1 These amounts are very large compared with 
 the rentals of the Seville theaters. In 1585 the rent of 
 the Huerta de la Alcoba was 450 ducats yearly. In 161 1 
 that of the Coliseo was 2250 ducats, which was reduced 
 to 2000 ducats in 1622, though even at this figure it was 
 a losing enterprise for the lessee, as it was shown to be 
 worth only about 1600 ducats. 2 That the leasing of the 
 Madrid theaters was not always profitable is shown by the 
 fact that, on the death of Francisco ; de Alegria (see 
 above), his widow, Dona Juana Gonzalez Carpio, de- 
 clared in a petition that her husband had not only left her 
 without means to support herself- and her four children, 
 but that he had also dissipated a large part of her dowry. 3 
 
 'Pellicer, Histrionismo, I, pp. 96, 97, who gives the conditions of Luis 
 Monzon's lea%e, ibid., pp. 98 ff. I do not understand the statements in 
 Perez Pastor, Nuevos Datos, pp. 82, m, 123, 129, 134, 141, and 158. The 
 latter, for instance, reads: "Arrendamiento de los corrales de comedias 
 de la Cruz y del Principe, desde Carnestolendas de 1615 a Carnestolendas 
 de 1616, hecho por Cristobal Lopez en 900 ducados por tercios [i.e., in 
 three payments]. Madrid, 7 Abril 1615." The amount of the rent, more- 
 over, is so low that the persons mentioned were probably sublessees of 
 some privilege; in 1609 the sum specified is only 400 ducats. {Ibid., p. in.) 
 
 'Sanchez-Arjona, Anales, pp. 72, r48, 222. 
 
 'Pellicer, I, p. 98. 
 
CHAPTER X 
 
 Character of the actors and actresses. Decrees regulating theatrical 
 performances. The opposition of churchmen. Decrees of 1598, 
 1600, 1603, 1608, and 1 61 5 for the reformation of comedias. 
 
 Despite the hardships endured by companies of strolling 
 players, they seem never to have had any difficulty in re- 
 cruiting their ranks. Looked at askance in every town 
 and hamlet, and often threatened at the village gates as 
 perverters of the public morals and promoters of idleness, 
 there were still, at all times, many to whom this life made 
 a strong appeal. Though under the ban of the church and 
 denied civil rights for centuries, the followers of Thespis 
 have continued to flourish and increase, so potent has been 
 the glamour of the stage and so alluring the love of a 
 wandering life. Even amid the trials and tribulations so 
 graphically described by Agustin de Rojas, their numbers 
 in Spain steadily multiplied, and with the increase in num- 
 bers the growing license of the stage kept pace. We have 
 already mentioned the lascivious dances, like the "pestif- 
 erous Zarabanda," the Chacona, Escarraman, and others 
 which, making their appearance about 1588, became 
 one of the most powerful attractions of the comedia. 
 Urged on by the applause of the dreaded mosquetero 
 and of the dissolute "noble," these dances were car- 
 ried to a point which sorely tried the conservers of the 
 public morals, which latter were by no means exalted in 
 that not over-scrupulous age. 
 
 The dissoluteness of the actresses, who were frequently 
 disguised as men upon the stage, and the dangerous influ- 
 
 206 
 
WOMEN FORBIDDEN TO ACT 207 
 
 ence of these performances upon a people among whom 
 the craze for theatrical representations had become uni- 
 versal, caused a few eminent theologians, in 1587, to step 
 into the breach and attempt to stem the tide that was 
 sweeping everything before it. They failed, as we have 
 seen, for the indecent songs and dances, which the govern- 
 ment made a feeble effort to suppress, were succeeded by 
 others not more decorous, and the result was that in 1596 
 women were forbidden "to act in the said comedias." 1 
 Whether this prohibition was ever enforced, however, is 
 open to serious doubt; at all events, the death of Princess 
 Catharine, Duchess of Savoy and sister of Philip the 
 Third, on November 6, 1597, offered an opportunity for 
 putting a stop to the comedia, and the King accordingly 
 commanded the theaters of Madrid to be closed. 
 
 The churchmen and other opponents of the theater 
 took advantage of this suspension of theatrical representa- 
 tions to renew the question of suppressing them perma- 
 nently. The King submitted the matter to a council of 
 three theologians, who, after prolonged discussion, finally 
 decided against the theaters, and the King concurring in 
 this "consulta theologica," 2 a royal rescript was issued 
 on May 2, 1598, declaring that thenceforth no come- 
 dias should be represented. Among other evils attrib- 
 
 1 See above, p. 145. 
 
 ! The following is the text of this consulta, as given by Schack, and 
 which is contained in a MS. in the Royal Academy of History: "Consulta 
 que hizieron a S. M. el Rey D. Felipe II Garcia de Loaysa, Fray Diego de 
 Yepes y Fray Gaspar de Cordoba sobre las Comedias." After recommend- 
 ing the complete suppression of the comedia, they say: "Destas represen- 
 taciones y comedias se sigue otro gravisimo dano y es que la gente se da 
 al ocio, deleytes y regalo, y se divierte de la milicia, y con los bailes 
 deshonestos que cada dia inventan estos faranduleros y con las fiestas, 
 banquetes y comedias se haze la gente de Espana muelle y afeminada e 
 inhabil para las cosas de travajo y guerra. — . . . Pues siendo esto asi y 
 teniendo V. Mgd. tan precisa necesidad de hazer guerra a los enemigos de 
 la fe y apercebirnos para ella, bien se vee quan mal aparejo es para las 
 armas el uso tan ordinario de las comedias que aora se representan en 
 Espana. Y a juizio de personas prudentes, si el Turco o xarife o Rey de 
 Inglaterra quisieran buscar una invencion eficaz para arruinarnos y 
 destruirnos, no la hallaran mejor que la destos faranduleros, pues a guisa 
 
208 THE SPANISH STAGE 
 
 utable to comedias, according to this consulta, was "that 
 they fostered habits of idleness and pleasure-seeking in the 
 people and turned their minds from warlike pursuits; 
 that the banquets, festivals, and comedias were rendering 
 the Spanish people effeminate and unfit for the hardships 
 of war, and that the King, being obliged to wage war 
 against the enemies of the faith, was ill prepared, as a 
 result of the comedias as they are now represented in 
 Spain. That, in the judgment of prudent persons, if the 
 Turk or the King of England wished to seek an efficient 
 device to ruin and destroy the Spanish nation, he could 
 find none better than that of these players," etc. 
 
 This recommendation of the council of theologians was 
 followed, as just stated, by a royal decree prohibiting the 
 representation of comedias. Perez Pastor states that the 
 King called this consulta of theologians at the instance of 
 D. Pedro de Castro, Archbishop of Granada, who had 
 represented to his Majesty the harm resulting from these 
 representations. This is borne out by the only text of the 
 decree of May 2, 1598, directed to the Corregidor of 
 Granada, which has only lately been discovered. 1 That this 
 prohibition was not intended to be permanent is evinced 
 
 de unos manosos ladrones abrazando matan y atosigan con el sabor y 
 gusto de lo que representan, y hazen mugeriles y floxos los corazones de 
 nuestros Espafioles, para que no sigan la guerra o sean inutiles para los 
 trabajos y exercicios della." (Geschichte der dramatischen Literatur und 
 Kunst in Spanien, Vol. Ill, Nachtrage, pp. 28, 29.) 
 
 1 Bibliografia Madrileiia, Part I, Madrid, 1891, p. 308. The text of this 
 royal provision is : "Don Phelipe, por la gracia de Dios, etc .... A vos el 
 nuestro Corregidor de la ciudad de Granada: Sepades que Nos fuimos 
 informados que en nuestros reinos hay muchos hombres y mugeres que 
 andan en Companias y tienen por oficio representar comedias y no tienen 
 otro alguno de que sustentarse, de que se siguen inconvenientes de gran 
 consideracion. Y visto por los de nuestro Consejo fue acordado que de- 
 biamos rnandar dar esta nuestra Carta para vos en la dicha razon. E 
 Nos tuvimoslo por bien ; por lo qual os mandamos que, por ahora, no 
 consintais, ni deis lugar que en esa Ciudad ni su tierra, las dichas Com- 
 panias representen en los lugares publicos destinados para ello, ni en casas 
 particulares, ni en otra parte alguna; y no fagades ende al so pena de la 
 nuestra merced. Dada en la Villa de Madrid, en 2 de Mayo de 1598." 
 (Cotarelo y Mori, Controversias, p. 620.) 
 
THE DECREE OF 1598 209 
 
 by its very words. It commands that the Corregidor of 
 Granada "for the present ("por ahora") shall not consent 
 or permit in the said city or its neighborhood the said com- 
 panies to represent in the public places destined for that 
 purpose, nor in private houses, nor in any other place 
 whatever." 
 
 This decree was doubtless intended primarily to apply 
 to Madrid, 1 though I have been unable to find the text 
 which refers to the theaters of the capital. The theaters 
 of Madrid were, however, closed, but only for a short 
 time, for in the course of the same year in which the 
 decree was issued, the city sent a petition to the King 
 requesting its revocation, which petition has been pre- 
 served. In this Memorial the various reasons are 
 set forth why comedias should again be permitted in 
 Madrid, stating among other things that if excesses 
 exist in the comedias, they can readily be removed; 
 that comedias had been represented in the time of the 
 King and of his predecessors, and that they were per- 
 mitted and favored in all well-instituted commonwealths ; 
 that the comedia is "an example, notice, portrait, 
 mirror, model, doctrine, and warning of life, whereby 
 prudent and docile men may restrain their passions, flee 
 vices, elevate their thoughts, and learn virtues by demon- 
 stration, for all these are to be found in the comedia, 
 whence it follows that more may be apprehended by the 
 
 *It is very probable that the closing of the theaters in Madrid in 1598 
 was also due, in no small degree, to the prevalence of the pest in that 
 city. This is shown by the following work published in Madrid in that 
 year: Breve Tratado de Peste, con sus causas, senates y curacion: y de lo 
 que at presente corre en esta villa de Madrid, y sus contornos. Corapuesto 
 por el Doctor Antonio Perez Medico y Cirujano de su Magestad. ... En 
 Madrid, Por Luis Sanchez. Ano MDXCVIII. In his dedication he states 
 that he had undertaken to attend "assi a la formacion de la casa y hospi- 
 tal, para recoger los que por esta villa huuiese tocados deste mal, como a 
 la cura dellos, dando noticia a V. m. y al senor Corregidor don Rodrigo 
 del Aguila, dos veces en la semana, de lo que passa," etc. (Perez Pastor, 
 Bibliografia Madrilena, Part I, p. 312.) Perez Pastor {ibid., p. 308) 
 terms it "mal de secas que en la epoca se padecia en Madrid." 
 
2io THE SPANISH STAGE 
 
 eyes than may be taught by the understanding. There 
 is represented the happy end of the just king, the reward 
 of virtue, the importance of prudence," etc. That those 
 who visit the comedia may be reduced to two classes : the 
 idle and vicious, and the virtuous and occupied, and the 
 comedia does not make the former worse nor the latter 
 less good (menos buenos), for to the one it serves as a 
 bridle and restraint upon their vices, and to the others as 
 a spur to virtue and labor, of which both will be deprived 
 if comedias be suppressed entirely. The most urgent 
 reason assigned is that three or four of the largest hospi- 
 tals of the city are supported by the comedia, the General 
 Hospital receiving in each year more than 8000 ducats. 
 Another reason is that, comedias in Spain being always 
 written in verse, the actor is thereby prevented from 
 interpolating anything he chooses ; he is obliged to speak 
 what the poet has written, etc. Lastly and strangely 
 enough, it recites that comedias had not been prohibited 
 elsewhere "in these kingdoms." 1 
 
 It is probable that this protest was originated by the 
 directors of the hospitals of Madrid, who thus saw the 
 chief source of their income cut off. Still, this Memorial 
 was unavailing for the moment, though the King seems 
 to have been willing that the theaters should be reopened, 
 and an edict had been prepared to that effect, but his 
 confessor, Fray Diego de Yepes, opposed it so strenuously 
 that the order was revoked. 2 
 
 Finding the King on their side, the overseers of the 
 hospitals, we may feel sure, did not relax their efforts to 
 secure the repeal of a law which stifled them out of exis- 
 
 1 Memorial de la Villa de Madrid pidiendo al Rey Felipe II. que se 
 abriesen los teatros, cerrados por la muerte de la Infanta D" Catalina, 
 Duquesa de Saboya, Madrid, 1598. Printed in full in Perez Pastor, Biblio- 
 grafia Madrilena, Part I, p. 304. 
 
 2 This information is furnished by Cabrera, Relaciones, etc., p. 5, where 
 we find the following entry: "Madrid, 16 de Enero 1599. Habiase pro- 
 veido a instancia de los hospitales, que se representasen comedias, por la 
 mucha necesidad que padecian los pobres sin el socorro que desto les 
 
THE CORRALES OPEN AGAIN 211 
 
 tence. Accordingly, we find that on March 10, 1599, the 
 town council of Madrid resolved to send Sr. Gregorio de 
 Paz to Valencia, where the King then was, to present to 
 his Majesty, on the part of the city, a memorial begging 
 permission to have the city decked in the customary man- 
 ner for the reception of the Queen, and also that the King 
 be pleased to permit comedias and public representations. 1 
 So strongly did this petition move Philip the Third that he 
 overruled the objections of his confessor, and on April 17, 
 1599, comedias were again allowed to be played in the 
 theaters of the kingdom. 2 
 
 On the following day Philip the Third was betrothed to 
 the Archduchess Margaret at Valencia, and during these 
 festivities an allegorical auto by Lope de Vega, entitled 
 Las Bodas del Alma con el Amor divino, 3 was represented 
 in one of the public squares of Valencia. 
 
 With this decree, however, the opponents of the thea- 
 ter, among whom the most influential was Don Pedro de 
 Castro, Archbishop of Granada, were not satisfied. They 
 insisted upon the evil effects of the plays, and especially 
 of the dances then in vogue upon the stage. Accordingly, 
 in April, 1600, a council, consisting of four of the King's 
 Council, four theologians, and Fray Gaspar de Cordoba, 
 
 Tenia, pero el Confesor de S. M. Io ha resistido de manera que se ha 
 mandado revocar la orden dada." 
 
 '"Acuerdo de io de Marzo de 1599: — Que el Sr. Gregorio de Paz vaya 
 a la ciudad de Valencia a llevar a S. M. de parte desta Villa un memorial 
 suplicandole de licencia a esta Villa para que para el recibimiento de la 
 Reyna nuestra sefiora se pueda vestir como es acostumbrado y para que 
 se sirva dar licencia para que haya comedias y representaciones publicas. 
 — Acuerdos del Ayuntamiento de Madrid, t° 24, f° 16." Sr. Perez Pastor 
 adds: "En este ano se dejo (sesion de 8 de Enero) para despues el nom- 
 brar las comisiones de Autos, danzas y toros." (Nuevos Datos, p. 49.) 
 
 '"Madrid, a 17 de Abril 1599: — Tambien se ha dado licencia para que 
 de aqui adelante se hagan comedias en los teatros como las solia haber, 
 las quales dizen que se comenzaran a representar desde el lunes." (Ca- 
 brera, Relaciones, etc., p. 18.) 
 
 'Published in his Peregrino en su Patria, Seville, 1604, fols. 86-108. The 
 memorial of Alonso de Cisneros printed by Perez Pastor, Nuevos Datos, 
 p. 348, requesting that he be allowed to meet the new Queen with his com- 
 pany and to perform on the way, doubtless refers to this event. 
 
212 THE SPANISH STAGE 
 
 the King's confessor, was called 1 to determine what re- 
 strictions were to be imposed upon the theater, or rather 
 to formulate the conditions under which comedias might 
 be represented. The opinion of the theologians was that 
 "the comedias, as they had been represented up to that 
 time and as they were then performed in the theaters, 
 with the sayings, actions, gestures, bailes, and vulgar and 
 lascivious dances, were unlawful and that it is a mortal 
 sin to represent them." They resolved that the conditions 
 under which comedias might be represented were the fol- 
 lowing : ( i ) That the subject-matter of the comedia be 
 not evil or licentious, and that all immodest dances, say- 
 ings, and gestures be eliminated, as well from the come- 
 dias as from the entremeses. (2) That the many 
 companies of players be reduced to four, which companies 
 alone shall be licensed to represent comedias. (3) That 
 women should not in any circumstances be permitted on 
 the stage, nor should monks or prelates visit the theaters; 
 and if boys play female characters, wearing women's at- 
 tire, they must not appear rouged and must bear them- 
 selves with due modesty. (4) That no representations 
 shall take place in Lent, nor on the Sundays in Advent, 
 nor on the first day of the three Pasquas; nor may any 
 company remain in any town more than one month in each 
 year, nor may two companies play at the same time, and 
 in the said month they may play only three days in each 
 week — on Sunday and on two other days — which should 
 
 "Pellicer, Histrionismo, Vol. I, p. 151. Cotarelo y Mori, Controversial, 
 p. 208, says it was the Duke of Lerma who was favorable to the con- 
 tinuance of the comedia and who desired this commission to be appointed, 
 the text of which, directed to one of the King's Council, the Licentiate 
 Bohorques, is as follows: "Su Magestad ha mandado que quatro de su 
 Consejo se junten con quatro teologos en el aposento del P. Confesor 
 [Fr. Caspar de Cordoba] para conferir y ajustar la forma en que se 
 pueden permitir las comedias. Uno de los senalados es Vm. y el P. Con- 
 fesor avisara el dia en que se hubiese de hacer la junta. De Casa, 19 de 
 Abril de 1600." This Council, Sr. Cotarelo says, could not agree, and it 
 was finally increased to include eleven theologians who formulated the 
 dictamen. 
 
THE DECREE OF 1600 213 
 
 be feast-days, when there are any. (5) That in churches 
 and convents only plays of a purely devotional character 
 be allowed. Further conditions were that the men should 
 be separated from the women and should enter by dif- 
 ferent doors ; that no plays should be acted in the univer- 
 sities of Alcala or Salamanca, except during vacation; 
 that all comedias and entremeses, before being acted in 
 public, shall be played before a number of learned per- 
 sons, among them at least one theologian ; that a judge be 
 appointed to enforce the penalties against those who 
 break these conditions ; and, finally, that a license to per- 
 form should be granted for one year only "como para 
 prueba y experiencia de su observancia." 1 
 
 This dictamen of Fray Gaspar de Cordoba and his ten 
 colleagues was referred to the King's Council, who issued 
 it in the same year, though modified in several particulars. 
 After reciting in substance the opinion of the theologians 
 that there should be nothing improper in the comedias nor 
 in the songs and dances, concurring in the seasons and 
 times fixed by them, and adding that on the days that 
 comedias are given the doors of the theater shall not be 
 opened until two o'clock, "so that the people may not 
 miss the Mass, and for other reasons," the document pro- 
 ceeds as follows: "And since they [the theologians] like- 
 wise say that women shall not act because their freedom 
 (desenvoltura) in such public acts incites to evil, and that 
 if, in the place of women, boys appear on the stage in 
 female attire, they shall not appear rouged or in any un- 
 seemly make-up (compostura) , it appears to this Council 
 that it is much less improper that women should act than 
 that boys should appear in female attire, even though they 
 be not rouged nor made up, provided that the said women 
 do not appear in the habit or dress of men and be accom- 
 panied by their husbands or fathers, and not otherwise. 
 
 ^ellicer, Histrionismo , Vol. I, p. 151. This dictamen is now reprinted 
 in Cotarelo y Mori, ControveTsias, p. 208. 
 
2i 4 THE SPANISH STAGE 
 
 "As regards the opinion of the churchmen that there 
 shall be only four companies of players in the kingdoms 
 and that none of them may remain in any one place 
 longer than a month, and that they may not perform in 
 any one place more than four months in any whole year, 
 and that two companies may not play at the same time in 
 one place nor act more than three days in any week, Sun- 
 days and feast-days included, it appears that that portion 
 which refers to the number of companies and to the days 
 on which they may represent ought to be at the disposal 
 of the Council, as it has always been, so that the Council 
 may decree as it seems proper," etc. 1 
 
 That the recommendation of the theologians that there 
 should be but four companies of players was disregarded, 
 is further shown by the following autores de comedias, 
 whom I find mentioned between February, 1600, and 
 April 26, 1603 ; Melchor de Villalba, Gabriel de la Torre, 
 Gaspar de Porres, Juan de Villalba, Baltasar Pinedo, 
 Diego Lopez de Alcaraz, Pedro Jimenez de Valenzuela, 
 Gabriel Vaca, Antonio de Villegas, Miguel Ramirez, Juan 
 de Tapia, Luis de Castro, Alonso de Paniagua, Jeronimo 
 Lopez de Sustaya, Alonso Riquelme, Pedro Rodriguez, 
 Melchor de Leon, Diego de Rojas, Gaspar de los Reyes, 
 
 1 Cotarelo y Mori, Controversias sabre la Licitud del Teatro, pp. 163, 
 164. The resolution of this' Council as given by Cabrera de Cordoba 
 varies only slightly from the above, stating that permission is granted to 
 represent comedias de historias, but that they must not contain acts of 
 religion or of the saints. The passage in Cabrera, Relaciones, p. 59, 
 under date of February 4, 1600, is: "Solamente se ha tornado resolucion 
 que puedan representarse comedias en los teatros de aqui adelante, lo qual 
 estaba prohibido por evitar el escandalo y mal exemplo que en ellas habia ; 
 pero porque los hospitales no pierdan el provecho que se les sigue, sin lo 
 qual se padecia mucha en la cura de los pobres, y estaban para cerrarse 
 los hospitales porque no bastaban las limosnas, se da licencia para se 
 representar comedias de historias, y que no se mezclen actos de religion 
 ni de santos; y que las mugeres que representaren no se pongan en habito 
 de hombre, sino trayendo vaqueros largos, y que sean casadas con los 
 mismos que representaren, y que fuera de alii los unos ni los otros no 
 puedan andar vestidos de seda ni con guarnicion de ella ni de oro, sobre 
 lo qual ha habido junta de teologos, canonistas y juristas, para tomar esta 
 resolucion." 
 
THE DECREE OF 1603 215 
 
 Juan de Morales Medrano, and Gabriel Nunez, no less 
 than twenty-one heads of companies. 
 
 By a royal rescript dated April 26, 1603, the number 
 of theatrical companies was limited to eight. 1 The text 
 of this decree is as follows : "For very good and sufficient 
 considerations his Majesty has commanded that within 
 these kingdoms there may be only eight companies of play- 
 ers and the same number of autores or managers of them, 
 as follows : Gaspar de Porres, Nicolas de los Rios, Balta- 
 sar de Pinedo, Melchor de Leon, Antonio Granados, 
 Diego Lopez de Alcaraz, Antonio de Villegas, and Juan 
 de Morales, and that no other company may represent 
 within these kingdoms, and that you take notice of this, 
 so that you may fulfil and execute it inviolably within your 
 district and jurisdiction; and if any other company should 
 represent, you shall proceed against the manager and the 
 actors and punish them with due rigor ; and you shall not 
 in any manner permit companies to represent in the mon- 
 asteries of friars or in the convents of nuns, nor shall there 
 be any representations during Lent, even though they be 
 in the sacred manner; all of which you will guard and 
 fulfil," 2 etc. 
 
 1 It appears that such a craze for theatrical performances had seized all 
 classes by this time, especially artisans, that an attempt was made by the 
 authorities to check it in the year preceding this decree. In 1602 the Alcal- 
 des de Casa y Corte caused it to be proclaimed publicly that no workman 
 or tradesman of any occupation whatever, nor their masters, visit the 
 comedia on work-days, under a penalty of two years of banishment and a 
 fine of 2000 maravedis. (Perez Pastor, Bulletin Hispanique (1907), p. 
 367.) See also below, p. 220, note 2. 
 
 'This decree of April 26, 1603, is as follows: "Por muy justas causas y 
 consideraciones a mandado su Magestad que en todos estos reynos no 
 pueda auer sino ocho companias de representantes de comedias y otros 
 tantos autores de ellos, que son Gaspar de Porres, Nicolas de los Rios, Bal- 
 tasar de Pinedo, Melchor de Leon, Antonio Granados, Diego Lopez de 
 Alcaraz, Antonio de Villegas y Juan de Morales, y que ninguna otra 
 compania represente en ellos; de lo qual se adbierte a Vm. para que ansi 
 Io haga cumplir y executar ynviolablemente en todo su distrito y juris- 
 diccion, y si otra qualquiera compania representase, procedera contra el 
 autor della y representantes, y los castigara con el rigor necessario y en 
 ninguna manera permita que en ningun tiempo del ano se representen co- 
 medias en monasterio de frayles ni monjas, ni que en el de la quaresma 
 
2i6 THE SPANISH STAGE 
 
 The article of this decree restricting the number of 
 autores de comedias to eight seems not to have been ob- 
 served, for, in addition to the eight enumerated above, 
 I find the following directors of companies between 1603 
 and 1 61 5: Alonso de Riquelme (especially designated as 
 "de su Magestad"), Antonio Ramos, Domingo Balbin, 
 Alonso de Heredia, Hernan Sanchez de Vargas, Alonso de 
 Villalba, Tomas Fernandez de Cabredo, Cristobal Rami- 
 rez, Pedro de Valdes (called "de su Magestad," February 
 2, 1614), Pedro Llorente, Andres de Claramonte ("de 
 los nombrados por su Magestad," March 28, 1614). 
 
 In 1608 an order for the government and regulation of 
 the theaters of Madrid was issued by the licentiate Juan 
 de Tejada, of his Majesty's Council, to whom was com- 
 mitted the protection and government of the General Hos- 
 pital of the capital, and of the other hospitals which 
 shared in the profits of the theaters. This order is so 
 important and is so clearly the basis of the subsequent 
 decree of 161 5 for the regulation of the theaters, that I 
 copy it here. It shows, among other interesting things, 
 that women were not confined to seats in the cazuela, but 
 that, besides the aposentos, they also occupied the gradas 
 and tarimas. These regulations are as follows: "(1) 
 That before a manager may enter this court [Madrid] 
 with his company, he must first obtain a license from that 
 officer of the Council who is the protector of the said 
 hospitals, and without this he may not enter. ( 2 ) That 
 before Pascua de Resurrection of each year the managers 
 of companies shall give to the Council an account of the 
 company they have, declaring that the persons whom 
 they bring are married and to whom they are married, and 
 the same before representing in this court, under penalty 
 of 20,000 maravedis for the hospitals and punishment 
 
 aya representaciones deltas, aunque sea a lo divino; todo lo qual hara 
 guardar y cumplir. Porque de lo contrario se tendra su Magestad por 
 deservido. De Valladolid a 26 de Abril de 1603 afios." (Schack, Nach- 
 trage, p. 30, and now reprinted in Cotarelo, Controversias, p. 621.) 
 
THE DECREE OF 1608 217 
 
 besides. (3) That the manager who shall happen to be 
 in this court shall select his theater for the first week, 
 which .begins on Monday, otherwise he is estopped; and 
 if three autores should happen to be here, they shall 
 divide, each one representing two days successively (de 
 arreo ) , in such manner that in twelve days each one is to 
 represent eight comedias, four in each of the theaters. 
 (4) That two days before the representation of a come- 
 dia, entremes, or song, the said comedia, etc., is to be 
 taken to the officer of the Council for examination, and 
 until the necessary license be procured, the comedia, etc., 
 is not to be assigned to the players for study, under 
 penalty of twenty ducats and other punishment; and no 
 woman shall appear to dance or act in male attire, under 
 the same penalty. ( 5 ) That the doors of the theaters shall 
 not be opened until twelve o'clock, noon, and representa- 
 tions shall begin during the six months from October 1 
 at two o'clock, and during the other six months at four 
 in the afternoon, so that the performance may end one 
 hour before nightfall ; and the commissioners and algua- 
 ciles shall take particular heed that this be complied with. 
 
 (6) That it be clearly indicated on the posters what 
 comedias are to be represented each day, and he who for 
 good cause shall fail to do so shall give an account of it 
 to the officer of the Council, under the said penalty. 
 
 (7) That the brotherhood of the Pasion and of the 
 Soledad shall each year name two Commissioners, satis- 
 factory persons, rich and unoccupied, who shall take their 
 turn by weeks in each theater, and before naming the 
 whole number they shall furnish the list to the officer of 
 the Council, so that he may attend, if he so desire. ( 8 ) 
 That the said Commissioners appoint responsible and 
 trustworthy persons to receive the profits, who shall allow 
 nobody to enter without paying the required sum, and 
 they shall not leave the doors until at least the first act is 
 over, and having done so, they shall hand over the money 
 
zi 8 THE SPANISH STAGE 
 
 to the proper person for distribution. (9) That only 
 the four Commissioners, the person with the book, and 
 the money-takers (cobradores) shall enter without paying 
 either for entrance or for a seat, and no other person, 
 either because he is an alguacil, scrivener, brother (co- 
 frade), or deputy, nor for any other cause, and of this 
 the alguaciles shall take particular heed, so that there may 
 be no disputes on this account, and if there be, they shall 
 arrest the person, etc. (10) That the said Commissioner 
 shall, during his week, at ten o'clock in summer and at 
 eleven in winter, come every day to the theater to which 
 he has been designated, to assign (repartir) the benches 
 and aposentos, preferring titled persons and the nobility 
 who may have sent to request them. (11) That they 
 allow no man to enter or remain in the gradas or tarimas 
 of the women, nor allow any woman to enter at the men's 
 entrance, nor permit any one to enter the dressing-room 
 or elsewhere unless he be a player, and if any one shall 
 do so, the alguaciles shall put him in prison and shall duly 
 report it, so that the person may be punished; and no friar 
 shall likewise be permitted to enter the corrales to see the 
 comedias, as hereinbefore commanded. (12) That no 
 man be permitted to enter the aposentos especially desig- 
 nated for women, unless he be known to be the husband, 
 father, son, or brother, etc. (13) That no banco or 
 aposento be given without payment for it, but the Com- 
 missioners may give two bancos only every day in each 
 theater, during the week in which they serve, to accommo- 
 date the money-takers and such others as are necessary, 
 and no aposento may be given to anybody, although it be 
 vacant. (14) That none of the said Commissioners may 
 depute another in his place; if for good reasons he be 
 unable to attend, he shall notify his companion. (15) 
 That four Commissioners shall consult concerning any re- 
 pairs to the theater, etc. (16) That that officer of the 
 
THE DECREE OF 1608 219 
 
 Council who is protector of the hospitals shall name each 
 year a Commissioner of the said hospitals, who shall keep 
 the books of the profits of the said comedias and share 
 the same among the said hospitals as agreed upon. (17) 
 That the said Comissario de libro shall, on each day that 
 a comedia is given, go to the treasury of the theater at 
 three o'clock, and count what has been received from the 
 seats, buncos, and aposentos, as well as the quartos taken 
 at the doors, and shall divide it in the manner required, 
 etc. (18) That of the five quartos [=20 maravedis] 
 which are received at the entrance from each man and 
 woman, the manager shall take three, and the General 
 Hospital one, and the other hospital of the capital and that 
 of Anton Martin each one half a quarto; and of the 
 money which results from the asientos, buncos, uposentos, 
 ventanas, and celosius, the General Hospital shall receive 
 the one fourth part, that of the Ninos expositos another 
 fourth part and one eighth of it, and the rest to go to the 
 Hospital de la Pasion, as heretofore determined, etc. 
 (19) That of the money which proceeds from the venta- 
 nas, celosius, and other things of which the General Hos- 
 pital does not receive the quarto entrance money, one fifth 
 be given to the said hospital, and the remainder be divided 
 as profits from the asientos and aposentos. (20) That 
 a separate account be kept of the moneys resulting from 
 the renting of the corrales, the coach-house, and the six 
 reals which each autor gives for each representation for 
 repairs, and of the other things that cannot be divided 
 each day, and that care be taken that these sums be 
 collected, etc. . . . (26) That eight days before the 
 close of the year the Commissioners shall announce the 
 leasing of the corrales for the following year, etc. . . . 
 (29) That the lessee shall not receive for each uposento 
 more than twelve reals, nor for each banco more than one 
 real, under penalty, etc. . . . (31) That no curtains or 
 
2 2o THE SPANISH STAGE 
 
 hangings may be put in the aposentos, nor benches in the 
 patio, unless they be fastened to the walls." 1 
 
 On October 3, 161 1, Dona Margarita of Austria, 
 wife of Philip the Third, died, after having given birth to a 
 son on September 22, and the theaters were closed in con- 
 sequence. This was a blow not only to the players, but 
 also to the playwrights. Thus deprived of his immediate 
 source of income, we find Lope de Vega complaining of 
 his ill luck in a letter of October 6-8, to his patron, the 
 Duke of Sessa : "I have bidden good-by to the Muses on 
 account of the absence of comedias ; I shall feel their loss, 
 for, after all, they were a help in the frequent illness that 
 my little family suffers." Again, speaking of the same 
 subject, he says : "Only the comedia has felt the misfor- 
 tune," and adds: "with due discretion they are already 
 trying to resuscitate the play for the good of the hospi- 
 tals." 2 
 
 What the result of the recommendation of D. Juan de 
 Tejada was we do not know, but on April 8, 1615, the 
 Council issued another decree for the "Reformation of 
 Comedias," which does not differ materially from the 
 decree of 1603, except that it declares that there shall be 
 twelve autores de comedias, instead of eight, and names 
 them, and reenacts the recommendation of D. Juan de 
 Tejada (of 1608) in many of its provisions. It declares 
 that there shall be no more than twelve companies of play- 
 ers, to be named by the Council, who shall have a certifi- 
 cate of their appointment signed by Juan Gallo de An- 
 drade, secretary of the Camara del Consejo. That the 
 Council appoints the following twelve autores: Alonso 
 
 1 Cotarelo y Mori, Contro-versias, pp. 622-625. In this year (1608) we 
 find an "Auto de los Alcaldes de Casa y Corte" forbidding all men from 
 stopping at the door of the theater where women enter or leave the house, 
 under a penalty of 200 ducats and banishment for four years from the 
 court and five leagues therefrom. Madrid, May 6, 1608. (Bull. Hispa- 
 nique (1907), p. 374.) 
 
 2 Rennert, Life of Lope de Vega, p. 198. Two year; after this, on October 
 19, 1613, writing from Lerma to his patron, the Duke of Sessa, Lope de 
 
THE DECREE OF 1 615 221 
 
 Riquelme, Fernan Sanchez, Tomas Fernandez, Pedro de 
 Valdes, Diego Lopez de Alcaraz, Pedro Cebriano, Pedro 
 Llorente, Juan de Morales, Juan Acacio, Antonio Grana- 
 dos, Alonso de Heredia, and Andres de Claramonte, who, 
 and no others, may conduct companies for the space of 
 two years next following the eighth day of April, and they 
 shall have in their companies persons of good lives and 
 habits, and shall each year furnish an account of them to 
 the person whom the Council may designate, and the 
 same shall be done by those who may be named autores 
 hereafter, every two years. 
 
 That the directors and married actors be accompanied 
 by their wives. 
 
 That they shall not wear costumes against the pragmat- 
 ics of the realm, except upon the stage or wherever they 
 may represent. 
 
 That the actresses shall appear only in decent women's 
 attire and shall not represent in underskirt (faldellin) 
 only, but shall at least wear over it a gown or loose over- 
 skirt {baquero 6 basquina suelta enfaldada) , and they shall 
 not act in male attire nor assume the roles of men, 
 nor shall men or youths represent women on the stage. 
 It prohibits all lascivious or immodest songs, dances, or 
 gestures, and permits only such as may be in conformity 
 with the old dances and bailes, and especially forbids all 
 the bailes de escarramanes, chaconas, zarabandas, carre- 
 terias, and all similar dances, concerning which it com- 
 mands that the autores may not make use of them in any 
 manner whatsoever, under the penalties declared, nor 
 may they invent other new and similar ones bearing dif- 
 ferent names. And all songs and dances must be ap- 
 proved by the Council, even those which are permissible. 
 
 Vega says that he had received word from Madrid that women had been 
 forbidden to visit the comedia. His words are : "De Madrid me han escrito 
 que por pregon publico se ha prohibido que las mugeres no vayan a la 
 comedia, no se que se murmura aqui acerca de la causa." (Schack, Nach- 
 trage, p. 34.) I find no mention elsewhere of such a prohibition. 
 
222 THE SPANISH STAGE 
 
 It provides further that in each theater of Madrid an 
 especially appointed alguacil shall be present (besides 
 Juan Alicante, alguacil de la casa y corte de S. M.), and 
 the other two alguaciles during the time for which they 
 may be appointed, each to remain in the theater to which 
 he may be designated, and all are to take precautions that 
 there be no noise, uproar, or scandal; that the men be 
 kept separated from the women, both in the seats and in 
 the entrances and exits, to avoid all unseemly acts; and 
 they shall permit nobody except the players to enter the 
 dressing-rooms. They are further to see to it that the 
 auditors leave the theater before dark and that the thea- 
 ters be not opened until noon. 
 
 That the autores and their companies shall not repre- 
 sent in private houses in Madrid without the license of the 
 Council, nor shall they admit anybody to their rehearsals. 
 
 That no comedias whatever be represented from Ash 
 Wednesday until the first Sunday after Easter, nor on the 
 Sundays in Advent, nor on the first days of the Pascuas. 
 That all comedias, entremeses, bailes, dances, and songs, 
 before they are handed over to the actors to be studied, 
 shall be taken to the censor appointed by the Council, who 
 shall pass upon them and shall give a license, signed by 
 him, permitting their representation, and without this 
 license they may not be performed. 
 
 That no two companies may be in one place at the same 
 time except in the court [Madrid] and in Seville, nor 
 may they be more than two months in one place in any 
 year. 
 
 That no performance be given in any church or monas- 
 tery unless the comedia be purely one of devotion. 
 
 That the autores or players who fail to observe the 
 above-mentioned declarations be punished in the follow- 
 ing manner : For the first offense a fine of 200 ducats, to 
 be devoted to charitable works ; for the second the double 
 of this fine and banishment from the kingdom for two 
 
AUTORES IN 1615-1640 223 
 
 years, and for the third infraction two years in the gal- 
 leys. The decree is signed by Juan Gallo de Andrade. 1 
 
 We have seen that by the above decree of 161 5 only 
 twelve autores de comedias, or directors of companies, 
 were permitted to give theatrical performances, and that 
 these autores were to exercise this privilege for two years 
 only, except by special reappointment. Among the autores 
 de comedias between 161 5 and 1640 who were especially 
 designated as "appointed by his Majesty," I have found 
 the following, though there were doubtless others: 
 Cristobal Ortiz de Villazan (1619); Manuel Vallejo 
 (1623) ; Juan Bautista Valenciano (1623) ; Juan Mar- 
 tinez (1624) ; Bartolome Romero (1637) ; Pedro de la 
 Rosa (1637) ; Luis Bernardo de Bovadilla (1637) ; An- 
 dres de la Vega (1638) ; Juan Roman (1638) ; Francisco 
 Velez de Guevara (1639) ; Francisco Alvarez de Vitoria 
 (1639) ; Pedro de Cobaleda (1639). 
 
 Of autores de comedias not designated as appointed by 
 the King, the following names occur between 161 5 and 
 1640: Cristobal de Leon, Pedro Cerezo de Guevara, 
 Francisco Mudarra, Francisco Ortiz, Juan Catalan, 
 Alonso de Olmedo y Tofino, Cristobal de Avendano, 
 Jeronimo Sanchez, Antonio de Prado, Juan Jeronimo 
 Almella, Roque de Figueroa, Juan Vazquez (El Polio), 
 Lorenzo Hurtado de la Camara, Francisco Lopez, Juan 
 Bautista Espinola or Espinosa, Sebastiano Gonzalez, 
 Juan de Malaguilla, Juan Penalosa, Francisco Solano, 
 Segundo de Morales, Juan Rodriguez de Antriago, 
 Damian Arias de Penafiel, Pedro de Linares, Pedro de 
 Ascanio, Antonio de Rueda, Gabriel de Espinosa, Damian 
 de Espinosa, Luis Lopez de Sustaete, Francisco Garcia, 
 and Pedro Manuel de Castilla (Mudarra) . 
 
 For some time prior to 161 5, however, the question of 
 
 'Cotarelo y Mori, Controversias, etc., pp. 626, 627. This decree had 
 previously been published in part by Sepiilveda, El Corral de la Pacheca,, 
 p. 41. 
 
224 THE SPANISH STAGE 
 
 completely suppressing the comedias must have been again 
 discussed, for on February 25, 161 5, a resolution was 
 adopted by the town council or ayuntamiento of Madrid, 
 which reads: "Having heard that there is a question of 
 prohibiting comedias, and that in lieu of the profits which 
 the hospitals derive from the comedias certain excises 
 and imposts are to be levied, ... it has been shown by 
 experience that it is less dangerous to have comedias than 
 to suppress them, for those who go to see them are thus 
 prevented from having recourse to other things of greater 
 danger and prejudice to them; ... it is therefore re- 
 solved that the council entreat his Majesty that comedias 
 may be permitted as heretofore, and that the proceeds 
 resulting therefrom be devoted to the hospitals," etc. 1 
 
 The comedia, it seems, had not been flourishing as here- 
 tofore, and in the previous year (1614) there had been a 
 general complaint on the part of the overseers of the 
 charities dependent upon the theaters, in which they were 
 supported by the autores, that the income from the come- 
 dia had been greatly diminished on account of the de- 
 creased attendance at the theaters. The reasons assigned 
 were various: "because the price of admission had been 
 raised; because the buncos and aposentos had been 
 farmed out, and further restrictions had been made as to 
 the entrance of women into the theaters, and, finally, 
 because there are no good autores nor any dances by 
 
 women." 2 
 
 The representation of comedias was continued under 
 the restrictions prescribed by the decree of 1615, but 
 Pellicer says that they were not so popular, "having lost 
 the salt and attraction of the picaresque dances, of which 
 the youth of both sexes are so fond." 
 
 This condition of things was not destined to continue 
 long. As one may readily imagine, the managers of the 
 
 1 Perez Pastor, Nuevos Datos, p. 359. 
 'Pellicer, Histrionismo, Vol. II, pp. 159, 160. 
 
NUMBER OF COMPANIES 225 
 
 theaters were not slow to give the public what it asked, 
 and gradually, one after another, every restriction that 
 had been placed upon the theaters was disregarded. 1 Be- 
 sides the twelve privileged companies of players (com- 
 pahias reales or de titulo) numerous other companies 
 soon sprang up {companias de la legua, as they were 
 called) , which overran the peninsula and apparently took 
 no pains to avoid the capital. According to Pellicer, 
 there were no less than forty, their total membership 
 amounting to over one thousand persons. 2 
 
 Indeed, a writer quoted by Ticknor declares that in 
 1636 there were as many as three hundred companies of 
 
 1 Other measures respecting the theaters were enacted in succeeding 
 years. In 1624 churchmen were prohibited from visiting the theaters or 
 bull-fights: Acuerdo de la Junta de Rcforraacion. "En 24 de Marzo 1624 
 acordo la Junta que los religiosos no fueran a las comedias ni a los toros." 
 (Perez Pastor, Bull. Hisp. (1908), p. 250.) In the following year an at- 
 tempt was even made to prevent the printing of comedias : Acuerdo de la 
 Junta de Reformacion. "Y porque se ha reconocido el dano de imprimir 
 libros de comedias, novelas ni otros deste genero por el que blandamente 
 hacen a las costumbres de la juventud, se consulte a su M d ordene al Con- 
 sejo que en ningun manera se de licencia para imprimirlos." In the mar- 
 gin is the following note: "Hablose sobre deste punto a 7 de Marzo [1625] 
 con el s r Conde Duque, y parecio a S. Ex 1 que el Presidente mi senor de su 
 oficio lo hiciesen, y que su S* podria mandar asi." (Ibid., p. 251.), In the 
 same year it was again declared that the men should be separated from the 
 women in the theaters and that the companies of players be reduced from 
 forty to twelve : Acuerdo de la Junta de Reformacion : "En la Junta de 29 de 
 Junio 1625 se acordo que hubiese separacion de hombres y mugeres en los 
 corrales de comedias, que las companias de 40 se reduzcan a 12." {Ibid.) 
 And in December, 1625, it was recommended that representations in Madrid 
 be given in only one theater : Acuerdo de la Junta de Reformacion. "En 1 1 de 
 Diciembre de 1625 acordo la Junta que en la corte se representase en un solo 
 corral cada dia." (Ibid., p. 252.) While on January n, 1626, it was 
 declared that but one comedia should be represented each day in Madrid. 
 (Ibid., p. 252.) The two latter decrees were certainly never observed. 
 
 'Cervantes, Don Quixote, Madrid, 1797-98, Vol. IV, p. no, note. Pelli- 
 cer's information is probably derived from a memorial presented to 
 Philip IV. by one Santiago Ortiz. The date of this instrument has been 
 fixed in 1639, though this is uncertain. Ortiz says that, in spite of the 
 decree of the Council that there should be no more than eight (sic) com- 
 panies, there were now more than forty. "Vieronse en poco tiempo dis- 
 currir con desvergiienza grande por el reino 40 companias, en que se 
 ocupaban mil 6 pocas menos personas de ambos sexos, gente bagabunda, 
 de vida licenciosa y casi toda de costumbres estragadas, etc. A este gente 
 perdida suelen agregarse hombres facinerosos, clerigos y frailes apostatas 
 
226 THE SPANISH STAGE 
 
 players in Spain. 1 That this number is greatly exag- 
 gerated does not admit of a doubt. It is probable that 
 there were not more than twenty companies of standing in 
 Spain in 1636. Of smaller strolling bands we have no 
 information, but there were doubtless many, as there had 
 been for years. Still, the theater was undoubtedly on the 
 wane. 
 
 In some parts of Spain, indeed, theatrical representa- 
 tions were not tolerated at all, as in Navarre, and "come- 
 
 y f ugitivos, que se acogen como asilo de estas companias para poder andar 
 libres y desconocidos a la sombra de ellas. Maridos que solo sirven de 
 excusa a sus mugeres, y mugeres que solo sirven de excusa a sus maridos, 
 falsos 6 verdaderos, y que con sus desenvolturas y bufonerias encantan a 
 los viejos y a los mozos . . . hallan valedores para todo, y nunca sus 
 delitos pueden refrenarse con algunas penas." (Sanchez-Arjona, Anales 
 del Teatro en SeiAlla, p. 282.) Pellicer states that Santiago Ortiz, the 
 author of this memorial, was an actor, but Cotarelo y Mori, Controversias, 
 p. 541, shows quite conclusively that this is an error and that he was prob- 
 ably "algun religioso austero," and fixes the date of the memorial in 1649. 
 
 1 History of Spanish Literature, Boston, 1888, Vol. II, p. 518, note 9. The 
 writer alluded to by Ticknor under the title "Pantoja, Sobre Comedies ," 
 is really Simon Lopez, to whom reference has already been made. "Pan- 
 toja" was the name of a lady who had expressed scruples concerning the 
 legality of comedias, to which the work of Simon Lopez was a reply. 
 (Cotarelo, Controversias, p. 399, note.) 
 
 The following statement from Leon Pinelo's Anales is not without inter- 
 est, and is, besides, a flat contradiction of the assertion of "Pantoja." After 
 describing the funeral of Lope de Vega in 1635, Pinelo says, under the 
 year 1636: "En este insigne Ingenio [Lope] tuvieron principio las come- 
 dias en la forma que hasta oy permanezen, y con su muerte han ydo 
 descaeziendo, de modo que el Doctor Montalvan en el ano de 1632 pone 
 setenta y siete Poetas de que refiere los nombres, y los mas escrivian 
 comedias: oy no podremos senalar quatro que se apliquen a esta ocupa- 
 zion, y asi se van despoblando los Teatros y desaciendo las Companias 
 de la farsa." (Schack, Nachtrage, p. 36.) Still, one is curious to know 
 whom Pinelo had in mind when he says that "not four poets can be 
 named nowadays who devote themselves to writing plays." In 1636 
 Guillen de Castro was dead, but Calderon was then at the height of his 
 fame, and Mira de Mescua, Alarcon, Rojas, Velez de Guevara, Montal- 
 ban, Moreto, and Tirso de Molina were still among the living, though 
 perhaps the latter had then practically ceased writing for the stage. That 
 the companies of players were not all disbanded in 1636 is shown by the 
 fact that among the principal autores who had companies in that year 
 or shortly thereafter are the following: Pedro de la Rosa, Manuel 
 Vallejo, Hernan Sanchez de Vargas, Tomas Fernandez de Cabredo, Bar- 
 tolome Romero, Luis Bernardo de Bovadilla, Alonso de Olmedo, Antonio 
 
DECLINE OF THE THEATER 227 
 
 dians who entered that kingdom were severely punished," 
 as Crespi de Borja writes in 1649. 1 The same writer also 
 says that comedias were at this time not often acted in 
 Valencia, Segorve, Jativa, and other places. And as early 
 as 1620 an anonymous writer says: "In other cities like 
 Plasencia, Burgos, Leon, Toro, Zamora, Cuenca, Ocafia, 
 and others, actors are rarely seen, unless it be to represent 
 some festival." 2 Two years later, in 1622, the mayor- 
 domo of the hospitals of the city of Vitoria proposed that 
 a theater be erected in the city to provide a revenue for the 
 hospitals, and to this the town council assented. But the 
 hijosdalffo of the city and the natives of the surrounding 
 country objected to a theater, declaring that the inhabi- 
 tants were very industrious and that they would become 
 worthless and their business and employments would suf- 
 fer; moreover, a portion of the site that had been chosen 
 would, from its darkness, afford lurking-places for thieves 
 and vagabonds. The structure was begun, though it 
 remained unfinished and was never used as a theater. 3 
 That for some time prior to 1634 there had been no co- 
 medias represented in Murcia, we learn from a letter of 
 Francisco de Cascales to Lope de Vega. 4 And in 1694 
 
 de Prado, Roque de Figueroa, Andres de la Vega, Luis Lopez de Sustaete, 
 Antonio de Rueda, and others. 
 
 Since writing the above I have found that the statement of Pinelo, 
 though under the year 1636, was not actually written until 1658. It may 
 have been correct at the latter date. See Comedias de Moreto, edited by 
 D. Luis Fernandez Guerra, p. xii (Bibl. de Autores Espaiioles). 
 
 '"En Navarra no solo no las [i.e., comedias] hay, pero son castigados 
 gravemente los comediantes si entran en ella." He further says, speaking 
 of comedias: "en las ciudades donde no las hay continuas, como en Va- 
 lencia, Jativa, Segorve y otros lugares del reino, donde nunca 6 raras 
 veces las hay, no se ven ni se hacen mayores delitos cuando faltan estas 
 comedias." (Quoted by Cotarelo y Mori, Coniroversias, p. 194.) This 
 is a rather startling statement, if true, for it shows the early decline of 
 the comedia in a city — Valencia — which was one of the great theatrical 
 centers at the beginning of the seventeenth century. 
 
 2 Cotarelo y Mori, Controversias, p. 229. 
 
 'Perez Pastor, Nuevos Datos, p. 190. 
 
 ' Cartas filologicas, Murcia, 1634: "Muchos dias ha, Senor, que no tene- 
 
228 THE SPANISH STAGE 
 
 comedias were banished from the city of Cordoba and its 
 theater was ordered to be torn down by the city council. 1 
 
 mos en Murcia comedias; ello-deve ser porque a qui han dado en perseguir 
 la representacion, predicando contra ella, como si fuera alguna secta 6 
 gravisimo crimen." (Edition of 1779, p. 127.) I do not know the date of 
 this letter, but it was written after 1621. See also Schack, Nachtr'dge, p. 61. 
 1 Controversies, p. 209. 
 
CHAPTER XI 
 
 Private representations before the King. Philip the Third. Philip 
 the Fourth. The latter's fondness for the theater. Representa- 
 tions in 1622. Festivals at Aranjuez. The "Buen Retiro." 
 Lope's Selva sin Amor. Dramatic spectacles by Calderon. De- 
 cree of 1 64 1 regulating plays. The theaters closed in 1646 and 
 again in 1682. 
 
 On March 31, 1621, the theaters of Madrid were closed 
 on account of the death of Philip the Third, and all come- 
 dias were suspended until July 28 of that year. 1 The autos 
 were represented on Corpus Christi as usual, and in Ma- 
 drid they were performed by the companies of Pedro de 
 Valdes and Cristobal de Avendano, who were the only 
 autores permitted to act in Madrid "from the day the 
 license should be given until Corpus." 2 During the autos 
 of this year we are told that not a castanet was heard, out 
 of respect for the late King. At Seville they were pre- 
 sented by the companies of Hernan Sanchez de Vargas 
 and Juan Bautista Valenciano. 3 
 
 Upon the opening of the corrales of Madrid, on July 
 28, 1 62 1, the first comedia to be performed was Lope de 
 Vega's Dios haze Reyes, which was represented by the 
 company of Diego Lopez de Alcaraz. 4 
 
 'Pellicer, Vol. I, p. 161. It is probable that this prohibition also extended 
 to Seville. Fernandez-Guerra (Alarcon, p. 351) states that the theaters 
 were closed only till May 9, 1621. 
 
 'Perez Pastor, Nuevos Datos, p. 188. 
 
 3 Sanchez-Arjona, Analei, p. 217. 
 
 'Pellicer, Histrionismo, Vol. I, p. 161, says: "Comenzo Alcazar por una 
 comedia de Lope de Vega," etc. This is evidently a mistake for Alcaraz, 
 since we know that the latter, who had been an autor de comedias since 
 the last decade of the sixteenth century, was in Madrid in 1621 and the 
 
 229 
 
2 3 o THE SPANISH STAGE 
 
 Of the kings of Spain during the period with which we are 
 concerned, Philip the Second seems to have lent no support 
 to the theater nor to have favored it in any material way. 
 Indeed, nothing could have been more opposed to his 
 gloomy religious character, and while Philip the Third in- 
 herited much of the somberness of his father's nature, 
 k which toward the close of his life developed into a like re- 
 ligious fanaticism, he seems not to have been averse to the 
 stage and even had a theater built in the palace for private 
 representations, though this was probably due more to the 
 interest and delight which the Queen took in such per- 
 formances. As Schack has observed, it results from the 
 Relaciones of Cabrera that as early as the beginning of 
 the seventeenth century comedias were represented in the 
 royal palace or Alcazar, which stood upon the spot where 
 the royal palace stands to-day, i.e., in the west end of 
 Madrid, while the Buen Retiro is situated in the east end 
 of the city, and that Philip the Third, besides the stage 
 which appears to have been in one of the royal saloons, 
 also caused a theater to be built in the Casas del Tesoro, 
 near the palace. 1 
 
 Many private representations of comedias before the 
 court doubtless took place in the years preceding the 
 building of this theater, of which a few are recorded. 
 These were all given at the instance of the Queen. On 
 January 30, 1603, the Queen commanded that 1500 reals 
 be paid to Nicolas de los Rios for five comedias acted in 
 her presence at Valladolid during that month, and on 
 
 beginning of 1622. (Nuevos Datos, p. 189.) The name "Alcazar" had 
 misled Chorley into supposing that the Alcazar theater (i.e., in the Royal 
 Palace) was meant. See my Life of Lope de Vega, p. 489. Lope's play 
 contains ho gracioso, and Chorley says that it is to be presumed that Lope 
 purposely refrained from introducing a comic character, as the period of 
 mourning for the King's death was not yet over. 
 
 1 Nachtrage, p. 26. The passage in Cabrera is as follows, under the 
 date, Madrid a 20 de Enero 1607: "Hase hecho en el segundo patio de las 
 casas del Tesoro un teatro donde vean sus Magestades las comedias, 
 como se representan al pueblo en los corrales que estan deputados para 
 ello, porque puedan gozar mejor de ellas que quando se les representa en 
 
REPRESENTATIONS BEFORE QUEEN 231 
 
 July 14, 1603, he received 600 reals for two comedias, 
 one of which he represented at Burgos in June, and one 
 at Valladolid, where the court then was, on July 13, 1603. 
 Again, on August 25 of the same year Juan de Morales 
 Medrano received 600 reals for two comedias played 
 before the Queen in August, while Antonio de Villegas 
 was paid 1200 reals for four comedias acted in the 
 Queen's presence in Valladolid in September, 1603. * On 
 October 20, 1 604, the Queen commanded that 2000 reals 
 be paid to Gaspar de Porres on account of the comedias 
 represented before her during this year in Valladolid, and 
 1600 reals, the balance due him, on November 23, for 
 twelve comedias acted between August and the end of 
 November, i.e., 3600 reals for the twelve comedias. 2 
 
 The autos sacramentales made a stronger appeal to \ 
 Philip the Third than comedias, and were often repre- | 
 sented in private before the royal family. In 1609 Balbin~ 
 and Heredia represented autos before the King in the 
 Escorial, 3 and in June, 1613, Alonso de Riquelme and his 
 players proceeded to San Lorenzo el Real to repeat be- 
 fore the King the autos sacramentales which he had rep- 
 resented at Corpus of that year in Madrid. For this 
 private representation Riquelme was to have received 
 3100 reals, "but 200 reals were deducted as a fine, because 
 he did not furnish new costumes, in accordance with the 
 agreement which he had made." 4 
 
 With the accession to the throne of Philip the Fourth, 
 ini62i,attheage of sixteen 5 (he was born April 8, 1605 ) t 
 
 su sala, y asi han hecho alrededor galerias y ventanas donde este la gente 
 de Palacio, y sus Magestades iran alii de su Camara por el pasadizo que 
 esta hecho, y las veran por unas celosias." (Relaciones de las Cosas 
 sucedidas en la Carte de Espana desde el ano 1599 hasta 1614, por Luis 
 Cabrera de Cordoba. Edited by D. Pascual de Gayangos. Madrid, 1857, 
 p. 298.) 
 
 'Perez Pastor, in Bull. Hispanique (1907), p. 368. 
 
 2 Ibid., p. 369. * Ibid., p. 375. 
 
 1 Nuevos Datos. p. 135. 
 
 5 Philip III. died March 30, 1621, so that, in fact, the new King was not 
 quite sixteen. 
 
232 THE SPANISH STAGE 
 
 a more favorable period for the drama was inaugurated. 
 He was a generous patron of art and literature and was 
 especially an ardent admirer of the theater. As Schack 
 has said : "His name is indissolubly linked with the great 
 artists and poets who glorified his reign. Under his pro- 
 tection the greatest Spanish painters, led by Velazquez, 
 were united at Madrid to a school which will compare 
 favorably with that of any other country." 
 
 With Philip the Fourth the theater was a ruling pas- 
 sion, in which perhaps his inordinate weakness for the 
 comediantas played no less a part than his admiration for 
 the comedia. He not only greatly encouraged dramatists, 1 
 but is said to have himself written a number of plays, 
 among which Dar la Vida por su Dama has been persis- 
 tently ascribed to him, though it is now conceded that this 
 comedia was written by Antonio Coello. 
 
 Philip's taste for these spectacles was developed at a 
 very early age, and in 1614, being then nine years old, he 
 appeared as Cupid in a representation given by the prince 
 and princesses before the King and Queen and ladies of 
 the court, the little Count of Pufionrostro impersonating 
 Venus. The movement of the car in which Cupid came 
 upon the stage made him ill, however, and "he vomited 
 twice, though no other mishap befell him, and they say 
 that he played his part exceedingly well," as the chronicler 
 gravely informs us. 2 
 
 1 So we are told by all writers on the Spanish drama, but if we except 
 Calderon, Bocangel (an insignificant playwright), and D. Jeronimo de 
 Villayzan, whose career was a very short one, \ cannot recall another 
 instance in which this king gave any substantial aid to a dramatist. 
 Alarcon, it is true, held an unimportant appointment with a high-sounding 
 title, but this was not bestowed upon him by Philip. Nearly all the other 
 dramatists were priests, who depended upon the church for their sub- 
 sistence. The greatest of them all was sorely neglected by Philip; the only 
 royal favor that Lope de Vega ever received was a pension in Galicia of 
 250 ducats annually, granted to him a few years before his death. The 
 King's promise to provide for Lope's son-in-law was never kept. {Life 
 of Lope de Vega, pp. 376, 415. But see above, p. 37, note a.) 
 
 3 "De Madrid 8 de Marzo 1614: El jueves de la semana pasada, el 
 
A FESTIVAL AT LERMA 233 
 
 A minute account of another festival in which this 
 princeling took part has since been published by the Mar- 
 ques de la Fuensanta del Valle and D. Jose Sancho Rayon 
 from a manuscript in possession of the editors. It took 
 place at Lerma on November 3, 1614, and the comedia 
 represented was Lope de Vega's El Premio de la Hertno- 
 sura, though from the description here given the play 
 must have differed considerably from the version as now 
 printed in Lope's Comedias, Part XVI, Madrid, 1621. 
 The subject of the comedia, we are told, was taken from 
 Lope's epic La Hermosura de Angelica: the costumes, 
 stage machinery, and decorations are described in detail, 
 and a list of characters, with the names of those who im- 
 personated them. Here, too, the little prince represented 
 Cupid, and besides "he threw out the Loa." 1 
 
 It would be very interesting to know the titles of the 
 comedias thus privately represented before the King and 
 Queen in the first decades of the seventeenth century. 
 Lists of such plays have been published for the year 1622 
 and for subsequent years, and doubtless the Archives of 
 the palace will reveal others prior to these dates. 2 Be- 
 ginning on October 5, 1622, the private performances 
 given in the apartments of the Queen on Sundays, Thurs- 
 days, and feast-days during that year, as first published 
 by Schack (Nachtrage, p. 66), were as follows: 
 
 Principe Nuestro Sefior con los meninos representaron una comedia delante 
 del Rey y sus Altezas y las damas, sin entrar otro ninguno; represent© el 
 Principe al dios Cupido, y de salir en un carro se raareo y tuvo dos 
 vomitos, pero no se le siguio otro mal ; y dicen lo hizo bonisimamente, y el 
 condecito de Puno en Rostro hizo la diosa Venus, y los otros los demas 
 personages, y ha habido algunos a quien ha parecido que no se habia de 
 permitir que representase su Alteza, aunque la poca edad le disculpa; al 
 cual se le ha muerto el enano Bonami, que el queria mucho, y lo merecia 
 porque era mucho de estimar," etc. (Cabrera, Re lactones, p. 547.) 
 
 1 Comedias ineditas de Frey Lope Felix de Vega Carpio. Tomo I, 
 Madrid, 1873, p. 479. 
 
 2 In September, 1622, Cristobal Ortiz de Villazan had also repre- 
 sented three comedias in the private apartments of the Queen. (Bull. 
 Hisp. (1908), p. 247.) 
 
234 
 
 THE SPANISH STAGE 
 
 COMEDIAS REPRESENTADAS EN OCTUBRE: 
 
 Autores. 
 
 Pedro de Valdes. 
 
 Los Celos en el Cab alio (Ximenez de Enciso). 
 La despreciada Querida (Juan Bautista de Ville- 
 
 gas). 
 La Perdida de Espana (D. Juan de Velasco y 
 Guzman?). It also bears the alternative 
 title La mas injusta Venganza. 
 
 "For these three comedias 900 reals were paid, or 300 
 reals each, at the command of the Queen, on the petition 
 of Jeronima de Burgos, wife of the said autor, for prior 
 to this only 200 reals had been paid for the representation 
 of a comedia." 
 
 Ganar Amigos (Alarcon). 
 Rodamonte Aragones (Juan Bautista 
 de Villegas). It also bears the 
 alternative title El valiente Luci- 
 doro. See Paz y Melia, Catalogo, 
 No. 3399. 
 Poderosa es la Ocasion(l). Repre- 
 sented twice. 
 Como se engahan los Ojos (Juan 
 Bautista de Villegas). 
 
 Alonso de Olmedo. 
 
 Cristobal de Avendano. 
 
 El Labrador venturoso (Lope de 
 Vega). 
 
 El Infante de Aragon (Andres de 
 Claramonte) . 
 
 El Rey Angel. Perhaps this is El 
 Rey Angel de Sicilia, by Juan 
 Antonio de Mojica. See Paz y 
 Melia, Catalogo, No. 2901. 
 
 The above three comedias were represented in October 
 and November. 
 
COMEDIAS IN THE PALACE 
 
 235 
 
 Cristobal de Avendano. 
 
 Cristobal de Avendano. 
 
 Cristobal de Avendano. 
 
 Cautela contra Cautela (Tirso de 
 Molina and Alarcon). 
 
 La Perdida del Rey D. Sebastian ( ?) . 
 Perhaps this is El Rey Don Sebas- 
 tian y Portugues mas heroico, by 
 Juan Bautista de Villegas. See 
 Paz y Melia, Catalogo, No. 2904. 
 
 Lo que puede la Traicion( ?). 
 
 El Marido de su Hermana (Juan 
 Bautista de Villegas). 
 
 El Martir de Madrid (Mira de 
 Mescua). See Paz y Melia, Catd- 
 logo, No. 2029. 
 
 El Labrador venturoso (Lope de 
 Vega) . 
 
 El Labrador venturoso (Lope de 
 
 Vega). 
 San Bruno ( ?). 
 La Caida de Faeton{ ?). See Paz y 
 
 Melia, Catalogo, No. 1225. 
 
 Ir y quedarse( ?). 
 
 Quien no se aventura (Guillen de 
 Castro). 
 
 El Principe ignorante(l). Perhaps 
 Lope's El Principe inocente, men- 
 tioned in his Peregrino en su Patria 
 (1604). 
 
 Mas merece quien mas ama (Antonio 
 Hurtado de Mendoza). Acted 
 twice. 
 
 Las Victorias del Marques de Canete 
 (written by nine Ingenios). See 
 Barrera, Catalogo, p. 31. Acted 
 in conjunction with the company 
 of Valdes. 
 
 Trances de Amor (?). Calderon 
 wrote a play Lances de Amor y 
 Fortuna, published in 1636. 
 
236 
 
 THE SPANISH STAGE 
 
 Juan de Morales Medrano. 
 
 [Manuel] Vallejo. 
 
 Pedro de Valdes. 
 
 ElNinodelSenado(^). 
 
 La Conquista de Jerusalen(l). See 
 Paz y Melia, Catalogo, No. 1508. 
 Twice represented. 
 Celos engendran Amor( ?). 
 
 Las Pobrezas de Reynaldos (Lopede 
 Vega). 
 
 La V engadora de las M.ugeres (Lope 
 de Vega). 
 
 El Vencedor vencido en el Torneo. 
 Perhaps this is El Vencedor ven- 
 cido, by D. Juan de Ochoa of 
 Seville. See Paz y Melia, Cata- 
 logo, No. 3428. 
 
 La milagrosa Eleccion de Put V. 
 (Moreto). 
 
 'La Judit Espanola( ?) . 
 
 La Romera de Santiago (Tirso de 
 Molina). 
 
 Las Pruebas de la Leah ad ( ?). 
 
 Las Burlas de Pedro de Urdemalas 
 (Lope de Vega?). See my Life 
 of Lope de Vega, p. 524. 
 
 La Selva de Amor(l). It cannot be 
 Selva de Amor y Celos, by Fran- 
 cisco de Rojas, who was not born 
 till 1607. Perhaps it is Lope's 
 Selvas y Bosques de Amor. 
 
 [Amor], Pleito y Desafio (Lope de 
 
 Vega). 
 Los Celos en el Cabal 1 (Ximenez de 
 
 Enciso). Represented twice. 
 D.SanchoelMalo(?). 
 Las Azanas del Marques de Cahete 
 
 (by nine Ingenios). Represented 
 
 by Valdes and Avendano. See 
 
 above. 
 La despreciada Querida (Juan Bau- 
 
 tista de Villegas). 
 
PRIVATE REPRESENTATIONS 1623-54 237 
 
 The whole number of comedias represented in the 
 apartments of the Queen from October 5, 1622, to Feb- 
 ruary 8, 1623, was forty-five. 
 
 Another very important list of comedias represented 
 before Philip the Fourth between 1623 and 1654 was pub- 
 lished many years ago by Sr. Cruzada Villaamil. 1 It con- 
 sists of about three hundred titles, beginning with five 
 comedias performed by the company of Juan Bautista de 
 Villegas, and including one (Como se engahan los Ojos) 
 which he himself had written. The latest play in the list 
 is Calderon's La Hija del Aire, acted by the company of 
 Adrian Lopez in November, 1653. For each of these 
 representations the King paid 200 reals. 
 
 Of the private representations of comedias just men- 
 tioned, those which took place in the autumn of 1622 and 
 in the early months of 1623, to the young Queen, Isabel 
 of Bourbon (elder daughter of Henry the Fourth, the 
 great Bearnais, and first wife of Philip the Fourth), 
 were given in her private apartments in the Alcazar, 
 then the royal residence in Madrid. She died on Octo- 
 ber 6, 1644. In appears that, before these perform- 
 ances were given, Philip the Fourth desired to erect 
 a theater in the palace, and accordingly commanded 
 that one should be built "near the game of pelota." 
 Objection was made to the King's plan by the Coun- 
 cil, and whether it was ever carried out in the form 
 proposed I do not know. 2 That representations con- 
 tinued to be given in the Alcazar, however, for some 
 
 'In El Averiguador, Tomo I, Madrid, 1871. The great scarcity of this 
 publication induced me to reprint the list in the Modern Language Re- 
 view, Cambridge, England, Vol. II, 1907, with additions, under the title 
 "Notes on the Chronology of the Spanish Drama." It will be seen that 
 the King was less liberal than the Queen in his expenditures for this 
 favorite amusement. 
 
 "'31 Agosto 1622. — Habiendo entendido que su magestad quiere hacer en 
 Palacio un corral de comedias, se acordo que para el primero Ayunta- 
 miento se llame a la villa para tratar dello y se llame al Sr. Luis Hurtado 
 particularmente para saber del, como veedor de las obras de su magestad, 
 lo que en esto hay. 
 
 "Acorddse (2 Septiembre 1622) que se llame a la Villa para el lunes a 
 
238 THE SPANISH STAGE 
 
 years, is certain. The King, prior to this, and until the 
 completion of the sumptuous palace, the Buen Retiro, in 
 1632, had festal performances given in the royal gardens 
 at Aranjuez, where an immense stage was constructed by 
 the Italian architect Cesare Fontana, the theater being 
 one of great magnificence. Here a splendid festival was 
 presented on the King's seventeenth birthday, April «8, 
 1622. Don Juan de Tarsis, Count of Villamediana, was 
 the author of the comedia, La Gloria de Niquea y De- 
 scription de Aranjuez, which was presented on that occa- 
 sion. 1 
 
 In 1 63 1, on a large tract of land adjoining the royal 
 monastery and convent of San Jeronimo, Philip began the 
 erection of a new royal residence, the Buen Retiro, "a 
 fantastic palace of pleasure and pastime which was to 
 
 fin de tratar del nuevo corral de comedias que su magestad es servido 
 y manda que se haga junto al juego de pelota. En 5 de Septiembre se 
 acordo hablar al Presidente del Consejo exponiendole los dafios que la 
 Villa tendria con la instalacion del nuevo corral de comedias, pues no 
 podria dar a los hospitales los 60,000 (ducados) anuales que les da." 
 (Libros de Acuerdos del Ayuntamiento de Madrid. Perez Pastor, Nuevos 
 Datos, p. 191.) 
 
 1 Obras de Don Juan de Tarsis, Conde de Villamediana y Correo Mayor 
 de Su Magestad, Caragoca, por Juan de Lanaja y Quartanet, Inpresor del 
 Reino de Aragon y de la Universidad, Afio 1629, pp. 1-54. Mr. Martin 
 Hume gives the following account of this festival : "In the following 
 spring of 1622 there was a great series of festivals at Aranjuez, where 
 the court was then in residence, to celebrate Philip's seventeenth birthday. 
 Already the glamour of the stage had seized upon Philip and his wife, 
 and one of the attractions of the rejoicings was the representation, in a 
 temporary theater of canvas, erected amidst the trees on the 'island gar- 
 den,' and beautifully adorned, of a comedy in verse by Count de Villa 
 Mediana, dedicated to the Queen. The comedy was called La Gloria de 
 Niquea, and Isabel herself was to personate the goddess of beauty. It 
 was night, and the flimsy structure of silk and canvas was brilliantly lit 
 with wax lights when all the court had assembled to see the show; the 
 young King and his two brothers and sister being seated in front of the 
 stage, and the Queen in the retiring-room behind the scenes. The pro- 
 logue had been finished successfully, and the audience were awaiting the 
 withdrawing of the curtain that screened the stage, when a piercing shriek 
 went up from the back, and a moment afterward a long tongue of flame 
 licked up half the drapery before the stage, and immediately the whole 
 place was ablaze. Panic seized upon the splendid mob, and there was a 
 rush to escape. The King succeeded in fighting his way out with diffi- 
 
THE "BUEN RETIRO" 239 
 
 obscure utterly the groves, gardens, and ancient palaces 
 of the Pardo and the Casa de Campo, which had been 
 the delight of Philip the Second and Philip the Third." 1 
 The palace was surrounded by extensive gardens, groves, 
 and artificial lakes, and contained a magnificent theater. On 
 a portion of the site occupied by the Buen Retiro had for- 
 merly stood an aviary with a collection of poultry, belong- 
 ing to the Countess of Olivares, 2 husband of the King's 
 favorite, the Count-Duke of Olivares, to whose ideas the 
 palace owed its origin and who was the leading spirit in its 
 erection and completion. As the palace and its gardens 
 were not finished until October, 1632, the festival, which 
 was one of the greatest magnificence, given to the royal 
 couple by the Count-Duke on St. John's eve, 1631, took 
 place in the gardens of the Duke of Maqueda and D. Luis 
 
 culty, and made his way to the back of the stage in search of his wife. 
 In the densely wooded gardens that surrounded the blazing structure he 
 sought for a time in vain, but at last found that Villa Mediana had been 
 before him, and that the half-fainting figure of the Queen was lying in 
 the Count's arms. Whatever may have been the truth of the matter, 
 this, at all events, made a delightful bonne bouche for the scandalmongers, 
 who hated Villa Mediana for his atrabilious gibes, and it soon became 
 noised abroad that the Count had planned the whole affair, and had 
 purposely set fire to the theater that he might gain the credit of having 
 clasped her in his arms, if but for a moment." (The Court of Philip IV., 
 p. 58.) Four months after this, in August, 1622, Villa Mediana was 
 murdered in Madrid, while returning home in his coach, soon after dark. 
 An account of the above-mentioned festival at Aranjuez, and a descrip- 
 tion of the magnificent theater erected there by the skill of Capitan Julio 
 Cesar Fontana, together with a descriptive poem entitled Relacion de la 
 Fiesta de Aranjuez en Verso, by Don Antonio de Mendoza, will be found 
 in that author's works, entitled El Fenix Castellano, etc., Lisboa, 1690, 
 pp. 426 ff. 
 
 'Mesonero Romanos, El Antigua Madrid, Madrid, 1881, Vol. II, p. 163 ; 
 Hume, The Court of Philip IV., p. 238. 
 
 1 Hence the term gallinero sometimes applied to the palace, but gener- 
 ally, it seems, to the theater, for we read frequently of comedias 
 represented in the gallinero of the Buen Retiro. Madame d'Aulnoy's 
 description is as follows: "Le Buen Retiro est une maison Royale a l'une 
 des portes de la Ville. Le Comte-Duc y fit faire d'abord une petite 
 maison qu'il nomma Gallinero, pour mettre des poulets fort rares qu'on 
 lui avait donnees; & comrae il alloit les voir assez souvent, la situation 
 de ce lieu qui est sur le penchant d'une colline, & dont la vue est tres 
 agreable, l'engagea d'entreprendre un batiment considerable. ... La 
 
240 THE SPANISH STAGE 
 
 Mendez de Carrion, which adjoined each other. During 
 this festival two comedias were represented: Quien mas 
 miente medra mas, written by Don Francisco de Quevedo 
 and D. Antonio de Mendoza, and performed by the 
 company of Vallejo, and Lope de Vega's sprightly com- 
 edy La Noche de San Juan, represented by the company 
 of Cristobal de Avendafio. 1 
 
 In October, 1632, the completion of the Buen Retiro 
 was celebrated with a festival of great splendor, begin- 
 ning with a cane tourney in which the King and the 
 Count-Duke took part, followed by other sports and 
 entertainments. It was celebrated by Lope de Vega in a 
 poem entitled A la primer a Fiesta del Palacio nuevo. 2 A 
 play for the solemnity of swearing fealty to the infant 
 prince Baltasar, written by the Prince of Esquilache, and 
 acted at the palace in this year, is mentioned by Ticknor, 
 as well as two other plays acted on the same occasion- 
 one by Antonio de Mendoza and the other by Lopez de 
 Enciso. 3 
 
 From this time forth representations in the theater of 
 the Buen Retiro were of frequent occurrence, and, ac- 
 cording to Pellicer, in 1640 people began to visit them 
 in the same manner as they did those in the Corral de la 
 Cruz and in the Principe. 4 
 
 Salle pour les Comedies est d'un beau dessin, fort grande, toute ornee de 
 sculpture & de dorure. L'on peut etre quinze dans chaque loge sans 
 s'incommoder. Elles ont toutes des jalousies, & celle ou se met le Roi est 
 fort doree. II n'y a ni Orchestre ni Amphitheatre. On s'assit dans le 
 parterre sur des bancs." (Relation du Voyage d'Espagne, La Haye, 
 1693, Vol. Ill, p. 6.) 
 
 1 Pellicer, Histrionismo, Vol. II, pp. 167 ff., and Hume, The Court of 
 Philip IV., p. 231. 
 
 2 Published in his Vega del Parnaso, Madrid, 1637, fol. 61, v. Be- 
 sides the magnificent theater which the King had built in the palace of 
 Buen Retiro, spectacles were also represented upon the pond in the gar- 
 dens. See below. 
 
 3 History of Spanish Literature, Vol. Ill, p. 48, note. 
 
 'Avisos de Pellicer, 7 Febrero 1640. "El Rey nuestro Sefior con toda 
 su casa y la Senora Princesa de Carifian esta desde el dia de San Bias 
 en el Buen Retiro, donde ha de tenerse hasta la Quaresma. Hase em- 
 
LOPE'S SELFA SIN AMOR 241 
 
 Among the festal performances before the royal family 
 in the palace, it may not be without interest to mention 
 Lope de Vega's pastoral eclogue La Selva sin Amor, 
 which was sung before his Majesty sometime prior to 
 November 22, 1629. This, as Ticknor says, was the first 
 attempt to introduce dramatic performances with music. 
 The eclogue was wholly sung, and, as Lope himself says, 
 "it was a thing new in Spain." It was played with a 
 showy apparatus of scenery and stage machinery prepared 
 by Cosme Lotti, an Italian architect. 1 It was to the latter's 
 great skill, moreover, that the success of many of the 
 sumptuous court representations given by the king were in 
 no small measure due. Among them may be mentioned : 
 "Circe. A Dramatic Spectacle which was represented on 
 the great pond of the Retiro, the invention of Cosme Lotti, 
 at the request of her most excellent Ladyship the Countess 
 of Olivares, Duchess of San Lucar la Mayor, on the night 
 
 pezado a representar en el teatro de las comedias que se ha fabricado 
 dentro y concurre la gente en la misma forma que a los de la Cruz y del 
 Principe, celebrandose para los Hospitales y autores de la Farsa. Es 
 obra grande." (Schack, Nachtrage, p. 72.) "Los Bandos de Verona, de 
 D. Francisco de Rojas, estrenose el 4 de Febrero de 1640, representandola 
 la compafiia de Bartolome Romero, y fue la primera comedia que se hizo 
 en el coliseo del Buen Retiro, asistiendo gente que pago la entrada corao 
 en los demas corrales" (Bib. Nac, MS. V-48), quoted by Julio Monreal, 
 Cuadros viejos, Madrid, 1878, p. 124, note. 
 
 1 History of Spanish Literature, Vol. II, p. 508. He says further that 
 "the earliest of the full-length plays that was ever sung was Calderon's 
 La Purpura de la Rosa, which was produced before the court in 1660, on 
 occasion of the marriage of Louis the Fourteenth with the Infanta Maria 
 Theresa— a compliment to the distinguished personages of France who 
 had come to Spain in honor of that great solemnity, and whom it was 
 thought no more than gallant to amuse with something like the operas 
 of Quinault and Lulli, which were then the most admired entertainments 
 at the court of France." Unfortunately a slight matter of chronology in- 
 terferes at this point. While Quinault and Lulli collaborated for fourteen 
 years, producing on an average an opera a year, the earliest, La Fete de 
 I Amour et de Bacchus, was not brought out until 1672, just twelve years 
 after Calderon's La Purpura de la Rosa. In Perez Pastor, Calderon Docu- 
 ments, Tomo I, p. 277, we read of a "fiesta (comedia) toda cantada, 
 de D. Pedro Calderon de la Barca, que se habia de hacer el domingo 
 28 deste mes [Noviembre 1660] a los afios del Principe, Nuestro Sefior." 
 This was, doubtless, La Purpura de la Rosa. Lope de Vega's dedi- 
 
242 THE SPANISH STAGE 
 
 of St. John [June 24, 1 634 ?] , 1 Also Calderon's El mayor 
 Encanto Amor, "a fiesta which was represented before his 
 Majesty on St. John's eve in the year 1635, on the pond 
 of the royal palace of the Buen Retiro," and Los tres 
 mayores Prodigios, a festival also produced in the Retiro 
 on the St. John's eve of the following year. These plays 
 were given in the open air, and in the latter case the three 
 acts were represented on separate stages, beside one an- 
 other, each act by a different company of players : the first 
 act on the stage on the right hand by Tomas Fernandez, 
 the second act on the left by Pedro de la Rosa, and the 
 
 cation of the Selva sin Amor to the Almirante de Castilla is so im- 
 portant for the history of the stage of the time that I give the 
 most interesting parts of it: "No aviendo visto V. Excelencia esta 
 Egloga, que se represents cantada a sus Magestades y Altezas, cosa 
 nueua en Espafia, me parecio imprimirla, para que desta suerte, con 
 menos cuydado la imaginasse V. Excelencia, etc. ... La maquina del 
 Teatro hizo Cosme Lorti ingeniero Florentin, por quien su Magestad 
 embio a Italia, para que assistiesse a su seruicio en jardines, fuentes, 
 y otras cosas, en que tiene raro y excelente ingenio. ... La primera 
 vista del Teatro, en aviendo corrido la tienda que le cubria [it will 
 be observed that here there was an outer curtain], fue un Mar en 
 perspectiua, que descubria a los ojos (tanto puede el Arte) muchas leguas 
 de agua hasta la Ribera opuesta, en cuyo puerto se vian la ciudad, y el 
 Faro con algunas Naues, que haziendo salva disparauan, a quien tambien 
 de los Castillos respondian. Vianse assimismo algunos pezes, que fluc- 
 tuauan, segun el mouimiento de las ondas, que con la misma inconstancia, 
 que si fueran verdaderas, se inquietauan, todo con luz artificial, sin que 
 se viesse ninguna, y siendo las que formauan aquel fingido dia mas de 
 trezientas. ' Aqui Venus en un carro que tirauan dos Cisnes, hablo con el 
 Amor su hijo, que por lo alto de la maquina rebolaua. Los instrumentos 
 ocupauan la primera parte del Teatro, siu ser vistos, a cuya armonia 
 cantauan las figuras los versos, haziendo en la misma composicion de la 
 Musica, las admiraciones, las quexas, los amores, las iras, y los demas 
 afectos. Para el discurso de los Pastores se disparecio el Teatro mari- 
 time, sin que este mouimiento, con ser tan grande, le pudiesse penetrar la 
 vista, transformandose el Mar en una selva, que significaua el soto de 
 Mancanares, con la puente, por quien passauan en perspectiua quantas 
 cosas pudieron ser imitadas de las que entran y salen en la Corte: y 
 assimismo se vian la casa del campo y el Palacio, con quanto desde 
 aquella parte podia determinar la vista, . . ," etc. {Laurel de Apolo, 
 Madrid, 1630, fol. 103.) 
 
 1 Pellicer, Histrionismo, Vol. II, p. 14.6. A translation of this curious 
 document will be found in: Love the greatest Enchantment, The Sorceries 
 of Sin, The Devotion of the Cross, from the Spanish of Calderon, by 
 Denis Florence Mac-Carthy, London, 1861, p. 5. 
 
ST. JOHN'S EVE 243 
 
 third upon the middle stage by the company of Antonio de 
 Prado. 1 
 
 These private representations before the King by the 
 various theatrical companies which happened to be in 
 Madrid were of very frequent occurrence. Certain 
 actors or actresses whom the King especially desired were 
 called from other cities, and sometimes entire companies 
 were thus commanded by the King for these private func- 
 
 1 Calderon, Comedias, Part II, Madrid, 1637. My copy is of the second 
 edition, Madrid, 1641, where the play begins on fol. 257. It is preceded 
 by a Loa. These plays were produced upon a floating theater "which the 
 wasteful extravagance of the Count-Duke of Olivares had erected on the 
 artificial waters in the gardens of the Buen Retiro." In the concluding 
 verses of the play Calderon says that "the water was very happy on this 
 gracious night." Ticknor, however, states that "a storm of wind scattered 
 the vessels, the royal party, and a supper that was also among the floating 
 arrangements of the occasion, prepared by Cosme Lotti, the Florentine 
 architect," though the play was successfully acted several times during 
 the month. He fixes the date as June 12, 1639, which, however, was 
 certainly not its first representation. (History of Spanish Literature, 
 Vol. II, p. 481, note.) Ticknor's source of information was probably the 
 Anales de Madrid of Antonio Leon Pinelo, who, under the year 1640, 
 says: "La noche de San Juan hubo en el Retiro muchos festines, y entre 
 ellos una Comedia representada sobre el Estanque grande con maquinas, 
 tramoyas, luces y toldos: todo fundado sobre las barcas. Estando repre- 
 sentando, se levanto un torbellino de viento tan furioso, que lo desbarato 
 todo, y algunas personas peligraron de golpes y caidas." (Quoted by 
 Pellicer, Histrionismo, Vol. I, p. 193. See the very interesting note on 
 St. John's eve, in Don Quixote, ed. Clemencin, Vol. VI, pp. 259 ff.) A num- 
 ber of these particulares, as private performances were called, belonging 
 to a somewhat later period, are mentioned by Schack, Nachtrage, pp. 73, 
 74, among them being the comedia of Antonio de Solis, Psiquis y Cupido, 
 which was produced in the Buen Retiro on a scale of great magnificence, 
 the machinery for it being especially constructed by the Italian engineer 
 Maria Antonozzi. It appears that, beginning on October 29, 1661, the 
 theatrical representations in the palace were in charge of the Marquis of 
 Heliche, while those in the Buen Retiro were under the superintendence of 
 the Duke of Medina de las Torres. (Ibid., p. 74, and see especially Perez 
 Pastor, Calderon Documentos, Vol. I, and the Poesias de Solis, Madrid, 
 1692, passim.) Concerning the sums of money expended by Philip IV. 
 on these private representations, Barrionuevo tells us that a comedia 
 sometimes cost the King as much as 50,000 ducats. Under date of 
 January 23, 1655, he writes: "Vendra el Rey, Sabado, 30 de este, derecho 
 a Palacio, que no va al Retiro, como solia, por estarle preparando una 
 Comedia en el, de tramoyas, que dicen costard mas de 50,000 ducados ; que 
 por aca no se trata sino de pasar alegremente esta pobre vida, de donde 
 diere y quede lo que quedare." (Avisos, Vol. I, p. 213.) The same writer 
 also chronicles the following: "Miercoles 17 de 6ste [Enero de 1657] se 
 
244 THE SPANISH STAGE 
 
 tions, 1 though they had been announced to appear in the 
 public theaters, which were frequently closed on that ac- 
 count. 2 
 
 Among the dramatists of the time an especial favorite 
 of the King was Don Jeronimo de Villayzan y Garces. It 
 «is said that Philip used to go incognito to the Corral de la 
 Cruz to see Villayzan's comedias acted, entering his box 
 by a passage from the Plazuela del Angel. It was, more- 
 over, the common report at the time that Villayzan aided 
 the King in his dramatic labors. 3 Certain it is that before 
 January, 1623, when Villayzan was not yet nineteen years 
 of age, one of his comedias, Trans formaciones de Amor, 
 was represented privately before the King by the company 
 
 hizo en la Zarzuela la comedia grande que el de Liche tenia dispuesta 
 para el festejo de los Reyes. Costo 16,000 ducados, que pago de su orden 
 el Conde de Pezuela. . . . Todas las tramoyas y aparatos se han traido 
 del Retiro, al nuevo coliseo que se ha hecho en la ermita de San Pablo, 
 para tornarla a hacer este Carnaval. . . . Dio Liche a D. Pedro Calderon 
 200 doblones por la comedia," etc. (Avisos, Vol. Ill, p. 176.) 
 
 1 See above, p. 198. 
 
 ' "Madrid, 20 Diciembre 1656. — Peticion de los arrendadores de los 
 corrales contra Pedro de la Rosa, que no represento en los dias 15 y 16 de 
 Diciembre porque, segun confiesa, estuvo estudiando y ensayando la fiesta 
 de los anos de la Reina, que se ha de hacer el 22 del presente mes. 
 Tampoco represento el dia 18, aunque tenia puesto carteles para hacer la 
 comedia El Conde Lucanor [atribuida a Calderon]. (Perez Pastor, Calde- 
 ron Documentos, Vol. I, p. 243.) Again, we read in a notarial certificate 
 dated Madrid, February 24, 1657: "Y ansimismo doy fee vi cerrados los 
 corrales el lunes de Carnestolendas, doze de dicho mes, por haber ido al 
 Retiro las companias de Pedro de la Rosa y Diego Osorio a hacer la 
 fiesta de la Zarzuela conducidos por el alguacil de corte Joseph Caballero 
 y vi conducir las dichas companias, y este dia no represento Francisco 
 Garcia por haberle llevado las mugeres al ensayo de la comedia de Don 
 Pedro Calderon, que se hizo el martes siguiente a Su Magestad." (Ibid., 
 p. 244. See also pp. 277, 280, et passim.) It appears that the King did 
 not always go to the theater for the sole purpose of seeing the play. 
 The following curious bit of news is chronicled by Barrionuevo under 
 date of February 27, 1656: "S. M. ha mandado no vayan mafiana a la 
 Comedia sino solas mujeres, sin guarda-infantes, porque quepan mas, y 
 se dice la quiere ver con la Reina en las celosias, y que tienen algunas 
 ratoneras con mas de 100 ratones cebados en ellas para soltarlos en lo 
 mejor de la fiesta, asi en cazuela como en patio, que si sucede, sera mucho 
 de ver, y entretenimiento para SS. MM." (Avisos, Vol. II, p. 308.) 
 
 8 Barrera, Catdlogo bibliogrdfico y biografico del Teatro antiguo es- 
 panol, p. 491. 
 
JERONIMO DE VILLAYZAN 245 
 
 of Juan Bautista de Villegas. 1 Another, Sufrir mas por 
 Querer mas, was acted before the King some time prior to 
 November, 1632, and again on October 17, 1637, and it 
 pleased the King so greatly that he commanded that it 
 should not at that time be represented elsewhere. 2 Still 
 another of his comedias, Ofender con las Finezas, was 
 played before the King by the company of Manuel 
 Vallejo on February 5, 1632, and again on November 
 13, 1633. 3 Villayzan died at the early age of twenty- 
 nine, in 1633, in which year his friend Lope de Vega 
 published an elegy on his death. 4 
 
 During the first twenty years of the reign of Philip 
 the Fourth, comedias continued to be represented, pre- 
 sumably, in accordance with the restrictions prescribed 
 by the decree of 161 5. That this decree was a dead 
 letter is evinced by the fact that a new series of regu- 
 lations for the theater was issued in 1641, at the in- 
 stance of D. Antonio de Contreras, "of the Council 
 and Chamber of his Majesty." These regulations, how- 
 ever, did not differ in any essential particular from those 
 of 1 61 5 ; indeed, most of the articles were a literal repeti- 
 tion of the previous decree. Here and there slight 
 changes were made, as, for instance, no woman above the 
 age of twelve years shall be allowed to act unless she be 
 married, nor shall any manager permit her to be in his 
 company, if she be unmarried ; also that no person, what- 
 ever be his quality or condition, be allowed to enter the 
 retiring-room of the players, under penalty of 20,000 
 
 1 See my "Notes on the Chronology of the Spanish Drama,'' in Modern 
 Language Review," Vol. Ill (1907). 
 
 2 Barrera, Catdlogo, p. 492. The play must have been originally repre- 
 sented before the King some time prior to 1632, for in November of that 
 year it belonged to the repertory of Andres de la Vega, a theatrical 
 manager. (Perez Pastor, Nuevos Datos, p. 226.) 
 
 'Modern Language Review, Vol. Ill (1907), p. 48. 
 Elegia a la Muerte de D. Gerdnimo de Villais&an, por su amigo Frey 
 Lope Felix de Vega Carpio. — En Madrid por Francisco Martinez, ano 
 1633. See Gallardo, Ensayo de una Biblioteca espanola, Tomo IV, p. 977. 
 
246 THE SPANISH STAGE 
 
 maravedis for the first offense, and for a second infraction 
 under such penalty as the Consejo Protector may declare. 
 A like penalty is provided in the case of men found in the 
 entrances or exits of the women. 1 
 
 According to an Aviso dated March i, 1644, 2 the chief 
 subject of gossip in Madrid at that time was the restric- 
 tions and regulations imposed upon comedias and players 
 by D. Antonio de Contreras. Provisions are, however, 
 alluded to which are not contained in the above-mentioned 
 decree of 164.1, among them that "henceforth no comedia 
 which is the author's own invention may be represented, 3 
 but only histories or the lives of saints," and that no actor 
 or actress may appear upon the stage in costumes of gold or 
 telas. Moreover, a new comedia, never seen before, may 
 be represented only every eight days, and "the Senores 
 may not visit any actress more than twice." 4 
 
 On the death of the Queen, Isabel of Bourbon, first 
 wife of Philip the Fourth, on October 6, 1644, the thea- 
 ters were again closed. How long this interruption lasted 
 in Madrid, I do not know. In Seville, at all events, repre- 
 sentations were given in 1645, f° r m May of that year the 
 companies of Luis Lopez and Lorenzo Hurtado de la 
 Camara were acting in that city. 5 The autos were regu- 
 
 "This regulation of 1641 was first published by Sepulveda, El Corral de 
 la Pacheca, pp. 556 ff. It is now reprinted in full in Cotarelo y Mori, 
 Controversial, pp. 632, 633. 
 
 2 In a MS. Cod. 12 of the National Library. Pellicer, Histrionismo, 
 Vol. I, p. 220. 
 
 3 This provision, Pellicer states, was intended to prohibit the writing of 
 "comedias de amores y de galanteos, las quales se llamaban Comedias 
 de capa y espada." 
 
 4 How this last regulation was to be enforced against the Senores we 
 are not told, but as very few of the provisions of these theatrical ordinances 
 seem ever to have been observed, this one, which allowed the Senores 
 but two visits to an actress, was quite gratuitous. Still, as this provision 
 doubtless concerned a very large class, it offered the more timid admirers 
 a loophole of escape in the very remote contingency of their being appre- 
 hended on a second visit. 
 
 6 Sanchez-Arjona, Anales, p. 374. 
 
DEATH OF PRINCE BALTASAR 247 
 
 larly presented in Madrid in 1645, Calderon receiving 
 300 ducats vellon for writing them. 1 
 
 Once more, on October 9, 1646, the theaters were 
 closed on account of the death of Prince Baltasar. This 
 again raised the question of whether comedias should be 
 permitted, and, according to Pellicer, a council of theo- 
 logians again submitted some regulations — "bastante di- 
 fusas" — to the King, recommending that for the present 
 comedias be suspended, beginning with "Pasqua de Flo- 
 res." They explain what they mean by "for the present," 
 alleging, among other reasons, "until God may be pleased 
 to put an end to the wars with Portugal in which Castile 
 is now engaged." Among the conditions recommended 
 by them were : "That the companies should be reduced to 
 the number of six or eight, and that the compaiiias de la 
 legua, which are composed of gente perdida, who travel 
 through the smaller towns, should be prohibited ; that the 
 comedias to be represented relate to some proper and 
 moral subject or concern the life or death of some exem- 
 plary person or some noble deed, and that they should be 
 without intermixture of any love-affair, and that, in order 
 to attain this end, nearly all the comedias that had been 
 represented down to that time should be prohibited, espe- 
 cially those of Lope de Vega, which had worked such 
 harm in the customs of the people." They provided, 
 further, that no comedia may be represented without 
 previously obtaining a license; that the costumes of the 
 players be reformed, especially the guar dainf antes (very 
 wide hoop-skirts (of the women and the decollete gowns 2 
 
 1 Perez Pastor, Calderon Documentos, Vol. I, p. 126. 
 
 2 Pellicer (Histrionismo , Vol. I, p. 218, note) says: "Esta moda llamada 
 el Degollado continuo con el nombre de el Escotado, porque consistia en 
 usar las mugeres unos jubones escotados, que daban lugar a descubrir la 
 garganta, la espalda y los pechos, cuyo escandaloso uso, despues de haber 
 dado copioso materia a los Teologos moralistas, dio motivo a un Real 
 Decreto, que le prohibio, permitiendole solamente a las mugeres publicas." 
 
248 THE SPANISH STAGE 
 
 and strange head-dresses; that players be permitted to 
 wear only one costume in any one play, except where the 
 change is exacted by the comedia, nor shall women wear 
 men's attire, and their skirts, moreover, must reach to the 
 feet, etc. Dances also were regulated; only married 
 women were allowed to act or dance, only players were 
 permitted to enter the green-rooms, and comedias were to 
 be begun at two o'clock in winter and at three in summer, 
 so that the play may be over before dark. 1 
 
 There is much uncertainty concerning the date on which 
 comedias were again allowed to be represented upon the 
 public stage at Madrid after the death of Prince Balta- 
 sar. It appears there had been no plays acted in the 
 theaters of Seville and Madrid, at all events, even for 
 some time prior to the Prince's death, — since Shrovetide, 
 1 646. 2 
 
 We know that the autos were represented in Madrid as 
 usual in 1648, for Calderon wrote them and received 300 
 ducats for them; 3 the theaters of Seville were also open in 
 this year, 4 though there had been no representations dur- 
 ing the preceding year, as we have just seen, nor were any 
 autos presented in Seville in 1648, the theaters not re- 
 suming until September 15, when the company of Esteban 
 Nunez began forty performances in the Coliseo. The 
 pest was prevalent in Andalucia during the years 1646-49, 
 the theaters being finally closed in the latter year on ac- 
 count of the havoc wrought by the contagion, though rep- 
 resentations were resumed in Seville in 1650. 5 
 
 Sometime during the period 1646-47 a number of 
 
 1 Pellicer, Histrionismo, Vol. I, pp. 217-220. 
 
 * "En el raanuscrito de Noticias y casos memorahles de la ciudad de 
 Sevilla, que procedente de la biblioteca del senor Conde del Aguila se 
 conserva en el Ayuntamiento, se dice: — 1646. Este ano prohibio el Con- 
 sejo las comedias; a lo menos en Sevilla y Madrid no las hubo desde 
 Carnestolendas." (Sanchez-Arjona, Anales, p. 379.) 
 
 ' Calderon Documentos, Vol. I, p. 163. 
 
 4 Sanchez-Arjona, Anales, p. 380. 
 
 'Ibid., pp. 383-386. 
 
THE THEATERS CLOSED 249 
 
 autores de comedias petitioned the King for permission 
 to again represent comedias, alleging various reasons and 
 requesting the King to command that comedias be freed 
 of all indecent or objectionable features, etc. 1 
 
 According to Pellicer, the cities that were most in- 
 sistent upon the reopening of the theaters were Zaragoza 
 and Valencia. Already in 1650 and 1651, he continues, 
 comedias were again being acted in the King's palace 2 in 
 Madrid, and in the other chief cities of Castile, and now 
 this permission was extended to Zaragoza. With this 
 example before it, the city of Valencia renewed its peti- 
 
 1 "Peticion hecha en Cortes a S. M. para que no se prohiban las Come- 
 dias: — Por algunos autores de Comedias se a significado al Reyno = El 
 Reyno haviendo reconocido que la mayor parte de lo que se saca de las 
 comedias se convierte en diferentes obras pias como son Hospitales . . . 
 y importar en cada un ano mas de 80 mil ducados y ser evidente que 
 zesando el uso dellas, las ciudades an de eligir otros medios para 
 suplirlos (por ser tan preziso y nezessario no faltar a cosa tan meneste- 
 rosa) y que estos recarguen sobre los muchos que estan impuestos y que 
 los pobres bengan a ser gravados en ellos, quando eran exemptos de lo 
 que se sacava de las comedias y que cada uno lo pagava voluntariamente, y 
 generalmente ser los mas acomodados y.llegarse asta aver sido de general 
 desconsuelo para todos el que se aya mandado zesen las comedias porque 
 como ordinariamente no tenian otro divertimiento y que en lo aparente 
 siempre se a tenido por licito y no perjudicial ni danoso a la Republics, 
 pues a averlo sido en tantos anos como ha que se introdujeron asi en 
 estos Reynos como en todos los de Europa, se hubiera rresuelto zesasen, y 
 por ser un tiempo en que todos se hallan con tantos rrogos y afligiones, les 
 es mas sensible el que les falte este entretenimiento ; por cuyas rracones 
 suplica el Reyno a V. Md. se sirva de mandar se continuen y hagan las 
 dichas comedias dando orden se reforme la parte que tuvieren de pro- 
 fanidad 6 indecencia 6 que mirasen a dar mal exemplo y que las justicias 
 pongan particular cuidado en que se escusen las disensiones y alborotos, 
 que suelen ofrecerse entre la gente ogiosa y mal entretenida con que 
 pareze se rrepararan los danos que de hazerse las comedias se an experi- 
 mentado rresultan; y porque las personas de quien se componen no se 
 dividan ni ausenten destos Reynos en caso que V. Md. tenga por bien 
 de condezender con esta suplica, convendra que con toda brevedad se 
 tome rresolucion a ella porque de dilatarse sea muy dificil el bolverse a 
 juntar este genero de gente. V. Md. mandara lo que mas convenga," etc. 
 (Archivo general Central, entre los papeles correspondientes a los anos 
 1646-1647. Reirista de Archivo* (1883), pp. 179, 180.) 
 
 2 Two years before, in 1648, Antonio de Prado had represented eleven 
 comedias privately before the King and Queen, and the company of 
 Juana de Espinosa had performed eight before March, 1647. (El Averi- 
 guador, Tomo I (1871), p. 170.) 
 
2 5 o THE SPANISH STAGE 
 
 tion and induced the Council to consult the King on Feb- 
 ruary 15, 165 1. To this consulta the King replied with 
 a decree permitting "comedias de historias, as they are 
 represented in Madrid," to be performed in Valencia 
 also. 1 
 
 The first comedia represented in Madrid when the 
 theaters were reopened was Santa Maria Magdalena. 2 
 That theatrical companies, however, were acting in other 
 parts of Spain prior to 1650 is a well-attested fact. In 
 1649, during the journey of the new Queen, Dona Mari- 
 ana de Austria, from Vienna, the company of Roque de 
 Figueroa represented a comedy before the King on one of 
 the royal vessels lying at Tarragona. 3 
 
 Another royal order, chiefly concerning the abuses that 
 had gradually been introduced in the matter of women's 
 costumes on the public stage, and which the decree of 1646 
 had been intended to remedy, was issued on January 1, 
 1 653.* On the death of Philip the Fourth (Septem- 
 ber 17, 1665), the theaters were once more closed, and a 
 
 1 "En esta Corte se ha ido tolerando el que haya Comedias de historias, 
 y en la forma que el Consejo tendra entendido; y si este afio se per- 
 mitieren, podra correr en Valencia lo mismo, precediendo su examen y 
 moderacion al exemplo de lo que se hiciese aqui; pues el conceder a los 
 pueblos algun licito desahogo parece preciso." (Pellicer, Histrionismo, 
 Tomo I, p. 223.) 
 
 2 Loc. cit., p. 223. A number of comedias bearing this title have 
 survived, and it is impossible to determine which one is here meant. 
 The thirst for novelty would preclude Lope's play, which was written 
 before 1618. The comedia so entitled by Luis Velez de Guevara (who 
 died in 1644) is of unknown date. It may be Jacinto Maluenda's La 
 Magdalena. See Paz y Melia, Catdlogo, No. 704. 
 
 8 "Mientras los esclavos hizieron aguada, entretuvo S. M. el tiempo, 
 oyendo una comedia que Roque de Figueroa, Autor dellas, represento en 
 la Antepopa de la Real con su Compania, que entonces acaso se hallava 
 en Tarragona." (Real Viage de la Reyna N. S. Dona Mariana de Austria 
 desde la Corte de Viena hasta estos sus Reynos de Espana, Madrid, 1649, 
 quoted by Schack, Nachtrdge, p. 73.) 
 
 *This decree was first published by Schack (Nachtrdge, p. 80) from 
 a MS. in the Royal Academy of History at Madrid. It is as follows: 
 "Quando permiti que volviesen las comedias (que se avian suspendido 
 por los desordenes y relaxacion de trages y representaciones que se avian 
 esperimentado) fue con orden preciso que eso se executase con atencion 
 muy particular a la reformacion de los trages y a la decencia de las 
 
THE THEATERS OPENED IN 1666 251 
 
 decree was issued by the Queen, Dona Mariana of Aus- 
 tria, on September 22, 1665, prohibiting the representa- 
 tion of comedias throughout the kingdom, and declaring 
 "that they shall cease entirely until the King, my son, shall 
 be of an age to enjoy them." 1 The theaters remained 
 closed, however, but little more than a year, when the city 
 of Madrid, on November 17, 1666, petitioned the Queen 
 Regent that they be reopened. The question was again 
 referred to the Council, who threshed the whole matter 
 over once more, with the inevitable result that a decree 
 was issued, on November 30, again permitting the repre- 
 sentation of comedias, 2 which were continued until July 
 14, 1682, when the theaters were again closed on account 
 of the pest. 
 
 representaciones que se havra de obserbar, de suerte que no hubiese, ni 
 en lo uno ni en lo otro, cosa alguna que ofendiese la publica honestidad. 
 Y porque he entendido que en esto se falta gravemente en las partes donde 
 se representa y que los trages no son con la moderacion y ajustamiento 
 que se deve, os ordeno que embieis ordenes a la Corona en todo aprieto 
 (de suerte que se observen precisa y indispensablemente) que ninguna 
 muger pueda salir al teatro en havito de hombre, y que si huviere de 
 ser preciso para la representacion que hagan estos papeles, sea con trage 
 tan ajustado y modesto, que de ninguna manera se les descubran las 
 piernas ni los pies, sino que esto este siempre cubierto con los vestidos 6 
 trages, que ordinariamente usan, o con alguna sotana, de manera que 
 solo se diferenzie el trage de la cintura arriba imponiendoles las penas 
 que os pareciere y disponiendo que inviolablemente se executen en las 
 que contravinieren al cumplimiento de la orden referida. — Rubricado de 
 la real mano de S. M. — Madrid, a i° de Enero de 1653. — Al Vicecanciller 
 de Aragon." This decree is also now printed in Cotarelo, Controversial, 
 
 P- 635- 
 
 1 "E1 sentimiento a que ha obligado la falta del Rey nuestro Senor, pide 
 que prohiba generalmente en todos estos Reynos el representar Comedias, 
 y asi mando se den luego por el Consejo las ordenes necesarias para que 
 cesen enteramente, hasta que el Rey mi hijo tenga edad para gustar de 
 ellas." (Pellicer, Histrionismo, Vol. I, p. 270.) 
 
 2 Ibid., pp. 271-374. 
 
CHAPTER XII 
 
 The "Partidas" of Alfonso the Learned concerning secular plays. 
 The church and the theater. Public players declared infamous. 
 Opposition of the clergy to the theater. It is mostly due to the 
 players. Character of the actresses. 
 
 The fact that the modern theater had its origin in the 
 liturgical services of the early Christian church naturally 
 induced that body, as the great conservator of public 
 morals, to keep a watchful eye on the growing popularity 
 and development of the religious celebrations and repre- 
 sentations, which finally culminated in the profane thea- 
 ter. 
 
 The Partidas of Alfonso the Learned, written between 
 1252 and 1257, had already declared what part the clergy 
 might take in these representations, namely: "that re- 
 ligious persons ( clerigos ) may not be actors in the farcical 
 plays (juegos de escarnios), 1 so that people come to 
 see them, how they are acted. And if other persons rep- 
 resent them, the clergy shall not come to see them, for 
 much clownishness and lewdness are committed in them. 
 Nor shall these things be done in the church; rather do 
 we declare that those who do these things shall be driven 
 from the church in disgrace, for the church of God is in- 
 tended for prayers and not for lewd plays. But the clergy 
 may represent such matters as the birth of our Lord Jesus 
 Christ, in which is shown how the angel descended to the 
 
 1 Ticknor, History of Spanish Literature, Vol. I, p. 269, translates juegos 
 de escarnios = buffoon plays; Wolf translates "Spottspiele." See also the 
 note in Ticknor, ibid. Doubtless rude farces with their accompaniment of 
 horse-play are meant. 
 
 252 
 
THE COUNCIL OF ARANDA 253 
 
 shepherds and told them of the birth of Christ. And 
 likewise of his appearance and how the three Magi came 
 to adore him ; and of his resurrection, which shows how 
 he was crucified and arose on the third day. Such things 
 as these, which move men to do good and to have devo- 
 tion in the faith, may be represented, and, besides, so that 
 men may remember that just as here the things have, in 
 truth, happened. But these things must be done with 
 decorum and with great devotion, and in the large cities, 
 where there are archbishops and bishops, and by their 
 authority or that of their representatives, and they must 
 not be performed in villages or in mean places, nor fori 
 the purpose of gaining money." 1 
 
 Dramatic representations continued to flourish in the 
 churches, but, through the laxity of the clergy, the abuses 
 increased to such an extent that the council of Aranda, in 
 1473, enacted a decree, similar to the law just mentioned, 
 to regulate these performances, and strongly condemning 
 "the abuses which had crept into the festivals of the birth 
 of Christ, that of St. Stephen, St. John, the feast of the 
 Innocents," etc., and forbidding other festivals in which 
 theatrical plays, masks, monsters, shows, and many de- 
 
 '"Los clerigos ... no deben ser facedores de juegos de escarnios 
 porque los vengan a ver gentes, como se facen. E si otros omes los 
 ficieren, non deben los clerigos hi venir, porque facen hi muchas villanias 
 e desaposturas. Ni deben otrosi estas cosas facer en las eglesias: antes 
 decimos que los deben echar de ellas deshonradamente a los que lo 
 ficieren: ca la eglesia de Dios es fecha para orar e non para facer 
 escarnios en ella. . . . Pero representacion hay que pueden los clerigos 
 facer, asi como de la nacencia de nuestro Senor Jesucristo en que muestra 
 como el angel vino a los pastores, e como les dijo como era Jesu Cristo 
 nacido. £ otrosi de su aparicion como los tres reyes magos le vinieron a 
 adorar. E de su resurreccion que muestra que fue crucificado e resucito 
 al tercero dia: tales cosas como estas que mueven al ome a facer bien 
 e a haber devocion en la fe, pueden las facer, e demas, porque los omes 
 hayan remembranza que segun aquellas fueron las otras fechas de verdad. 
 Mas esto deben facer apuestamente e con muy grand devocion e en las 
 cibdades grandes donde oviere arzobispos 6 obispos, e con su mandado 
 de ellos 6 de los otros que tovieren sus veces, e non lo deben facer en las 
 aldeas, nin en los lugares viles, nin por ganar dinero con ellas." (Partida 
 I, tit. vi, leg. 34.) 
 
254 THE SPANISH STAGE 
 
 vices and lewd figures are brought into the churches, thus 
 creating a tumult; besides, it forbade "all derisive 
 speeches or the recitation of lewd verses, which interfere 
 with the divine offices and make the people unmindful of 
 their devotions," etc. However, decorous and devout 
 representations which move people to devotion are not 
 prohibited. 1 
 
 Those persons who, outside the church, made a living 
 by playing in the public squares — the singers and players 
 of instruments (juglares) and mimic players (remeda- 
 dores) — had been declared infamous by the Partidas of 
 Alfonso X., 2 and the church declared them without civil 
 rights, a stigma under which all public players rested in 
 France until 1642, 3 while their ecclesiastical rehabilita- 
 
 1 "Quia quaedam tarn in metropolitan's quam in cathedralibus et aliis 
 ecclesiis nostrae provinciae consuetudo inolevit et videlicet in festis Nativi- 
 tatis Domini nostri Jesu Christi, et sanctorum Stephani, Ioannis et Inno- 
 centium aliisque certis diebus festivis, etiam in solemnitatibus missarum 
 novarum (dum divina aguntur) ludi theatrales, larvae, monstra, spec- 
 tacula, nee non quam plurima inhonesta et diversa figmenta in ecclesiis 
 introducuntur, tumultuationes quoque et turpia carmina et derisorii ser- 
 mones dicuntur, adeo quod divinum officium impediunt et populum reddunt 
 indevotum: nos hanc corruptelam sacro approbante consilio, revocantes 
 hujusmodi larvas, ludos, monstra, spectacula, figmenta, tumultuationes 
 fieri, carmina quoque turpia et sermones illicitos dici, tarn in metropoli- 
 tanis quam cathedralibus ceterisque nostrae provinciae ecclesiis dum 
 divina celebrantur praesentium serie omnino prohibemus: statuentes 
 nihilominus, ut clerici, qui praemissa ludibria et inhonesta figmenta 
 officiis divinis immiscuerint aut immisceri permiserint, se in praefatis 
 metropolitanis seu cathedralibus ecclesiis beneficiati exstiterint, ex ipso 
 per mensem portitionibus suis mulctentur: si vero in parochial ibus fuerint 
 beneficiati triginta et si non fuerint quindecim regalium poenam incurrant 
 fabricis ecclesiarum et tertio synodali aequaliter applicandam. Per hoc 
 tamen honestas representationes et devota quae populum ad devotionem 
 movent, tarn in praefatis diebus quam in aliis non intendimus prohibere." 
 (Quoted by Schack, Geschichte der dramatischen Lit. u. Kunst in Spanien, 
 Vol. I, p. 136.) 
 
 '"Otrosi [son infamados] los que son juglares e los remedadores e los 
 facedores de los zaharrones que publicamente andan por el pueblo 6 can- 
 tan 6 facen juegos por precio, esto es porque se envilecen ante otros por 
 aquel precio que les dan. Mas los que taneren estrumentos 6 cantasen por 
 facer solaz a si mesmos, 6 por facer placer a sus amigos 6 dar solaz a los 
 reyes 6 a los otros senores, non serian por ende enfamados." (Partida VII, 
 tit. vi, leg. 4.) 
 
 ""Die Kirche erklart ihn (den Jongleur) fur infam, fur ehr- und 
 
THE ACTOR'S PROFESSION 255 
 
 tion was only effected by the great Revolution, and in 
 Spain to this day an actor who dies in his profession can- 
 not be buried in soil consecrated by the church. 
 
 Speaking of the actor's profession in England, Collier 
 says: "It was a profession in bad repute before Elizabeth 
 came to the throne, and long afterward; and poverty, 
 peculiar circumstances of position, or a strong passion for 
 theatrical performances, could alone have induced an in- 
 dividual to attach himself to it." 1 In 1572 a statute was 
 enacted in England declaring that common players in in- 
 terludes, etc., not belonging to a baron or higher per- 
 sonage, or not having a license from two justices of 
 the peace, should be dealt with as rogues and vaga- 
 bonds. 2 
 
 The church, as Cotarelo says, "put an end to pagan 
 spectacles; but the church itself, in the obscurity of the 
 Middle Ages, gave origin and birth to the modern drama. 
 At first forming part of the liturgy, in alternating chants, 
 dialogues, and choruses, with some sort of scenic appara- 
 tus; then amplifying and complicating these true repre- 
 sentations with events in the life of Jesus Christ, of his 
 saints, or of the heroes of the Old Testament, and after- 
 ward by permitting, within or without the churches, these 
 embryonic dramas to be enacted in the vulgar tongue, 
 with great apparatus, and with music, songs, and other 
 popular pastimes, the church greatly facilitated their 
 growth. And when, on account of the abuses which this 
 
 rechtlos, und unter dem Einflusse des kanonischen Rechts spricht ihm auch 
 das biirgerliche Gesetz die Handlungsfahigkeit ab. Diese Infamierung 
 hat in Frankreich die Jahrhunderte uberdauert: jene Schauspieler, welche 
 in 1637 Corneilles Cid kreirten, waren noch biirgerlich und kirchlich 
 ehrlos. Erst 1642 hob eine konigliche Verfugung die biirgerliche Infa- 
 mierung auf. Die kirchliche Rehabilitierung hat dem franzosischen 
 Schauspieler erst die grosze Revolution gebracht. Erst sie hat diesem 
 tausendjahrigen Zweikampf zwischen Kirche und Spielmann ein Ende 
 gemacht." (Morf, Aus Dichtung u. Sprache der Romanen, p. 153.) 
 
 1 Memoirs of the Principal Actors in the Plays of Shakespear, London, 
 Shakspeare Soc, 1846, p. 3. 
 
 ' Fleay, A Chronicle History of the London Stage, London, 1890, p. 44. 
 
256 THE SPANISH STAGE 
 
 tolerance necessarily produced, it closed its doors to every 
 profane element, we see the modern theater created. 
 
 While the church, "ever vigilant for the decorum of its 
 ceremonies," as the same writer says, "tried to extirpate 
 every kind of excess and evil practice," we know that its 
 success was only partial. Moreover, at the beginning of 
 the sixteenth century this vigilance of the church, at its 
 fountain-head at all events, had very much relaxed, so far 
 as dramatic representations are concerned. Alexander 
 VI. and his court were certainly not inclined to guard the 
 stage or protect it from abuse because of any moral or 
 religious scruples they may have had. It is ques- 
 tionable, indeed, whether the stage had ever sunk to a 
 lower depth than it did under their august patronage. 2 
 
 Nevertheless, the actor remained under the ban of the 
 church, and this lasted in some countries, as we have seen, 
 until late in the eighteenth century : the great Moliere was 
 denied the rights of sepulture by the Catholic Church and 
 was buried at night, like a criminal. 
 
 1 Controversias, etc., p. 9. 
 
 "At the court of Alexander VI., besides the commedie, other spectacles 
 were prepared for the delectation of these noble personages, as "lo 
 spettacolo de' cavalli e cavalle in amore, goduto dal Papa e da Madonna 
 Lucrezia cum magnu risu et delectationc, da una finestra del palagio" 
 (D'Ancona, Origini del Teatro Italiano, Vol. II, p. 71, note), and the 
 "ballo delle raeretrici," etc. And we mention only in passing the comedy 
 ha Calandra, by Cardinal Bibbiena — performed before sua santa at Rome 
 in 1514 — in order to record a matter which concerns us much' more nearly. 
 Cardinals and pontifical secretaries were not ashamed to travel in the 
 company of prostitutes and to entertain them at their tables. On the 
 evening of August 10, 1513, the Marquis Federico Gonzaga, being only 
 twelve years old, supped at the house of the Cardinal of Mantua, his 
 uncle, with the Cardinal d'Aragona., Cardinal Sauli, Cardinal Cornaro, 
 several bishops and noblemen, and the' courtesan Albina ; on the preceding 
 Thursday he had been at the house of the Cardinal of Arborea, where 
 there was recited, in Spanish, a comedia of Juan de la Enzina, and where 
 were gathered together piu putane spagnole che omini italiani. (Graf, 
 Attraverso il Cinquecento, Roma, 1888, p. 265. See also D'Ancona, 
 Origini, Vol. II, p. 82.) The play by Enzina was probably Placida y 
 Victoriano, which, according to Moratin, was printed in Rome in 1514. 
 It is evident that the "vigilance," at this time, must have originated else- 
 where than at Rome. 
 
THE BAN ON ACTORS 257 
 
 In Spain, as late as 1789, two members of the theatri- 
 cal profession, Cristobal Garrigo and Antonia Lopez 
 Antolin, were refused the "sacrament of marriage" by the 
 church, because they were actors, "their profession of 
 acting making them unworthy of the sacraments, they 
 being ipso facto infamous and public sinners" j 1 and in the 
 following year communion (la comunion pascal) was re- 
 fused to the actor (primer galan) Antonio Cabanas and 
 to his son. In Spain, to this day, as already remarked, 
 an actor who dies in his profession cannot be buried in 
 soil consecrated by the church, because, as Sr. Cotarelo 
 says, "ecclesiastical sepulture is due only to those who die 
 in the communion of the church, and because the rituals, 
 not excluding the Roman, prohibit it to public sinners, 
 which actors are." 2 
 
 It is doubtful, however, whether, except in rare cases, 
 the sacraments of the Catholic Church were refused to a 
 player. In 1590 Fray Manuel Rodriguez, in his Obras 
 morales en Romance, says : "The priests are obliged to 
 deny communion to actors, as they are defined in the 
 Council of Basle, because they are public sinners. And 
 observe that we do not speak here of the actors of farces 
 and comedias, because they are not public sinners, but we 
 speak of such players who publicly teach others to do evil 
 things, such as those who do publicly things that pertain 
 to the magic arts, tumblers," etc. 3 
 
 This is substantially repeated by Fr. Alonso de Vega in 
 
 1 "El cuia, entendiendo que eran de oficio comico, se nego a conf erirles 
 el Sacramento del matrimonio, representando al sefior gobernador del 
 obispado que su ejercicio de representantes los hacia indignos de los sacra- 
 mentos, siendo por el infames y pecadores publicos." (Cotarelo y Mori, 
 Controversias, etc., p. 400.) 
 
 2 "Los comicos que mueren en el oficio no pueden ser enterrados en 
 sagrado, porque la sepultura eclesiastica solo se debe a los que mueren en 
 la comunion de la Iglesia, y porque los rituales, sin excluir el romano, la 
 prohiben a los pecadores publicos, cuales son los comicos. Ni vale alegar 
 la costumbre contraria, porque como dice Inocente III.: Consuetudo, quae 
 canonicis oviat instituis, nullius debet esse momenti." (Controversial, 
 etc., p. 405.) * Ibid., p. 525. 
 
258 THE SPANISH STAGE 
 
 1609, who says: "Priests are obliged to deny communion 
 to actors who teach others publicly to do evil things, etc. ; 
 . . . but players do not sin in practising their profession, 
 for it is not unlawful in itself." 1 Indeed, in 15981 D. 
 Pedro Vaca de Castro, Archbishop of Granada and Se- 
 ville, who had opposed the representation of comedias as 
 "a fountain of great evil," inquired very particularly con- 
 cerning players as to whether "they fulfil the precepts of 
 the church, especially those of confession and holy com- 
 munion." 2 And in 1614 it was the opinion of Francisco 
 Ortiz, who wrote an Apologia en defensa de las Come- 
 dias que se representan en Espana, that the sacraments 
 should be given to actors, because the prohibitory canons 
 refer only to the Roman mimes, not to modern autos? 
 
 None of these prohibitions of the church was observed 
 in the sixteenth and seventeenth centuries, so far as we 
 can judge by such records of the marriages and deaths of 
 players as have come down to us. In 1596, for example, 
 Ana Ortiz requests that she be buried in the parish of 
 Santa Cruz, in the tomb of her husband, Pedro Paez de 
 Sotomayor (an autor de comedias), "who is buried near 
 the altar of San Cosme and San Damian." 4 And on the 
 death of Pedro Llorente, an autor de comedias, on Janu- 
 ary 30, 1 62 1, we read: "He received the holy sacraments 
 at the hands of the licentiate Corralan, and requested in 
 his will that twelve masses for his soul (misas de alma) 
 and three hundred ordinary ones be said." 5 In like man- 
 ner Cristobal Ortiz de Villazan, an autor de comedias, on 
 his death, on July 1, 1626, received the holy sacraments, 
 and Jeronima de Burgos, who died on March 27, 1641, 
 and whose life had been far from exemplary, received the 
 holy sacraments and was buried by the Brotherhood of 
 Our Lady of the Novena. 6 
 
 1 Controversies, etc., p. 584. * Ibid., p. 578. s Ibid., p. 491. 
 
 4 Pirez Pastor, Nuevos Datos, p. 44. B Ibid., p. 360. 
 
 ° Ibid., p. 327. The only exception that I have found is the following, 
 
THE CHURCH AND THE STAGE 259 
 
 During the long conflict in Spain between the theater 
 and the church, besides the many opponents of the theater 
 —who, almost without exception, flayed the actors with- 
 out mercy— there were also a few clerical defenders of 
 the histrionic art. These controversies have been col- 
 lected with great diligence by Sr. Cotarelo y Mori, in the 
 large volume from which we have frequently quoted, and 
 while many are mere diatribes against the comedia and 
 the players, not infrequently, as it seems, by men who had 
 never seen a comedia performed — to judge by the general 
 terms in which their arguments are framed — others con- 
 tain observations which are not without interest in our 
 present purpose. One of the earliest defenders of the 
 stage was Diego de Cabranes, in his Armadura espiritual, 
 the privilege of which is dated 1525. His opinion is that 
 fineries (atavios) for the representation of farces for 
 recreation only are not unlawful. His work is of im- 
 portance as a proof of the early date at which farces were 
 acted in public. 
 
 In 1559 Fray Francisco de Alcocer, in his Tratado del 
 Juego, says: "The representation of farces and inven- 
 tions is another kind of play which, when they are stories 
 from the sacred scriptures {sagrada escritura), or con- 
 cerning other devout things, and are performed by persons 
 who represent them with the grace which such matters 
 require, is a good and honest pastime and conducive to 
 devotion. And one should always take care that the per- 
 sons who represent the plays should likewise understand 
 what they are representing, and that they should be so 
 skilful in what they do and should know so well what they 
 
 and it happens to be the case of a famous autor de comedias: "29 Marzo 
 1610. Partida de defuncion de Nicolas de los Rios. — En Madrid, en veinte 
 y nueve de Marzo de 1610 afios raurio de aplopegia {sic) en la calle de 
 las guertas, Nicolas de los Rios, autor de comedias, casado con Ines de 
 Lara. No recibio el viatico ni texto, enterrole su muxer en San Sebastian 
 en orden de quarenta reales." (Archivo parroquial de San Sebastian. 
 Perez Pastor, Nucvos Datos, p. 118.) 
 
z6o THE SPANISH STAGE 
 
 say that the people present be edified and moved to devo- 
 tion. This is often lacking, and the actors are sometimes 
 so vulgar and act so badly that it rather provokes to 
 laughter, although they should not be condemned on this 
 account, provided their intention be good. Other histor- 
 ical farces there are, and also those invented by their 
 authors, which, provided there be nothing unseemly (des- 
 honesto) in them which is provocative of sin, are not to 
 be condemned, while those farces which are lewd and im- 
 moral should not be represented." 1 This, it will be re- 
 membered, was in the period of Lope de Rueda. 
 
 On the other hand, the opponents of the comedia 
 among theological writers are legion. One of the most 
 important as well as one of the earliest is Fr. Juan 
 de Pineda, the editor of the famous Paso honroso def en- 
 dido for Suero de Quinones. His Dialogos de la Agri- 
 cultura were written in 1581, just prior to the time of 
 Lope de Vega's first attempts at writing for the public 
 stage. He says : "Turning now to our own actors, inciters 
 to evil lives, I should like to know what law of reason can 
 give consent to them or what king should permit them, 
 and especially those foreigners [the Italians] who carry 
 away many thousands of ducats from Spain every year." 
 That these actors employed their mother tongue, we learn 
 from one of the interlocutors in the dialogue, who says 
 that he went several times to the comedia, "especially to 
 that of the Italians, who better understood the expression 
 of the emotions," and that he took his wife with him, "she 
 being a person of almost as good sense as I am, and who 
 even understands Italian." "What could married men 
 say, who take or send their wives and daughters to such 
 spectacles, even if they should not return home at 
 night?" 2 
 
 Pedro de Ribadeneira, a Jesuit priest, in his Tratado 
 
 1 Cotarelo y Mori, Controversias, p. 55. 
 1 Controversias, p. 505. 
 
ARGENSOLA ON THE COMEDIA 261 
 
 de la Tribulation (1589), is most bitter in his denuncia- 
 tion of actresses. "The low women {mugercillas) who 
 ordinarily act are beautiful, lewd, and have bartered their 
 virtue, and with gestures and movements of the whole 
 body, and with voices bland and suave, with beautiful cos- 
 tumes, like the sirens they charm and transform men into 
 beasts and lure them the more easily to destruction, as 
 they themselves are more wicked and lost to every sense 
 of virtue." 1 
 
 And not only theologians opposed the comedia, but no 
 less a person than Lupercio Leonardo de Argensola, who 
 had himself written three tragedies, La Isabela, La Alex- 
 andra (so much praised by Cervantes), and La Fills, 
 which is now lost. Why Argensola should oppose the 
 comedia, it is not easy to say. Perhaps he was piqued at 
 the failure of his tragedies, which are very mediocre and 
 extremely sanguinary productions, to judge by the two 
 which have survived. At all events, Lupercio's brother, 
 Bartolome, who was a priest as well as poet, never ex- 
 pressed any opposition to the stage of his day. In 1598 
 Lupercio addressed a memorial to Philip II. in which he 
 vehemently protested against the comedia as then acted, 
 which was the comedia of Lope de Vega. Speaking of 
 actresses, he says: "The lure which the devil used was 
 their singing, dancing, and exquisite costumes, and the 
 various personages whom they represented every day, 
 attiring themselves as queens, goddesses, shepherdesses, 
 and as men; and the representation of the most pure 
 Queen of the Angels has been profaned by them. And so 
 true is this, that in presenting a comedia of the life of Our 
 Lady in this capital, the actor who played the part of St. 
 Joseph was living in concubinage with the woman who 
 represented Our Lady, and this was so notorious that 
 many were scandalized and laughed when they heard the 
 words which the most pure Virgin replied to the angel's 
 
 1 Ibid., p. 523. 
 
262 THE SPANISH STAGE 
 
 question: Quomodo fiet istud, etc. And in this same 
 comedia, arriving at the mystery of the birth of Our Sa- 
 viour, this same actor who played the part of Joseph re- 
 proved the woman in a low voice because she was looking, 
 as he thought, at a man of whom he was jealous, calling 
 her by a most vile name which is wont to be applied to 
 evil women." 1 Argensola likewise speaks of the scandal 
 of these actors wearing priestly vestments at the festival 
 of Corpus, and, "what is worse than all, to see the wounds 
 of Our Saviour painted on those hands which a short time 
 before were occupied in playing cards or the guitar." 
 
 Fray Jose de Jesus Maria, writing in 1600, says: "The 
 comedias as they are represented nowadays are most in- 
 decent and prejudicial to all classes of people, because 
 they nearly all treat of lascivious things or dishonest love- 
 affairs." 2 He says further: "What pleasure or what 
 edification can it give to the spectator to see (as I have 
 seen in this capital) an actor embrace and kiss publicly 
 in the theater the very wife of the autor de comedias?" 3 
 He alludes to the gross impropriety of having common 
 players perform the autos of Corpus Christi, saying : "If 
 there be anything in Spain which offends strangers and 
 pious natures at this festival, it is to see vile men (sucios) 
 and infamous, accustomed all their lives to representing 
 obscene and hideous things (cosas torpes y feas), repre- 
 senting mysteries so lofty and ineffable; and that the 
 woman who represents the lewdness (torpezas) of 
 Venus, as well in comedias as in her private life, should 
 represent the purity of the Sovereign Virgin in an act so 
 divine and solemn." (Ibid.) 
 
 One of the most distinguished among the opponents of 
 the theater was the historian Padre Juan de Mariana. 
 He had denounced it as early as 1599 in the treatise De 
 Rege, and again in his De Spectaculis, ten years later. 
 In his work Contra los Juegos publicos, a translation 
 
 1 Controversias, p. 67. * Ibid., p. 370. * Ibid., p. 377. 
 
MARIANA ON THE THEATER 263 
 
 which, it is said, he himself made of his De Spectaculis, 
 with amplifications, he opposes the theater with great vehe- 
 mence. 1 He would particularly exclude all players from 
 taking part in religious "festivals in the churches or in the 
 public autos at Corpus, and expresses his horror at hav- 
 ing heard the most gross and indecent entremeses recited 
 in churches, and dwells upon the great prejudice to re- 
 ligion and morals that low-lived players should represent 
 the lives of saints, etc. All actors should be banished 
 from public and church festivals, from which also, in his 
 opinion, all dances should be eliminated. 2 
 
 Again, in the Didlogos de las Comedias (1620), by an 
 anonymous writer, we read: "An actress appears upon 
 the stage to represent a Magdalen or the Mother of 
 God, and an actor to represent the Saviour, and the first 
 thing you see is that the greater part of the audience 
 recognizes this woman as a prostitute (ramera) and the 
 man as a bully. Could there be a greater indecency in the 
 
 1 It is not certain that Mariana himself translated the De Spectaculis 
 into Spanish. Cirot, in his excellent work, Mariana, Historien, Paris, 
 1905, nowhere says so. Gallardo, Ensayo, Vol. II, Index of MSS. at the 
 end, p. 100, mentions the "Tratado De Spectaculis, traducido en castellano 
 por el mismo (Q. 41)." See below, p. 294. Mariana died in 1623. 
 
 ""Pretendo empero que los faranduleros se deben de todo punto 
 desterrar de las fiestas del pueblo cristiano y de los templos. . . . Pues 
 I con que cara los cristianos faranduleros tornados de la plaza y de 
 los mesones los meten en los templos para que por ellos se augmente la 
 sagrada alegria de las fiestas? . . . Pero diras por ventura que en los 
 templos no tratan de cosas torpes, sino que representan historias sagradas 
 tomadas 6 de los libros divinos, 6 de las historias de los sanctos, lo cual 
 pluguiese a Dios fuese verdad, y no antes para mover al pueblo a risa 
 tratasen de cosas torpisimas. Y es cosa muy grave no poder negar lo que 
 confesar es grande vergiienza; sabemos muchas veces en los templos 
 sanctisimos, principalmente en los entremeses, que son a manera de coros, 
 recitarse adulterios, amores torpes y otras deshonestidades, de manera 
 que cualquier hombre honesto esta obligado a huir tales espectaculos y 
 fiestas si quiere mirar por el decoro de su persona y por su vergiienza ; 
 y i creeremos con todo esto que las cosas que huyen los hombres modestos 
 son agradables a los sanctos? Yo antes creeria que todos estos juegos se 
 debrian desterrar de los templos sanctisimos como estiercol y burla de la 
 religion, principalmente cuando se hacen por publicos faranduleros, porque 
 siendo su vida torpe, parece que con su misma afrenta afean antes la 
 religion . . . y i sufriremos que una muger deshonesta represente a la 
 
264 THE SPANISH STAGE 
 
 world? Having finished this part, the same actress ap- 
 pears in an entremes, representing an innkeeper's wife or 
 a prostitute, simply by putting on a bonnet or tucking up a 
 skirt, and then comes out in a wicked baile and dances 
 and sings a carrateria which they call 'The Clothes Laun- 
 dry,' in which all the unseemly occurrences in a laundry 
 are represented; and he who played the part of the Sa- 
 viour in a beard takes it off and comes out and sings or 
 dances or performs the baile of 'There goes Molly' 
 (Alia va Marica) . Does this not show the greatest in- 
 decency and mockery of our faith?" 1 The same Didlogo 
 tells us that "actors are the filth and scum of the world 
 (la horrura y hez del mundo), and very rarely are good 
 people found among them" ; that "very often they can 
 neither read nor write, and they are wicked people who 
 have an aversion to work," etc., but "by dint of industry 
 and perseverance, here and there one becomes eminent, 
 like Cisneros, Leoncillo, Granados, Morales, Villegas, 
 Rios, and others." 
 
 The shafts of Fray Jeronimo de la Cruz, in his lob 
 evangelico stoyco ilustrado (1638), are directed not so 
 much at the players as at the comedias — at their plots and 
 subject-matter. "In the comedia is represented, with the 
 brilliant colors which the devil knows how to give to idle 
 thoughts and a wanton heart, how the married woman 
 may betray her husband: it [the comedia J facilitates the 
 deed and diminishes fidelity with the example it sets before 
 
 virgen Maria 6 Sancta Catalina, y un hombre infame se vista de las 
 personas de san Agustin y san Antonio? . . . creeria yo que por la misma 
 razon se deben echar dellos [los templos] las danzas, que conforme a la 
 costurabre de Espafia, con gran ruido y estruendo, moviendo los pies y 
 manos al son del tamboril por hombres enmascarados se hacen ; porque 
 i de que otra cosa sirven sino de perturbar a los que rezan y oran y a los 
 que cantan en comun?" Mariana, Contra los Juegos publico*, chap, vii, 
 pp. 422, 423 (Bibl. de Autores Espanoles, Vol. XXXI), and see also 
 chap, xii of the same work, which is devoted wholly to the bayle y cantar 
 llamado Zarabanda. {Ibid., p. 433.) The latter chapter, Pellicer says, 
 was added in the Spanish translation. (Histrionismo, Vol. I, p. 128, note.) 
 1 Ibid., p. 218. 
 
GENUS IMPROBUM 265 
 
 one of how others have done so. It incites the maiden to 
 thoughts which she knows not, and to desires which she 
 does not understand. It furnishes a means to outwit the 
 severity of the father and the precaution of the mother. 
 It teaches her to receive secret letters, to reply to them, 
 and what she has to do in any conjecture to attain an end : 
 to feign in public and to lose her fears in secret ; to make 
 false keys, to seek hidden doors and windows; not to fear 
 the darkness of the night nor the dangers of the house. 
 To the young it teaches liberties, boldness, and insolence ; 
 the plausible excuse, the bland speech, the deceptive 
 sigh," etc. 1 
 
 Especially was the opposition most bitter to the repre- 
 sentation of religious and sacred comedias (comedias a lo 
 divino) and to the autos sacramentales, when performed 
 by the actors of the public theaters, for here the charac- 
 ters of saints and of the Virgin Mary were frequently 
 assumed by players whose lives were notoriously im- 
 moral. 2 In addition to the instances already given, many 
 more could be cited from the work of Sr. Cotarelo, but 
 enough has been adduced to show the nature and extent 
 of the opposition to plays of this character. 
 
 Amid the great mass of controversy upon the question 
 
 1 Ibid., p. 203. 
 
 'See above, the excerpt from Mariana. Nearly two hundred years 
 later, in 1789, Don Simon Lopez, speaking of the comedias de santos, says: 
 "What matters it that the comedia be on a sacred subject, if those who 
 represent it be consummate rogues? What matters it if the life of the 
 saint, which is the theme of the comedia, be good, if in the very same 
 narration are mingled a hundred evil things; if there be interjected 
 sainetes, tonadillas, obscene witticisms, and low innuendos to please the 
 taste of the audience and to attract them, with the object of gaining more 
 money? Because the rascally actors know very well that if all were 
 devout and Christian the crowds would soon be lacking." He cites as an 
 example the priest Montalvan's Santa Maria Egipciaca (La Gitana de 
 Menfis). This, which is a comedia de santos, he says is wholly a tissue 
 of lies, perjuries, blasphemies, false testimony, jealousies, suspicions, gal- 
 lantries, solicitations, low puns, vile allusions, and inciting gestures. "In 
 it are depicted murder, robbery, and revenge. In it at every step the 
 names of God, Jesus, and Mary are profaned. In it miracles, prayers, 
 sanctity, and penitence are ridiculed. In it wickedness and effrontery 
 
266 THE SPANISH STAGE 
 
 of the lawfulness of the comedia which has been collected 
 by Sr. Cotarelo, the voices of the defenders of the theater 
 make but a feeble outcry, which is drowned and over- 
 whelmed by their opponents. 1 There can be little doubt 
 that the latter had good grounds for their protests, due 
 not so much to the plays themselves as to the character 
 of the players, for the Spanish comedia, especially as it is 
 represented by three of its greatest writers, Lope de 
 Vega, Alarcon, and Calderon, compares very favorably^ 
 as regards its moral tone, with the contemporary plays 
 of England, Italy, or France, 2 as we have already re- 
 marked. 
 
 Indeed, it is almost certain that the strong feeling 
 against the comedia, which found its expression in the 
 utterances of the theologians and the various decrees of 
 the government concerning the regulation of the stage, 
 was mostly due to the excesses of the players themselves. 
 As a body they seem to have been anything but respecta- 
 
 are lauded, and procurers and go-betweens are introduced. In It a public 
 woman is deified, giving her the divine name of Mary. And even more: 
 in it an actor who a short time before took the part of a gay gallant is 
 seen transformed into a hermit in a religious habit, imitating all the most 
 sacred ceremonies," etc. All this, he says, was seen in the public theater 
 of Murcia on August 16, 1789, performed on a Sunday by the company of 
 Francisco Baus. (Cotarelo, Controversial, p. 410.) 
 
 1 Among the later defenders of the stage was the well-known dramatist 
 Francisco Bances Candamo, in an inedited work formerly in the possession 
 of Don Pascual de Gayangos, entitled Teatro de lot Teatros de los 
 pasados y presentes Sighs: Historia escenica griega, romana y castellana. 
 Sr. Gayangos gives a long excerpt from this work in his Spanish transla- 
 tion of Ticknor's History. Tomo III, pp. 454 ff. 
 
 * Even taking the Spanish dramatists of a lesser order — among whose 
 works occasionally we find plays unsurpassed by the best — it may be said 
 that there is little, on the whole, which calls for our censure, when com- 
 pared with the rest of the drama of the time. Nowhere, for example, so 
 far as my reading goes, do we meet with the brutality and utter lack of 
 a sense of decency that is only too often exhibited in the Elizabethan 
 drama. Its relatively high moral plane is, indeed, one of the distinguish- 
 ing marks of the Spanish national drama. Only one offender need be 
 named here, and he, unfortunately, one of the greatest dramatists of them 
 all, and a priest, besides, like many of his fellow-playwrights: Tirso de 
 Molina. He seems to have been constitutionally incapacitated from allow- 
 ing a play to leave his hands without a slight smudge, at all events. In 
 
ARIAS, FAMOUS ACTOR 267 
 
 ble, being mostly from the lower walks of life, though 
 there were not a few exceptions, as we have seen. In the 
 vast army of players which Spain produced in little more 
 than half a century — nearly two thousand names are 
 known to us— many became famous. A number are 
 highly praised by Lope de Vega, among them Alonso de 
 Cisneros, Agustin Solano, Melchor de Villalba, Nicolas 
 de los Rios, Antonio de Villegas, Luis de Vergara, Balta- 
 sar Pinedo, Juan de Morales Medrano, Sanchez de Var- 
 gas, Alonso de Olmedo, and others. Damian Arias de 
 Peiianel was universally regarded as the greatest Spanish 
 actor of his time. Of him Caramuel says: "Arias pos- 
 sesses a clear, pure voice, a tenacious memory, and viva- 
 cious manner, and in whatever he said it seemed that 
 the Graces were revealed in every movement of his 
 tongue and Apollo in every gesture. The most famous 
 orators came to hear him in order to acquire perfection 
 of diction and gesture. At Madrid one day Arias came 
 upon the stage reading a letter; for a long time he held 
 the audience in suspense; he was filled with emotion at 
 every line, and finally, aroused with fury, he tore the let- 
 ter to shreds and began to declaim his lines with great 
 vehemence, and though he was praised by all, he won 
 greater admiration on that day by his action than by his 
 speech." 1 
 
 fact, on account of "the evil example and tendency of his profane corae- 
 dias," the Junta de Reformacion, in 1625, urged his banishment to one of 
 the most remote monasteries of his order and that he be excommunicated 
 latae sententiae, "so that he may write no more comedias or profane verses." 
 Acuerdo de la Junta de Reformacion: "Tratose del escandalo que causa 
 un fraile mercenario que se llama M° Tellez par otro nombre Tirso, con 
 comedias que hace profanas y de malos incentivos y exemplos y por ser 
 caso notorio se acordo que se consulte a Su Magestad mande que el P e 
 confesor diga al Nuncio le eche de aqui a uno de los Monasterios mas 
 remotos de su Religion y le imponga excomunion latae sententiae para que 
 no haga comedias ni otro ningun genero de versos profanos y que esto sea 
 luego." (Perez Pastor, Bull. Hisp. (1908), p. 250.) 
 
 "Arias habet vocem claram et puram, memoriam firmam et actionem 
 vivacem, et quidquid ipse diceret in singulis linguae motibus Charites et 
 in singulis manuum videbatur habere Apollines. Ad eum audiendum 
 
268 THE SPANISH STAGE 
 
 Of comic actors, Cosme Perez, called Juan Rana, was 
 without a peer in his day. Among the celebrated ac- 
 tresses who were deceased in 1615, Suarez de Figueroa 1 
 mentions Ana de Velasco, Mariana Paez, Mariana Ortiz, 
 Mariana Vaca, and Jeronima de Salzedo. Of those living 
 at that date he mentions Juana de Villalba, Mariflores, 
 Michaela de Luxan [the amiga of Lope de Vega J, Ana 
 Mufioz, Jusepa Vaca, Jeronima de Burgos, Polonia Perez, 
 Maria de los Angeles, and Maria de Morales. Of these ac- 
 tresses perhaps the widest celebrity was gained by Jusepa 
 Vaca, wife of Juan de Morales Medrano. She was much 
 favored by Lope de Vega, who wrote for her— "la ga- 
 Uarda Jusepa Vaca," as he calls her — the comedia Las 
 Almenas de Toro. Michaela de Luxan was the mother 
 of four of Lope's children: Mariana and Angelilla, of 
 whom we know nothing, Marcela, who became a nun, 
 and the son Lope Felix. 2 Jeronima de Burgos, wife of 
 the actor Pedro de Valdes, also enjoyed the friendship of 
 the great dramatist for years, and for her he wrote the 
 comedia La Dama boba in 1613, though when he fell out 
 with her he was unkind enough to accuse her of having 
 once sold hot rolls in Valladolid. Of Maria de los Ange- 
 les, wife of Jeronimo Sanchez, actor, Lope, in a letter 
 written in May, 1614, in a fit of ill will, says that she was 
 brought up in the Rastro of Toledo, among the tripe- 
 venders (mondongueras) . Several other actresses ac- 
 quired great renown at a somewhat later date, among 
 them Maria de Cordoba y de la Vega (Amarilis), 3 Ma- 
 
 confluebant excellentissimi concionatores, ut dictionis et actionis perfec- 
 tionem addiscerent. Matriti semel Arias sibi Iegens epistulam in the- 
 atrum ingressus, longo tempore habuit Auditores suspensos, ad sin- 
 gulas lineas percellebatur, et demum furore percitus Iaceravit epistulam 
 et incepit exclamare vehementissima carmina. Et tametsi Iaudaretur ab 
 omnibus, majorem ilia die agendo quam loquendo admirationem extorsit." 
 (Rkytkmica, editio altera, Campaniae, 1668, p. 706, quoted by Schaclc, 
 Nachtrdge, p. 64.) 
 
 1 Plaza Universal, ed. of 1630, p. 336. 
 
 2 See my Life of Lope de Vega, passim. 
 
 " Caramuel says of her: "Sub idem tempus [16243 Amaryllis (sic earn 
 
COLLUVIES VITIORUM 269 
 
 ria Calderon {La C 'alder ona), the favorite of Philip the 
 Fourth, and mother of his son, Don John of Austria, and 
 Maria de Riquelme, who shines with especial splendor in 
 this fragile company, as a woman of unblemished reputa- 
 tion and an actress of singular gifts and attainments. 1 "She 
 possessed great beauty and was of so lively an imagina- 
 tion that, to the astonishment of all, she could entirely 
 change the color of her countenance while speaking. At 
 the narration of some happy incident her face was suf- 
 fused with a rosy tint, but if an unfortunate circum- 
 stance intervened, she suddenly became deathly pale ; and 
 in this she was alone and inimitable." 2 
 
 These and some others "enjoyed, no doubt," as Tick- 
 nor says, "that ephemeral, but brilliant, reputation which 
 is generally the best reward of the best of their class; 
 and enjoyed it to as high a degree, perhaps, as any per- 
 sons that have appeared on the stage in more modern 
 times." 3 
 
 While it is true that the comedia was endangered by 
 the loose and vicious lives of the players, the temptations 
 to which the latter were subjected were, on the other 
 hand, so great that their conduct need cause us little sur- 
 prise. This is especially true after the accession to the 
 throne of Philip the Fourth. The court of that monarch 
 was, without doubt, one of the most dissolute in Europe. 
 From his early years he had shown an extreme fondness 
 
 vocabant) inter Comicas floruit, quae erat prodigiosa in sua arte. EIo- 
 quebatur, canebat, musicis instruments ludebat, tripudiabat, et nihil erat, 
 quod cum laude et applausu non faceret." (Schack, Nachtrage, p. 64.) 
 
 'See above, pp. 163, 164. 
 
 2 "Paucis post annis theatra adsurgebat Riquelmae, adolescenti pulchrae, 
 apprehensiva tarn forti praeditae, ut inter loquendum vultus colorem cum 
 omnium admiratione mutaret: nam, si in theatro fausta et felicia narra- 
 rentur, roseo colore suffusa auscultabat; si autem aliqua infausta circum- 
 stantia intercurreret, illico pallida reddebatur. Et in hoc erat unica, 
 quam nemo valeret imitari." (Caramuel, quoted by Schack.) A contem- 
 porary Italian actress, Virginia Andreini (1583-1638), is also said to have 
 possessed this power of changing the color of her face at will. (Rasi, 
 / Comici Italiani, Vol. I, p. 147.) 
 
 'History of Spanish Literature, Vol. II, p. 519. 
 
270 THE SPANISH STAGE 
 
 for the stage and especially for actresses. 1 Few could 
 withstand the all-powerful influences of this royal rake, 
 and his idle and dissolute courtiers eagerly followed the 
 example set by their master. Only a woman of extraor- 
 dinary strength of character could avoid falling a vic- 
 tim to this horde of inveterate debauches. They wran- 
 gled and fought for the favors of the frail comediantes. 
 We need not be surprised at the words of Madame 
 d'Aulnoy, who, writing some years later than the period 
 which chiefly occupies us (but in which, in all probability, 
 matters had little changed), says: "One can say that ac- 
 tresses are worshiped at this court. There is not one who 
 is not the mistress of some great lord and for whom quar- 
 rels have not taken place and men have not been killed. 
 I do not know what may be the attraction of their speech, 
 but in truth they are the ugliest carcasses in the world. 
 They are frightfully extravagant, and one would rather 
 let a whole family perish of hunger than permit one of 
 these beggarly comediennes to lack the most superfluous 
 thing." 2 
 
 1 Sepulveda has truly said : "Don Felipe IV f ue rey, poeta y galan 
 enamoradisimo, un tanto calavera al uso de los Lindos, . . . romantico en 
 sus inclinaciones y novelesco en sus aventuras. A no haber nacido rey 
 hubiera sido histrion." (El Corral de la Pacheca, p. 261.) 
 
 "Relation du Voyage d'Espagne, La Haye, 1693, Tome III, p. 23. This 
 statement of Madame d'Aulnoy's is supported by the testimony of an 
 anonymous writer of a much earlier date (1620), who says: "... pues 
 sin ser muy viejo he visto tantos caballeros y senores perdidos por estas 
 mugercillas comediantes: uno que se va con una; otro que lleva a otra a 
 sus Iugares; uno que les da las galas y trata como a reina; otro que la 
 pone casa y estrado y gasta con ella, aunque lo quite de su muger e hijos, 
 y el ande tratandose inf amemente ; otro que con publicidad celebro en igle- 
 sia publica el baptizo de un hijo de una destas farsantas, colgando la iglesia 
 y haciendo un excesivo gasto con musica de capilla y con convite. No hay 
 compania destas que lleve consigo cebados de la desenvoltura muchos destos 
 grandes peces 6 Cuervos que se van tras la came muerta. Sabemos por 
 nuestros pecados todos tanto destos infortunios que es una de las mayores 
 infamias de nuestra nacion. Oimos decir que el otro senor salio desterrado 
 por la otra Amarilis; otro por la otra Maritardia 6 Maricandado, que 
 le dieron un faldellin que costo mil ducados, un vestido que costo dos mil, 
 una joya de diamantes rica; y todo esto se escribe y gacetea en otros reinos 
 y se pierda mucha honra, y aun se desacredita la cristiandad." (Cota- 
 
IN ARDUIS VIRTUS 271 
 
 The utter lack of privacy in the dressing-rooms of the 
 theaters, which were used indiscriminately by both sexes, 
 could not fail to have a most demoralizing influence. 
 Here the actresses received the visits of nobles and other 
 idle and dissolute hangers-on, for whom the rear entrance 
 of a theater has ever had a powerful attraction. 1 The 
 fact that they consorted with nobles and grandees and 
 received their protection inspired in these actresses an 
 insolence and effrontery that sorely tried the respectable 
 portion of the community. An honest woman ventured 
 with diffidence upon the public streets, especially upon 
 those which had become the recognized walks of these 
 favored creatures. 2 Their unseemly conduct contributed 
 in no small degree to the general demoralization which a 
 love of idleness, a contempt for honest labor, and an in- 
 ordinate desire for ostentatious extravagance were rapidly 
 spreading through all classes of the capital. The Avisos 
 or news-letters of various writers of this period show 
 only too plainly the havoc which idleness and immorality 
 had made in all ranks of society. 
 
 relo, Controversial, p. 215.) This statement has an additional interest 
 from the fact that the actresses here mentioned, Amarilis (Maria de 
 Cordoba y la Vega), Maritardia (or Maria Tardia, wife of Cebrian 
 Dominguez), and Maricandado (Maria Candau, wife of Cristobal de 
 Avendano), were at this time at the height of their theatrical careers. 
 
 'The same conditions prevailed in France as late as 1639. "En 1639 
 encore, les comediens, hommes et femmes, n'avaient pour s'habiller et se 
 deshabiller au theatre qu'une seule chambre: encore y fallait-il recevoir 
 les importuns, qu'il eut ete imprudent d'econduire." (Rigal, /. c, p. 167.) 
 
 2 Their favorite resort in Madrid was the Mentidero de los Repre- 
 sentantes, or Liars' Walk of the Players — a small square with trees, 
 situated in the Calle del Leon, between the Calle de las Huertas and the 
 Calle del Prado, in the immediate neighborhood of which most of the 
 actors and actresses lived, and which they visited daily to discuss their 
 engagements and other matters of interest to the theatrical world. "For- 
 merly the Calle del Leon, beginning at the Calle del Prado and continuing 
 to the Calle de Francos and Calle de Cantarranas, was somewhat wider 
 than at present and formed a small square surrounded by trees, called the 
 Mentidero de los Representantes." (Schack, Nachtrage, p. 63.) It was 
 within a few yards of the house, situated in the Calle de Francos, be- 
 tween the Calle del Leon and the Calle del Nino, which Lope de Vega 
 occupied for a quarter of a century (1610-35) and in which he died. 
 
272 THE SPANISH STAGE 
 
 But while players were frequently on terms of intimacy 
 with the nobility, they were nevertheless often treated in 
 a manner which showed that the grandee had by no means 
 lost the lofty conception he had always entertained of 
 himself as the representative of the absoluteness of divine 
 right. An instance occurred on February 8, 1637. Don 
 Juan Pacheco, eldest son of the Marquis of Cerralbo, 
 wanted Tomas Fernandez, a well-known autor de come- 
 dias, to give a new comedia on the day of San Bias, to 
 celebrate the recovery from a quartan fever of a daughter 
 of the Marquis of Cadreita, whom Don Juan at that time 
 was courting (galanteaba) . As Fernandez refused to do 
 this, the nobleman hired an assassin to stab him, and while 
 this stabbing was going on, we are told that Don Juan 
 was walking up and down in the cemetery of San Sebas- 
 tian, awaiting the outcome. "That is the way these ras- 
 cals (picaros) ought to be treated," he remarked, an 
 action, as the chronicler quietly observes, "which ap- 
 peared wrong to nearly all, because, besides the fact that 
 there were few people in the theaters on that day, the 
 
 Lope's house was in the very heart of the players' quarter and may be 
 seen on the map of 1656. It is not without interest to note that on July 13, 
 1674, the celebrated actress Mariana Romero, bought from Luis de Usa- 
 tegui, son-in-law of Lope de Vega, the house in the Calle de Francos in 
 which Lope died in 1635. On a plan of Madrid published in 1800, the 
 street is still called the Calle de Francos, though its name has since been 
 changed to the Calle de Cervantes. It seems that in the latter half of the 
 seventeenth century the Mentidero was shifted to the Calle de Cantarranas. 
 
 "Calle de Cantarranas 
 y Mentidero 
 para los Comediantes 
 todo es lo mismo." 
 (Loa para la compania de Felix Pascual, in Migaxas 
 del Ingenio, Zaragosa (no date), fol. 33, v.) 
 
 There was another Mentidero in Madrid, "Las Gradas de San Felipe, 
 Conuento de San Agustin, que es el mentidero de los soldados, de adonde 
 salen las nueuas primero que los sucessos." (Guevara, Diablo Cojuelo, 
 Tranco III. See also Mesonero Romanos, El Antiguo Madrid, 1881, 
 Vol. I, p. 261, and Vol. II, p. 44; and Sepulveda, Madrid vie jo, Madrid, 
 1887, pp. 1 and 335.) Clemencin says: "En tiempos antiguos la Puerta de 
 Guadalajara era, como ahora la del Sol, el sitio adonde concurria la 
 
AVISOS AND AN ALES 273 
 
 lessees were interested in them [the actors] as well as the 
 General Hospital." 1 
 
 Nowhere else can the reader gain a more vivid concep- 
 tion of life in the Spanish capital during the golden age of 
 the drama than in these Avisos and Anales, the forerun- 
 ners of the modern newspaper. They reveal an extraor- 
 dinary condition of moral obliquity among all classes, 
 but especially among the nobility, headed by the weak, 
 profligate, and very pious King — El Catolico Monarca, 
 Felipe IV., as he was called, and one of whose proudest 
 titles was "Defender of the Faith." It would have been 
 a miracle indeed if the stage had been able to resist this 
 general contamination. 2 
 
 gente ociosa, y el mentidero de Madrid. Despues se traslado a las gradas 
 de San Felipe." (Don Quixote, ed. Clemencin, Part II, chap, xlviii, Vol. V, 
 p. 465.) 
 
 1 La Corte y Monarquia de Espaiia en los Aiios 1636 y 1637, edited by 
 Ant. Rodriguez Villa, Madrid, 1886, p. 90. 
 
 'The license permitted in the public processions during carnival seems 
 almost incredible. See ibid., pp. 107-110. On this occasion, as usual, the 
 festival concluded with a famosa comedia which was represented in the 
 salon of the King. "And these fiestas ordinarily not being free from 
 unfortunate incidents which happen on such occasions, so in this one there 
 was much rowdyism; many were beaten and wounded, and a soldier of 
 the guard was stabbed." (Ibid., p. no.) 
 
CHAPTER XIII 
 
 The term comedia defined. The various kinds of comedias. The 
 licensing of comedias. The representation of a comedia. Loas, 
 Entremeses, Jdcaras, Sainetes, Mogigangas. 
 
 The term comedia as used by Spanish dramatists is not 
 the equivalent of our word "comedy." "Since the time 
 of Lope de Vega every play in three acts or jornadas and 
 in verse is called a comedia. Both these requisites were 
 essential to a comedia. Of the conception of comedy as 
 we have received it from the ancients, and of its meaning 
 as opposed to tragedy, we must free ourselves entirely. 
 The Spanish comedia is a species which embraces these 
 differences and in which they are resolved. Here both 
 these elements mutually interpenetrate one another and 
 are transfused, i.e., romantic dramas result, which are 
 neither comedies nor tragedies, but combine both; or 
 either element may predominate, in which case pieces are 
 produced which, according to our current conception, are 
 sometimes comedies, sometimes tragedies, but which 
 nevertheless do not cease to be comedias in the Spanish 
 sense. In other words, the comedia may have either a 
 tragic or comic effect, but it is not confined to either." 1 
 
 As Morel-Fatio has clearly and briefly defined it : "La 
 comedia designe une action dramatique quelconque, sans 
 egard pour les effets qu'elle doit produire dans l'ame du 
 
 * Geschichte der drama&schen Literatur und Kunst in Spanien, Vol. II, 
 p. 74. Ricardo de Turia, in the "Apologetico de las Comedias espanolas," 
 says: Ninguna Comedia de quantas se representan en Espana lo es, sino 
 Tragicomedia, que es un mixto formado de lo Comico y lo Tragico, etc. 
 He further says that Spaniards want their comedias "abivado con say- 
 netes de bayles y danzas que mezclan en ellas." Norte de la Poesia 
 espanola, etc. Valencia, 1616. 
 
 274 
 
SUAREZ DE FIGUEROA 275 
 
 spectateur, mais une action dramatique telle seulement 
 que les Espagnols l'ont concjie; la comedia est le drame 
 espagnol et n'est que cela." The same author says that 
 comedia is identical with our "play" or the German 
 Schauspiel. "Les drames les plus noirs de Calderon sont 
 encore des comedias." 1 
 
 Attempts have frequently been made to define more 
 clearly the various kinds of comedias, but it cannot be said, 
 that, upon the whole, they have resulted satisfactorily. 
 The earliest of these essays was made by a dramatist 
 who was the first to write comedias in Spain in the manner 
 which, as afterward perfected by Lope de Vega, became 
 the comedia par excellence. I allude to Bartolome de 
 Torres Naharro, whose volume of plays, under the title 
 Propaladia, was first published at Naples in 1517. He 
 divides comedias into two classes: Comedias a noticia, or 
 such as treat of events which have actually happened, and 
 Comedias a fantasia, or such the action of which is the 
 pure invention of the author. 2 
 
 Suarez de Figueroa, who possessed an intimate know- 
 ledge of the theater of his time, writing in 1617, distin- 
 guishes two kinds of comedias : ( 1 ) Comedias de cuerpo 
 and (2) Comedias de Ingenio or de Capa y Espada. The 
 latter division he does not define ; of the former he says : 
 "Comedias de cuerpo (if we except those about the kings 
 of Hungary or princes of Transylvania) are such as treat 
 of the life of some saint and which employ all kinds of 
 machinery and stage artifices to attract the rabble." 3 
 These are generally called comedias de santos. 
 
 1 La Comedia espagnol e du XVU e Steele, par Alfred Morel-Fatio, Paris, 
 1885, pp. 10, 13. 
 
 2 "Cuanto a los generos de comedias: a mi parece que bastarian dos 
 para en nuestra Iengua castellana. Comedia a noticia y comedia a fan- 
 tasia. A noticia se entiende: de cosa nota y vista en realidad de verdad: 
 como son Soldadesca y Tinellaria [two of his plays] : a fantasia, de cosa 
 fantastica o fingida que tenga color de verdad aunque no lo sea, como son 
 Serafina, Ymenea," etc. 
 
 'El Passagero, Madrid, 1617, Alivio III, fol. 104. Comedias de cuerpo, 
 
276 THE SPANISH STAGE 
 
 Comedias de Capa y Espada have been defined as plays 
 that are based upon events and occurrences in ordinary 
 daily life and in which no higher personages intervene 
 than noblemen or gentlemen, and which are acted in the 
 ordinary costume of the time. They derived their name 
 from this costume, the cloak and sword, the dress of the 
 higher ranks of society in Spain; only the subordinate 
 characters, the servants and peasants, were represented in 
 the costume of the lower classes. 1 They generally re- 
 quired little or no scenery for their representation. 
 Schack says, moreover, that the distinguishing character- 
 istics of the Comedia de Capa y Espada are based entirely 
 upon external circumstances (auszerliche Umstande) and 
 that it is erroneous to introduce into the definition any 
 inner motive of the action. They have been defined as 
 dramas of intrigue, but they may just as well, in certain 
 instances, be denominated dramas of character. 2 It is 
 indeed futile to attempt, in this general division of the 
 comedia, to draw any sharp dividing line. On the other 
 hand, those comedias the action of which is not laid in 
 ordinary domestic life, and in which kings and princes 
 intervene, and which required a greater display of scenery 
 or costume and machinery, were called Comedias de Tea- 
 tro, de ruido, or de cuerpo. To this class belonged his- 
 torical or mythological dramas, those based upon legends 
 
 Figueroa says, are excellently suited to beginners, for, however worthless 
 they may turn out, the audience will not dare to hiss them, out of respect 
 for the saint. They are, moreover, the easiest to write, for he states that 
 he knew a tailor in Toledo who had composed several of these plays 
 which had been represented fifteen or twenty times. This man could 
 neither read nor write, but made his verses on the street and would re- 
 quest an apothecary, or any other shopkeeper in whose shop he happened 
 to be, to write his verses down upon scraps of paper. 
 
 1 Schack, op. cit., Vol. II, p. 96. 
 
 2 The dramatist Francisco Bances Candamo, in an inedited work already 
 cited (p. 266, note i), ascribes the invention of Comedias de Capa y Espada 
 to Don Diego [Ximenez] de Enciso: "Este erapezo las que llaman de 
 capa y espada: siguieronle despues D.' Pedro Rosete, D. Francisco de 
 Rojas, D. Pedro Calderon de la Barca," etc. (Ticknor, History of Spanish 
 Literature, tr. by Gayangos, Tome II, p. 553.) 
 
THE LICENSING OF COMEDIAS 277 
 
 or the lives of saints, etc., in which the scene of action was 
 laid in some remote country or period. But here again it 
 is useless to attempt any sharp distinction, which, as a 
 matter of fact, the dramatists themselves never attempted. 
 Let us new turn to the representation of a comedia. 
 Before a theatrical performance could be given in any 
 town or municipality, a license had to be obtained, and 
 sometimes, before this was granted, a gratuitous repre- 
 sentation of the comedia had to be given to the authori- 
 ties. 1 Moreover, every time a comedia was represented, a 
 special license was necessary, which was written upon the 
 manuscript used by the players. Among the early manu- 
 scripts of Lope de Vega containing such licenses are El 
 Leal Criado, dated at Alba, June 24, 1594, which con- 
 tains, among others, a license to Luis de Vergara to repre- 
 sent it in Granada, dated October 30, 1595. 2 
 
 1 This "representation speciale et gratuite" was also frequently exacted 
 in France, as in the case of Roland Guibert and his company before they 
 were permitted to act in Amiens in 1559. (Rigal, he Thiatre Franfais avant 
 la periode classigue, Paris, 1901, p. 17.) Likewise the English comedians 
 who traveled through Germany in the latter part of the sixteenth and in 
 the seventeenth century were frequently obliged to give a trial perform- 
 ance before receiving a license to act; to this performance the wives 
 and children, of the members of the Council were admitted free. This 
 ' occurred, for instance, in Frankfort in 159s. A list of the plays to be 
 given also had to be furnished to the city authorities, as was done at Ulm 
 in 1603 an d 1609. Plays were announced by drums and trumpets, the 
 company parading the streets. In 1613 the players went through Niirn- 
 berg with two drums and four trumpets, stopping in the squares, though in 
 this year they were forbidden to halt in the Hay Market. In those cities 
 in which the public theater belonged to the municipality, a lease was 
 entered into between the manager of the company and the civil authorities. 
 In Regensburg in 1613, Spencer, who is said to have taken in 500 gulden 
 at the first representation, had to pay a weekly rental of 22 florins. That 
 these visits of the English players were profitable is shown by the fact 
 that for eight representations in Niirnberg, from July 15 to July 31, 1628, 
 the receipts were 661 florins 7 kreutzers and 3 pfennigs, and the number of 
 spectators varied from 2665 to 515, though this latter case was the only 
 one in which the number fell below one thousand. (Creizenach, Die 
 Schauspiele der Englischen Komodianten, Berlin and Stuttgart (no date), 
 p. xx et passim.) The fee for licensing a play for performance in England 
 at the close of the sixteenth and in the early seventeenth century was inva- 
 riably seven shillings. Hensloive's Diary, ed. Greg, Vol. II, 1908, p. 115. 
 
 2 This play contains another license dated at Granada, November^ 1603, 
 
278 THE SPANISH STAGE 
 
 Representations in the Madrid theaters, as already ob- 
 served, began at two in the afternoon during the six 
 months beginning with October i, and at four during the 
 remaining six months. The fee paid at the door entitled 
 the person to admission only — to the run of the house. 
 He could stand in the patio or pit with the mosqueteros or 
 groundlings, as they were called in the Elizabethan thea- 
 ter; but if he wanted a seat, an extra sum must be paid. 
 Those who desired seats naturally came early, especially 
 if a new comedia was to be given, and at one time they 
 must have resorted to the theater so early in the day that 
 this matter required regulation by the government, and 
 the theaters were not allowed to open their doors before 
 noon. 1 
 
 While waiting for the musicians with guitars and harps 
 to appear, the sellers of fruit, confections, aloja (a kind of 
 mead), barquillos (a thin rolled wafer), etc., were busy 
 passing around among the spectators. 2 The unruly and 
 
 showing that a new license had to be obtained every time the piece was 
 performed. Other early plays by Lope containing licenses are Laura 
 perseguida, dated at Alba, October 12, 1594; El Mason de.los Chaves, 
 dated at Chinchon, August 20, 1599; and Carlos V. en Francia, Toledo, 
 November 20, 1604. These licenses are all printed in Comedias Escogidas 
 de Lope de Vega, ed. Hartzenbusch, Vol. IV, pp. xvi, xvii (Bibl. de 
 Autores Esp.). 
 
 1 Quevedo, Vida del gran Tacano, Cap. XXII, says that when a new 
 comedia was played, it was necessary to send at twelve o'clock for a seat: 
 "Era menester enviar a tomar lugar a las doce, como para Comedia 
 nueva." The nobility, who were favored by government regulation in the 
 choice of seats, used to send their servants to secure them. 
 
 a A vivid picture of the interior of a Spanish theater at this time is 
 given in the comedia La Baltasara, "Comedia famosa," the first act of 
 which was written by Luis Velez de Guevara, the second by Don Antonio 
 Coello, and the third by Don Francisco de Roxas. The first act represents 
 the interior of the Corral de la Olivera in Valencia. A bill-poster ap- 
 pears, who pastes up a placard announcing the performance of "la gran 
 comedia del Saladino" by the licentiate Poyo, to be given by the company 
 of Heredia. The dialogue is carried on by spectators in the theater. 
 Presently the fruit-sellers appear (they are designated by numbers) ; the 
 stage direction is: Los companeros repartidos par el patio, dizen; 
 "1. Avellanas. 
 
 2. Pinanes mondados. 3. Peros de Aragon. 
 
 4. Turron. 5. Membrillos. 
 
LOAS 279 
 
 boisterous audience signified its impatience by hissing, 
 whistling upon keys, shouting, and noises of every con- 
 ceivable kind. Presently the musicians could be heard 
 templando los instrumentos ; the hour for beginning the 
 performance had at last arrived, and the musicians ap- 
 peared upon the stage and sang a ballad or seguidilla, 
 after which some member of the company entered to 
 echar la loa, i.e., "throw out the loa" or compliment, as it 
 was called in technical phrase. 1 
 
 Loas occur in two forms, either (1) as monologues, 
 bearing generally but a very imperfect relation to the fol- 
 lowing play and frequently no relation whatever, or ( 2 ) 
 as short, slight dramatic sketches which may be prefaced 
 to any comedia, like the loas of Rojas Villandrando or 
 Quifiones de Benavente; sometimes the loa directs the 
 mind of the auditor to what is to follow, as the loas to 
 Calderon's autos, or much more rarely it may be essential 
 to the comprehension of the play which it precedes, as in 
 the loa to Calderon's Los tres mayores Prodigios. 
 
 6. Suplicaciones, barquillos. 
 
 7. Agua de Anis, Cavalleros. 
 
 8. Aloja de nieve fria. 
 
 9. Datiles de Berberia. 
 
 Vejete: Que confusion, que locura ! 
 Viuda: Todo esto hermosura causa, 
 Que es de la naturaleza 
 La variedad lo mejor. 
 Vejete: Los mocos de la comedia 
 
 Vienen ya con sus guitarras, 
 Con harpas, y con diversas 
 Galas que el Abril embidia," etc. 
 
 (Comedias Escogidas, Vol. I, Madrid, 1652.) 
 The date of this play is not known. Baltasara de los Reyes, in whose 
 honor it was written, was a famous actress and 'the wife of Miguel Ruiz, 
 actor, who is also one of the characters in the play. Both were acting in 
 the company of Gaspar de Porres in 1604, in that of Melchor de Leon in 
 1607, ar »d in that of Pedro de Valdes in 1614. The play was composed 
 after she had retired from the stage, which she is said to have done at 
 the height of her success, to enter a hermitage dedicated to St. John the 
 Baptist, near Cartagena. It is probable that La Baltasara was written 
 about 1630, when the memory of the actress was still fresh in the minds 
 of theater-goers. 
 "Caramuel says: "Hodie Prologus Comoediis Hispanis praemittitur et 
 
2 8o THE SPANISH STAGE 
 
 Originally the loa was recited for the purpose of gain- 
 ing the good will and attention of the audience, which, we 
 are told, could be done in four ways : " ( i ) By commending 
 the plot, story, poet, or the autor who represented the 
 play. (2) By censuring or upbraiding the fault-finder or 
 giving thanks to the kindly disposed auditors. (3) The 
 third manner is argumentative, in which is declared the 
 history or fable which is to be represented, and this, justly, 
 is little used in Spain, because it deprives the listener of 
 much of the pleasure of the comedia to know beforehand 
 the outcome of the story to be represented. (4) The 
 fourth is called mixed; it is styled introito because it ap- 
 pears at the beginning, faraute because it explains the ar- 
 gument, and now they call it loa because in it the comedia 
 or the audience or the festivity during which it is given is 
 praised; . . . but all is directed to the one end: to gain 
 the good will and attention of the audience." 1 
 
 vocatur Loa, quia profunditur in Auditorura laudes: et recitare prologum 
 est echar la loa, quasi laudes non tam dicantur quam in Auditores pro- 
 fundantur." (Rhythmica (1668), quoted by Schack, Nachtrage, p. 26.) 
 
 '"La loa o prologo de la comedia, que otros llaman introito o faraute, 
 a mi opinion no es parte de la comedia, sino distinto y apartado, y asi dire 
 aora lo que del se puede dezir. Al principio de cada comedia sale un 
 personage a procurar y captar la benevolencia y atencion del auditorio, 
 y esto haze en una de quarto maneras comendativamente, encomendando 
 la fabula, historia, poeta o autor que la representa. El segundo modo es 
 relativo en el qual se zayere y vitupera el murmurador o se rinde gracias 
 a los benevolos oyentes. El tercero modo es argumentative, en el qual se 
 declara la historia o fabula que se representa, y este con razon en Espafia 
 es poco usado, por quitar mucho gusto a la comedia, sabiendose antes que 
 se represente el sucesso de la histpria. Llamase el quarto modo misto por 
 particular de los tres ya dichos, llamaronle introito por entrar al principio: 
 faraute por declarar el argumento, y aora le llaman loa por loar en el la 
 comedia, el auditorio o festividad en que se hace. Mas ya le podremos asi 
 llamar, porque han dado los poetas en alabar alguna cosa como el silencio, 
 un numero, lo negro, lo pequeno y otras cosas en que se quieren sefialar y 
 mostrar sus ingenios, aunque todo deve ir ordenado al fin que yo dixe, 
 que es captar la benevolencia y atencion del auditorio." (Cisne de Apolo, 
 de las excelencias y dignidad y todo lo que al Arte poetico y versificatorio 
 pertenece. Los metodos y estylos que en sus obras deve seguir el poeta. 
 Por Luys Alfonso de Carvallo, Clerigo. Medina del Campo, 1602, p. 124. 
 Schack, Nachtrage, p. 23.) This is essentially what Alonso Lopez Pin- 
 ciano had said some years before, in his Bhilosophia Antigua, Madrid, 
 
THE INTROITO 281 
 
 This peculiarly Spanish form of prologue is a develop- 
 ment of the introito, in vogue as early as the time of 
 Torres Naharro, whose Propaladia was first published in 
 15 17. Here, however, the introito was merely a sort of 
 argument of the play that follows. Likewise each of the 
 later pieces of Lope de Rueda, the Colloquio de Camila, 
 Colloquio de Timbria, etc., is prefaced by an introito or 
 argumento, a brief resume of the following play. This is 
 also the case in his comedias, which are accompanied by 
 short prefatory notes, spoken generally by Lope de Rueda 
 himself, for they are called Introito que hace el Autor. 
 But the later loas, beginning with those of Lope de Vega, 
 rarely have any connection whatever with the comedia 
 which follows. Generally they are merely the relation of 
 some trivial incident, nearly always in a playful, humorous 
 vein, and conclude with an appeal to the good will and 
 attention of the audience. 1 Lope de Vega must have 
 written a great many of these slight pieces, nearly all of 
 which have disappeared. They are generally in the ro- 
 mance or ballad measure, sometimes in redondillas, and 
 vary in length from a little more than a hundred lines to 
 three or four times that number. 
 
 Among the best known loas are those written by Agustin 
 de Rojas and printed in his Entertaining Journey; they 
 
 1596, p. 413. He calls the lua "prologo": "Ay un prologo, que es dicho 
 comendatiuo: porque en el o la fabula, o el autor es alabado. Y ay pro- 
 logo relatiuo, adonde el Poeta da gracias al pueblo, o habla contra algun 
 aduersario. Ay le tambien argumentatiuo, que es el que diximos daua luz, 
 por lo passado a lo porvenir. Y ay prologo de todos mezclado, que no 
 tiene nombre y se podria llamar prologo misto." 
 
 1 The first volume of Lope de Vega's Comedias, Valladolid, 1604, con- 
 tains eleven loas. Some doubt has been caet upon the authorship of these 
 loas. The fact, however, that they were printed at this early date rather 
 favors their authenticity, as no other writer of loas was prominent at this 
 time, excepting Rojas. Indeed, some of them, notably the one begin- 
 ning Vemos con lobregas nubes and the seventh, Quien dize que las 
 mugeres, seem like Lope's in his best vein. There are also five loas in the 
 spurious Part III (1612) of Lope's Comedias and four in Part VII, Barce- 
 lona, 1617, and in the Fiestas del Santissimo Sacramento, £aragoca, 1644. 
 See below. 
 
282 THE SPANISH STAGE 
 
 embrace both monologues and small dramatic sketches in 
 which a whole company took part. It is hard to see 
 wherein these longer has, performed by several actors 
 or by a whole company, differed from the entremeses. 
 Rojas's has are upon every conceivable subject; one is in 
 praise of Seville, the city in which the company was about 
 to perform, 1 while another extols the company of Antonio 
 de Villegas. 2 The most famous of them all is the Loa en 
 Alabanza de la Comedia, 3 to which reference has already 
 been made. Having passed in review the most distin- 
 guished dramatists, the loa concludes : 
 
 Who with these is not acquainted ? 
 
 Who, whom fame of them not reacheth? 
 
 Who in wonderment beholds not 
 
 Their rare wit and sounding phrases ? 
 And allowing that 't is true, 
 
 'T is not strange that I should venture 
 
 In their name now to entreat you 
 
 That, because of the great rev'rence 
 Which to their rare works is owing, 
 
 While their plays are represented, 
 
 You may pardon the shortcomings 
 
 Of the players who perform them. 4 
 
 And so nearly all of them conclude with a similar ap- 
 peal. To give a conception of the diversity of subjects 
 
 1 El Viage entretenido, Madrid, 1603, pp. 9-20. 
 'Ibid., pp. 48-55. 'Ibid., pp. 1 18-132. 
 
 4 "Quien a todos no conoce ? 
 
 quien a su fama no llega? 
 
 quien no se admira de ver 
 
 sus ingenios y elocuencia ? 
 Supuesto que esto es assi, 
 
 no es mucho que yo me atreva 
 
 a pediros en su nombre, 
 
 que por la gran reuerencia 
 Que se les deue a sus obras, 
 
 mientras se hazen sus comedias, 
 
 que las faltas perdoneys 
 
 de los que las represenran." 
 
 (Ibid., pp. 131, 132.) 
 
THE LOAS OF ROJAS 283 
 
 treated by Rojas in his loas, we may add that there is one 
 in praise of thieves; 1 in praise of Tuesday ("el soberano 
 dia Martes") ; 2 on beautiful teeth ("colmillos y mueles") 
 and how to preserve them; 3 one extolling the swine 
 ("puerco"), which is very witty, and ends: 
 
 And if long have been my praises 
 Of an animal so lovely, 
 May he who should be one pardon 
 Me, and therefore not feel shameful. 4 
 
 Rojas well describes the loa in one which he wrote in 
 praise of Sunday, and in it he tells us, moreover, that even 
 in his day every conceivable subject had been exhausted 
 and that it was impossible to write what had not already 
 been written : 
 
 So many and so varied are the dramas, 
 So great, indeed, the multitude of ballads, 
 So varied, too, the subjects of the loas 
 That have been written hitherto, I wonder 
 How one can write what 's not already written, 
 Or we say what has not been said already. 
 Some make their farces of involved inventions, 
 Others of stories fabulous and fictions, 
 Loas that sing the praises of the letters, 
 Of plants and animals and varied colors. 
 One what is black, the other white extolleth, 
 Silence this one, humility that other, 
 And many more which I fail to remember. 
 And 't is a labor now as ill requited, 
 This writing loas, as in times now distant 
 It by all men was held in estimation, etc. 6 
 
 1 Ibid., p. 681. ' Ibid., p. 597. 
 
 ' Ibid., p. 377. * Ibid., p. 693. 
 
 ""Son tantas y tan varias las coraedias, 
 tanta la muchedumbre de romances, 
 y tan grande el discurso de las loas, 
 que hasta agora se han hecho, que me espanto 
 
284 THE SPANISH STAGE 
 
 He declares that has were written : 
 
 In both the ancient comedy and modern 
 
 To gain the list'ner's ear and kindly favor, . . . 
 
 To sing the praises of its gallant spirits, 
 
 And to exalt its wits in their due measure. 
 
 Rojas excelled in writing these slight pieces; his are 
 among the very best that have come down to us, and it is 
 interesting to know that he was the member of the com- 
 pany who not only wrote the has, but who also invariably 
 recited them. 
 
 To about the same period or a little later belongs the 
 well-known collection of has and entremeses of Luis 
 Quiiiones de Benavente, first published under the title 
 Joco Seria, Burlas Veras, etc., Madrid, 1645. In these 
 several actors always take part and sometimes the entire 
 company for which they were written. A number of them 
 serve as a kind of introduction of the company to the audi- 
 ence ; the peculiarities of the actors are hit off, their ability 
 is praised, and the new comedias which the company 
 brings are mentioned ; like all these compositions, they are 
 written in a jovial, humorous vein, intended to put the 
 audience in good spirits. 1 
 
 que nadie pueda hazer mas de lo hecho, 
 
 ni nosotros dezir mas de lo dicho. 
 
 Unos hazen las farsas de maranas, 
 
 otros de historias fabulas, ficciones, 
 
 las loas de alabancas de las letras, 
 
 de plantas, animates, de colores, 
 
 uno alaua lo negro, otro lo bianco, 
 
 este el silencio, la huraildad el otro, 
 
 sin otras muchas, de que no me acuerdo. 
 Y es trabajo tan mal agradecido, 
 
 esto de loas, como en otro tiempo 
 
 fue de todos los hombres estimado," etc 
 
 (El Viage entretenido, Madrid, 1603, pp. 569, 570.) 
 1 They have been republished by Don Cayetano Rosell, Entremeses, Loas 
 y Jdcaras, escritas por el Licenciado Luis Quihones de Benavente, 
 Madrid, 1872, 1874, 2 vols. Many of them are of especial importance as 
 furnishing interesting information concerning some of the most prominent 
 players of the time. 
 
THE LOAS OF BENAVENTE 285 
 
 It appears that the loa had lost much of its vogue be- 
 fore the end of the second decade of the seventeenth cen- 
 tury. Indeed, according to Suarez de Figueroa, loas had 
 already ceased to be recited in 1617. He says: "In the 
 farces which are ordinarily .represented they have already 
 discontinued that part called the loa, and from the slight 
 purpose which it served and the fact that it was wholly 
 foreign to the subject-matter of the play, it was certainly 
 an advantage to suppress it." 1 It is difficult to reconcile 
 Figueroa's statement, however, with the known fact that 
 has continued to accompany the comedia, though not with 
 the frequency of former years, long after the date men- 
 tioned; indeed, some of Quifiones de Benavente's loas 
 were written twenty years after this. 
 
 These loas, as already stated, from being simple recitals 
 by a single member of the company, gradually became 
 short, humorous pieces which did not differ essentially 
 from the entremeses or short interludes which always ac- 
 companied the comedia, except that they were wholly 
 without plot and consisted merely of dialogue held to- 
 gether by the loosest thread. They were generally accom- 
 panied by music and singing. Some were sung .in part, as 
 the loa with which Antonio de Rueda and Pedro Ascanio 
 began to represent in Madrid in i638. a Here the loa 
 opens with Borja, an actor, who enters with a harp, fol- 
 lowed by Maria de Heredia, both singing. The scene 
 upon the stage at the beginning of another loa with 
 which Tomas Fernandez began at Madrid in 1636 is 
 indicated at the opening : "Enter the whole company two 
 by two, with hands joined, dancing to the sound of instru- 
 
 '"En las farsas que comunmente se representan, han quitado ya esta 
 parte que llaman Loa. Y segun de lo poco que servia, y quan fuera de 
 propositi) era su tenor, anduvieron acertados. Salia un farandulero, y 
 despues de pintar largaraente una nave con borrasca, 6 la disposicion de 
 un exercito, su acometer y pelear, concluia con pedir atencion y silencio, 
 sin inferirse por ningun caso de lo uno lo otro." (El Passagero, Madrid, 
 1 617, fol. 109.) 
 
 1 Entremeses, etc., de Quinones de Benavente, ed. Rosell, Vol. I, p. 366. 
 
286 THE SPANISH STAGE 
 
 merits and bearing torches; making a reverence, they 
 sing. Juanico, the son of Bernardo, is to be on the stage 
 before the loa begins, playing with two other boys, and as 
 soon as his father enters he is to tell him (Juanico) to 
 keep quiet." 1 
 
 The loa with which Roque de Figueroa's company re- 
 turned to Madrid in 1633(7) appears to have been 
 whollysung, except the autor's introductory dialogue with 
 the actor Bezon. It is entitled "Loa segunda que canto 
 Roque de Figueroa," etc. 2 
 
 The loa being concluded, the first act or Jornada 3 of the 
 comedia followed, though, as Ticknor says, "in some in- 
 stances a dance was interposed, and sometimes even a 
 ballad followed this, so importunate was the audience for 
 what was lightest and most amusing." After the first act 
 an entremes followed, and perhaps another bayle or 
 dance. 
 
 The name entremeses (French entremets, a side-dish), 
 applied to festal pieces accompanied by singing, is found 
 
 1 Entremeses, etc., de Quinones de Benavente, ed. Rosell, Vol. I, p. 288. 
 
 'Ibid., p. 224. In a loa represented by Lorenzo Hurtado in Madrid 
 (i632(?) or 1635(F)) the direction is given at the opening: "Enter 
 Bernardo -without singing, to throw out the loa." 
 
 ' While the term Jornada instead of act had been commonly employed 
 in the religious plays of the Middle Ages, which often lasted several days, 
 and was also used by Torres Naharro as early as 1517, that word is not 
 found in the manuscripts of Lope de Vega, who always uses Ado instead, 
 and this seems to have been the custom of Tirso de Molina, to judge from 
 the only autograph of his, La Tercera de la Sancta Juana (1613), that I 
 have seen. That the term Jornada, however, was well known at the 
 beginning of the seventeenth century, is shown by the definition of Luys 
 Alfonso de Carvallo: "Jornada es nombre Italiano, quiere decir cosa de 
 un dia, porque giorno significa al dia. Y tomase por la distincion y 
 mudanga que se hace en la comedia de cosas sucedidas en diferentes 
 tiempos y dias, como si queriendo representar la vida de un Santo hiciese- 
 mos de la nifiez una Jornada, de la edad perfecta otra, y otra de la vejez." 
 (Cisne de A polo, etc., Medina del Campo, 1602, quoted by Schack, Nach- 
 trdge, p. 23.) Jornada seems to have been reintroduced into current usage 
 by Calderon and his school. Virues, Obras trdgicas, etc., Madrid, 1609, 
 uses both terms. Caramuel says: "Actus est id, quod hodie vocamus Jor- 
 nada: et jam praescripsit consuetudo, ut Comoedia nonnisi tres actus 
 habeat et duabus horis repraesentetur." (Schack, Nachtrage, p. 26.) 
 
ENTREMESES 287 
 
 as early as 141 2 in the Archives of Valencia, and, as we 
 have seen, 1 Lamarca claims a Valencian origin for these 
 entremesos, as they were called. 2 It is very probable that 
 entremeses, originally perhaps of a quasi-religious char- 
 acter, formed a part of the great church festivals from the 
 earliest times. But these short pieces were gradually 
 stripped of any religious significance they may have had, 
 and finally every short farce or interlude was called an 
 entremes. Such pieces, especially designated as entre- 
 meses, were brought out at festivals by the great Consta- 
 ble Don Alvaro de Luna. 3 Lope de Vega, in his Arte 
 nuevo de hacer Comedias, speaking of Lope de Rueda, 
 says that "from him has remained the custom of calling 
 
 1 Introduction, p. xi. 
 
 "Wolf speaks of "jene Festschaustiicke mit Gesang, die, wie bei den 
 Nordfranzosen Entremets, damals auch in Spanien 'Entramesos' oder 
 Entremeses genannt wurden" (Studien, p. 585), and discussing the six- 
 teenth-century MSS. of Autos and Farsas, since published by Rouanet (see 
 above, p. 7, note 2), he remarks concerning the Entremes de las Ester as, 
 contained therein: "Dass dieses Stuck schon zu den Entremeses in der 
 spatern allgemein iiblich gewordenen Bedeutung dieses Gattungsnamens 
 gehort habe, wird aus dem Personenverzeichniss (figuras) wahrschein- 
 lich; denn es treten darin auf : 'Melchora, Antona, un hobo, un lacayo, 
 un bachiller, el amo de las mozas.' Hier hatten wir also das alteste 
 Document fur den Gebrauch von 'Entremes' in dieser Bedetung." (Ibid., 
 p. 598, note.) An entremes belonging to the middle of the sixteenth cen- 
 tury, written by Sebastian de Horozco of Toledo, is now printed in his 
 Cancionero, Seville, 1874, pp. 167 ft. It is entitled: "Un Entremes que 
 hizo el auctor a ruego de una Monja parienta suya evangelista para 
 representarse como se represento en un Monasterio de esta Cibdad 
 (Toledo) dia de Sant Ju° Evangelista." "Introduzense quatro personas. — 
 Un villano que viene a comprar al alcana [antigua calle de Toledo 
 donde se conservaban las tiendas a la usanza morisca] ciertas cosas para 
 dar a una zagala; — y un Pregonero que entra pregonando, una moga de 
 veinte afios perdida; — y un Fraile que pide para las animas del purga- 
 torio, a quien los otros cuelgan porque los combide, porque dizen que se 
 llama fray Ju° evangelista; — y un Bunolero que pregona bunuelos 
 calientes. Comen los bunuelos y despues mantean al fraile sobre la paga. 
 Y vanse todos a beber a una taberna y asi se acaba." 
 
 Ticknor, Vol. I, p. 271, note. "Fue muy inventivo e mucho dado a 
 fallar invenciones, e sacar entremeses en fiestas," etc. Cronica de D. 
 Alvaro de Luna, Madrid, 1784, p. 182. As Ticknor remarks : "It is not to be 
 supposed that these were like the gay farces that have since passed under 
 the same name, but there can be little doubt that they were poetical and 
 were exhibited." Don Alvaro was executed in 1453. 
 
288 THE SPANISH STAGE 
 
 the old comedias entremeses." 1 Entremeses, the editor 
 of Quinones de Benavente observes, were for the pur- 
 pose of avoiding the tedium between the acts, for with- 
 out them "la mejor comedia tiene hoy el peligro de 
 los desaires que padece entre Jornada y Jornada." "And 
 so," he continues, "a manager who had a poor comedia, 
 by putting in two entremeses of this kind, gave it crutches 
 to prevent it from falling, and he who had a good one 
 put wings to it, to raise it still higher." 2 
 
 Lope de Vega, alluding to his youthful efforts in writing 
 comedias, says : 
 
 And some I wrote at eleven years and at twelve, 
 
 Each of four acts as well as of four sheets, 
 
 For each act was contained within a sheet, 
 
 And in the spaces three that came between, 
 
 Three little entremeses then were made, 
 
 Though now there 's scarce one,- and a bayle too, 8 etc 
 
 Of these entremeses Lope certainly wrote a great many; 
 whether those printed in the volumes of his Comedias 
 are really his, it is impossible to decide, nor can the 
 entremeses contained in the Fiestas del Santissimo Sacra- 
 mento, Zaragoza, 1644, be ascribed to him with cer- 
 tainty. 4 They are of varying length and character, some 
 being dramatic, some lyrical. 
 
 1 Edition of Milan, 1611, p. 363. Ticknor rightly traces the entremeses 
 of Lope de Vega back to Lope de Rueda, whose short farces were of the 
 same nature, while into his longer pieces Rueda introduced pasos or pas- 
 sages, which might be detached from them and used as entremeses. They 
 were short and lively dialogues in prose without plot "and merely in- 
 tended to amuse an idle audience for a few moments." History of Spanish 
 Literature, Vol. II, p. 63. Timoneda published an entremes in 1565, which 
 Barrera says is "la mas antigua obra de teatro asi denominada." Cata- 
 log", p. 393- 
 
 2 Entremeses, etc., de Quinones de Benavente, ed. Rosell, Vol. I, p. xx. 
 "Entremes apud Hispanos est Comoedia brevis, in qua Actores ingeniose 
 nugantur." Caramuel, Rhythmica, Campaniae, 1668, quoted by Schack, 
 Nachtrage, p. 26. 
 
 'Arte nue<vo de hacer Comedias, Madrid, 1609, fol. 206. 
 
 * Of the various editions of Part I of Lope's Comedias which I possess, 
 
LOPE DE VEGA'S ENTREMESES 289 
 
 Many collections of entremeses were published in the 
 seventeenth century; the earliest and one of the best is 
 that by Luis Quinones de Benavente, so often mentioned 
 
 those of Valladolid, 1604; Amberes, 1607, and Milan, 1619, contain the 
 has only, while that of Valladolid, 1609, contains both the loas and 
 entremeses, the latter at the end of the volume. The title is: Primera 
 Parte de Entremeses de las Comedias de Lope de Vega. As but few 
 copies of this first part contain these entremeses, I give a list of them: 
 (1) Entremes primero de Melisendra. It is divided into two jornadas and 
 is preceded by a "loa muy graciosa"; the entremes is in verse and 
 occupies nine pages; it is, in fact, a burlesque comedy. (2) Entremes 
 segundo del Padre enganado. (3) Entremes tercero del Capeador. 
 (4) Entremes quarto del Doctor Simple. (5) Entremes quinto de Pedro 
 Hernandez y el Corregidor. (6) Entremes sexto de los Alimentos. 
 (7) Entremes septimo de los Negros de Santo Thome. (8) Entremes 
 octauo del Indiana. (9) Entremes noveno de la Cuna. (10) Entremes 
 decimo de los Ladrones enganados. (11) Entremes undeeimo de la 
 Dama fingida. (12) Entremes duodecimo de la Endemoniada. All these 
 except the first are in prose. The so-called third part of Lope's Comedias 
 — Tercera Parte de las Comedias de Lope de Vega, y otros Autores, con 
 sus Loas y Entremeses, etc., Madrid, En casa de Miguel Serrano de Vargas, 
 Afio 1613 — contains the following entremeses: (1) Entremes famoso del 
 Sacristan Soguijo, (2) Entremes famoso de los Romanos (should be los 
 Romances), (3) Entremes famoso de los Huebos, and these loas: En Ala- 
 hanca de la Espada, De las Calidades de las Mugeres, La Batalla Nabal, 
 De las Letras del a. b. c, Del suntuoso Escurial. These entremeses are very 
 witty, especially the second, the subject being a peasant who has been 
 driven mad by reading the Romancero. Part VII of Lope's Comedias, 
 Barcelona, 1617, also contains three entremeses: Los Habladores, La 
 Carcel de Sovilla, and El Hospital de los Podridos, which are, however, 
 now generally ascribed to Cervantes. It should be stated that Lope ex- 
 pressly denies the authorship of the loas and entremeses contained in 
 the volumes which preceded Part IX of his Comedias. In the pro- 
 logue to Part XV, Madrid, 1621, he alludes to them as those "loas 
 y entremeses que el no imagino en su vida," while the entremeses 
 in Part VIII are expressly declared in the volume itself to be the 
 work of Francisco de Avila and of Barrionuevo. The fact, how- 
 ever, that Lope denies his authorship should not be taken too seri- 
 ously. He also asserted that all the volumes of his Comedias preced- 
 ing. Part IX were published without his knowledge, though for some of 
 the volumes, at least, this can be disproved; (See my Life of Lope de 
 Vega, p. 253.) Concerning the rare volume, of which I possess a copy, 
 entitled Fiestas del Santissimo Sacramento, which also contains loas and 
 entremeses attributed to Lope, a word may be said here. Menendez y 
 Pelayo writes: "Es cierto que las loas y los entremeses no son de Lope, 
 a lo menos en su totalidad, pero tampoco el colector los di6 por tales, 
 limitandose a decir que se habian representado en la Corte con los autos." 
 (Lope de Vega, ed. Spanish' Academy, Vol II, p. 2.) Of these Sr. 
 Menendez ascribes without qualification to Benavente: La Muestra de los 
 Carros, Los Organos, and El Remediador; he states that La Hechizera 
 
290 THE SPANISH STAGE 
 
 in these pages. 1 Among these a number were wholly sung, 
 while others were partly sung and partly recited. Among 
 the former, called Entremeses cantados, like that of La 
 Puente Segoviana, La Guar dainf ante, and others, some 
 are so short that it could have taken but a few minutes to 
 perform them. Others are dramatic in character and con- 
 tain the liveliest dialogue in the language of the barrios 
 bajos. 
 
 Generally two entremeses accompanied a comedia, 2 
 though sometimes even three were played, one following 
 
 may be by Lope and that the loa en Morisco is also probably Lope's, be- 
 cause the Moor who recites it is named Ametillo, who was a slave of 
 Lope's friend Gaspar de Barrionuevo in Seville in 1603. (See also Life 
 of Lope de Vega, pp. 112, 113.) It seems that some objection might be 
 made to the ascription of La Muestra de los Carros to Benavente. It does 
 not appear in the latter's Joco Seria, published in 1645 (the year following 
 the appearance of the Fiestas del Santissimo Sacramento), and was not 
 again printed, to my knowledge, until 1658, in the Teatro poetico, at Zara- 
 goza. Moreover, its general style and the reference to the actress la Bezona 
 seem more in the manner of Lope. Los Organos, ascribed above to Bena- 
 vente, was written by Braones. (See below, p. 295, note 2.) For an excellent 
 account of the entremeses, see Intermedes espagnols du XVIl e Steele, par 
 Leo Rouanet, Paris, 1897. Cervantes excelled all others in this species of 
 composition. 
 
 1 A list of the various collections of entremeses will be found in the 
 preliminary pages of Rosell's edition, though I miss the following: Migaxas 
 del Ingenio, y Apacible Entretenimienio, en varios Entremeses, Bayles, y 
 Loas, escogidas de los mejores Ingenios de Espan . . . Impresso por 
 Diego Dormer Impressor de la Ciudad, y del Hospital Real, y General 
 de nuestra Senora de Gracia, de la Ciudad de Zaragoca. A Costa de 
 Juan Martinez de Ribera Martel, Mercader de Libros. iv + 96 fols. i6mo. 
 It bears no date, but was probably printed between 1670 and 1675. It 
 contains two entremeses by Benavente (Los Escuderos y el Lacayo and 
 El Desengano), one by Monteser, and a loa by Zaualeta; all the rest are 
 by Lanini. I am indebted to my colleague, Dr. Crawford, for the use of 
 this little book, which is excessively rare. For a description of this collec- 
 tion, see Modern Language Notes, 1907, p. 52. Since the above was written 
 this volume has been republished (Madrid, 1909) with excellent notes by 
 Cotarelo y Mori. 
 
 In some instances, however, only one entremes is specified to be repre- 
 sented with a comedia, as in August, 1603, when Nicolas de los Rios 
 represented at Fuenlabrada an auto with two entremeses and a comedia 
 with its entremes, music, and bayle. (Nuevos Datos, p. 81.) In 1604 
 Gaspar de Porres represented in Esquivias an auto with three entremeses 
 and a comedia with three other entremeses. (Ibid., p. 87. See also ibid., 
 pp. 90, 98.) It will be noticed that these were all representations in small 
 towns. 
 
JACARAS 291 
 
 the loa, and the play always concluded with a bayle or 
 dance : 
 
 Y al fin con un baylecito 
 
 yua la gente contenta. 1 
 
 Besides the entremeses and bayles, short pieces called 
 jdcaras were also sung between the acts of a comedia. 
 Pellicer describes these jdcaras cantadas as ballads set to 
 music. 2 
 
 The volume of loas and entremeses written by Bena- 
 vente also contains six jdcaras. Some were sung by a 
 single actress, as the Jdcara de Doha Isabel, la Ladrona, 
 que azotaron y cortaron las orejas en Madrid, sung by 
 Francisca Paula, which contains two hundred odd verses 
 written in ballad measure; others were sung by several 
 members of the company, not only upon the stage, but, to 
 add zest to them, they were sung from different parts of 
 the theater, for, as Pellicer says, the public "was crazy 
 about them" (era perdido por ellas). In the jdcara that 
 was sung by the company of Bartolome Romero (1637- 
 1643 (?) )i Tomas, the gracioso, stood upon the stage, 
 Juliana in the cazueld or women's gallery, Maria de 
 Valcazar in the uppermost gallery (en lo alto del teatro) , 
 Pedro Real in the gradas, Pedro de Valcazar in the 
 grada segunda, and Ines in the desvan. 3 In another 
 jdcara, sung by the same company, Maria de Valcazar 
 appeared in the patio, or pit, on horseback. 4 
 
 "Rojas, Viage Entretenido, ed. 1603, p. 126. 
 
 ' "Jdcaras cantadas, que eran los Romances puestos en musica." (His- 
 trionismo, I, p. 164.) Ticknor defines them as "roistering ballads, in the 
 dialect of the rogues, which took their name from the bullies who sang 
 them, and were at one time rivals for favor with the regular entremeses." 
 (Vol. II, p. 533.) 
 
 'Entremeses de Benavente, ed. Rosell, Vol. I, p. 220. 
 
 'Ibid., p. 286. The Diccionario de Autoridades thus defines the Xacara: 
 "Composicion Poetica, que se forma en el que Ilaman Romance, y regular- 
 mente se refiere en ella algun sucesso particular, 6 extrano. Usase mucho 
 el cantarla entre los que Ilaman Xaques, de donde pudo tomar el nombre. 
 ■ . . Xaque en la Germania significa el Rufian." 
 
292 THE SPANISH STAGE 
 
 The requests for jdcaras generally came from the occu- 
 pants of the pit or patio, and in case the audience did not 
 demand them, a player was sometimes stationed in the 
 patio, who called for a jdcara, as in the one which Fran- 
 cisca Paula sang in the company of Bartolome Romero 
 (in 1638(7) or 1640(7) ), where we read: "Pide en el 
 patio jacara un representante." 1 In the jdcara which 
 Antonia Infanta sang in the company of Alonso de 01- 
 medo (in 1636 or 1637), the stage direction is: Dan 
 voces en el patio pidiendo jdcaras, y sale Antonia Infanta, 
 y dice representando: 
 
 Antonia: Entendamonos, senores, 
 
 i Cuerpo de diez con sus vidas, 
 De catorce con sus almas, 
 Y de veinte con su grita ! 
 ,; Regodeo cada hora ? 
 i Perejil cada comida ? 
 I Sainete cada bocado ? 
 I Novedad cada visita ? 
 
 Medraremos en corcova. 
 ,: Jacarita cada dia? 2 etc. 
 
 The piece concluding with the players singing : 
 
 Jacara nos pedistes, 
 Ya os la servimos ; 
 Y si pidierais ciento, 
 Fuera lo mismo. 
 
 And in a jdcara, also sung in the company of Romero, the 
 gracioso Tomas begins : 
 
 ;Que tanta jacara quieres, 
 Patio mal contentadizo ! 
 Ayer i no te la cantamos 
 Por todo cuanto distrito 
 Tiene este pobre corral ? 
 
 1 Entremeses de Benavente, ed. Rosell, Vol. I, p. 163. 
 ' Ibid., p. 90. 
 
SAINETES 293 
 
 Pues si no quedo resquicio 
 
 Por donde no se cantasen, 
 I Que habemos de hacer contigo ? 
 
 Las novedades no duran 
 
 Por los siglos de los siglos. 
 i Por donde 6 que han de cantar 
 
 Que no este ya hecho 6 dicho? 1 
 
 One can readily imagine the confusion and uproar 
 caused in the theaters by the turbulent mob of mosqueteros 
 shouting for jdcaras. Indeed, it finally became an intol- 
 erable nuisance in Seville, and in 1 648 the city authorities 
 threatened all such disturbers with fine and imprison- 
 ment. 2 
 
 These slight pieces, overflowing with mirth and ex- 
 uberant spirits, rarely consumed more than ten or fifteen 
 minutes. They find their modern congeners in the Tona- 
 dilla. 
 
 Sainete, a word meaning a delicacy or relish, came into 
 vogue as the appellation of a one-act farce toward the 
 middle of the seventeenth century. The term sainete, it 
 is true, is found in Mariana's treatise Contra los Juegos 
 publicos, which originally appeared in Latin, in 1609, 
 
 1 Ibid., p. 284, and see p. 443, the jdcara that was sung in Ortegon's com- 
 pany in 1635. 
 
 ' "En la ciudad de Sevilla, a diez y nueve dias del mes de noviembre de 
 mil y seiscientos y cuarenta y ocho anos, el Sr. D. Antonio de Mendoza, 
 Marques de San Miguel, . . . Teniente de Alcaide destos Alcazares Reales 
 de Sevilla, dijo que por cuanto en el corral de La Monteria ha habido y 
 hay mucho ruido, alboroto y quistiones por causa de pedir a I09 repre- 
 sentantes bailes y jacaras y otras cosas fuera de la representacion, mando 
 se pregone en el dicho corral de La Monteria que ninguna persona de 
 cualquier estado y calidad que sea no inquiete ni alborote las comedias 
 que se representan en la dicha Monteria pidiendo jdcaras ni bailes ni otras 
 palabras, sino que dejen representar a su voluntad lo que quisiere el autor 
 y su compania; pena que el que contraviniere a ello, si la persona fuese 
 ordinaria, de vergiienza publica y dos anos de servicio de mamora, y las 
 demas personas de cien mil maravedis y dos anos de un presidio: y asi 
 lo mando. — El Marques de San Miguel." (Sanchez-Arjona, Anales del 
 Teatro en Sevilla, p. 381. See also the excellent work of E. Merimee, La 
 Vie et les Oeuvres de Francisco de Quevedo, Paris, 1885, pp. 386 ff.) 
 
294 THE SPANISH STAGE 
 
 under the title De Spectaculis. 1 However, the chapter of 
 the Spanish translation (xii) containing the word is said 
 to be a later addition. 2 It occurs in the jdcara sung in 
 Olmedo's company in Madrid, in 1636, as the quota- 
 tion above shows; but here the word is used in its 
 ordinary meaning, not as a theatrical term. The earliest 
 mention of the word in its present sense, that I have 
 found, is in 1639, when Antonia Infante was engaged to 
 play the "primera parte del saynete," in the company of 
 Antonio de Rueda. 3 The sainete did not differ in any 
 essential particular from the entremes. It was slightly 
 longer and commonly contained more characters than the 
 majority of the entremeses, but it was of the same general 
 type. 4 
 
 Vera Tassis, in his "Life of Calderon" prefixed to the 
 first volume of the Comedias, says that Calderon wrote 
 "cien Saynetes varios," but none has apparently been pre- 
 served. Hartzenbusch 5 has published a number of en- 
 
 1 The word saynete occurs in a ballad printed in the Romancero General, 
 ed. of 1604, fol. 497, beginning: 
 
 "Mancebito de buen rostro 
 
 No se come ya tan rancio 
 
 que aun las de catorze enfadan, 
 
 y Ies piden por saynete [i.e., as a relish] 
 
 la Chacona, y Qarauanda." 
 Doubtless from such association as this the word acquired its later mean- 
 ing. The above ballad is contained in the "Parte Trezena" of the 
 Romancero, which, according to Wolf, Studien, p. 349, is merely » reprint 
 of the second part of the Manojuelo de Romances of Gabriel Laso de la 
 Vega, Zaragoza, 1603. 
 
 2 See above, p. 264, end of note. s Nucvos Datos, p. 304. 
 1 Schack says : "Nichts Anderes als solche Entremeses unter verandertem 
 Titel sind denn im Grunde auch die sogenannten Sainetes, die seit der 
 Mitte des 17, Jahrhunderts haufig vorkommen. Man pflegt ihren Unter- 
 schied von jenen dahin zu bestimmen, dasz sie mit Musik und kleinem Ballet 
 begleitet und von complicierter Handlung seien; allein ohne ausreichenden 
 Grund, denn Gesang und Tanz bildet gewohnlich auch den Schlusz der 
 Entremeses, und was den dramatischen Plan anlangt, so halt das Sainete 
 es hiermit ebenso nach Belieben wie die altere Art des Zwischenspiels." 
 (Geschichte der dramatischen Literatur und Kunst in Spanien, Bd. II, 
 p. 108. See also Rouanet, Intermedes Espagnols du XVII" Steele, p. 39.) 
 Comedias de Calderon, Vol. IV, at the end. 
 
MOGIGANGAS 295 
 
 tremeses, two mogigangas, and two jdearas entremesadas 
 which have been ascribed to Calderon, but their author- 
 ship is doubtful. It is probable that Vera Tassis applied 
 the term then most current to the entremeses which Calde- 
 ron had written, for toward the close of Calderon's life 
 the sainete became very popular. Among the expenses 
 for the Corpus festival at Madrid in 1675, we find 150 
 ducados (= 1650 reals) paid for four sainetes written by 
 Don Manuel de Leon Marchante, who seems to have 
 been the most successful writer of this species of dramatic 
 composition at that time. 1 He continued to write sainetes 
 for this festival till the death of Calderon in 1681, when, 
 for the composition of two sainetes and for finishing an 
 auto which Calderon had left unfinished, he received 1000 
 reals vellon. 2 It was not till after the middle of the 
 eighteenth century that the sainete reached the height of 
 its popularity at the hands of Ramon de la Cruz. 
 
 The mogiganga (masquerade, mummery) "contains a 
 greater number of episodic personages than the entremes; 
 it is sometimes intermingled with dances." 3 As it be- 
 
 1 Perez Pastor, Calderon Documentos, Vol. I, p. 342. 
 
 'Ibid., p. 372. In 1656 Moreto wrote loas and sainetes for the Corpus 
 festival at Seville. During the next decade Alonso Martin de Braones 
 was a well-known writer of sainetes and mogigangas in the same city. 
 He wrote the entremes entitled Los Organos, which has been ascribed to 
 Lope de Vega. (Sanchez-Arjona, Anales, pp. 411, 439.) 
 
 "Rouanet, /. c, p. 39. In Don Quixote (Part II, chap, xi) a company of 
 players is met upon the road, one of whom, we are told, "venia vestido 
 de boxiganga con muchos cascabeles," etc. A boxiganga, Rojas tells us, 
 was a small company of strolling players, who, as Clemencin observes: 
 "en algunas ocasiones se vestirian 6 disfrazarian con vestidos ridiculos 
 para divertir a Ios expectadores ; esto seria <vestir de boxiganga. De esta 
 palabra hubo de derivarse la de mogiganga [cf. inmen — bimbre, mimbre"], 
 que no se encuentra entonces y si despues en significacion de fiesta en que 
 concurren varias personas disfrazadas con trages ridiculos." Andres del 
 Castillo entitled the six short novels which he published in 1641 La 
 Mogiganga del Gusto (The Masquerade of Taste). They have been 
 republished by Sr. Cotarelo (Madrid, 1908). Toward the close of Cal- 
 deron's career we read of sainetes and mogigangas as regular accompani- 
 ments of the autos at Corpus. Thus in 1680 Don Manuel de Leon 
 Marchante received 1600 reals for the entremeses and mogigangas at 
 Corpus in Madrid, and in 1681 Francisco de la Calle was paid 1500 reals 
 
296 THE SPANISH STAGE 
 
 longs to the latter half of the seventeenth and especially 
 to the eighteenth century, it falls without the limits of 
 this work. 1 
 
 vellon for a saynete and mogiganga. (Perez Pastor, Caldcron Docu- 
 mentos, Vol. I, pp. 368, 373.) 
 
 1 The earliest use of mogiganga in its present sense, that has come to 
 my notice, is in 1659. — "Mande V. m. dar ... a Pedro de la Rosa, autor 
 de comedias, por si y su compania 8400 reales . . . los 7700 en que se 
 concertaron los dos autos que se an de hacer, con los entremeses, bayles y 
 mojigangas ... y los 700 reales para el vestuario de entremeses y moji- 
 gangas. — 29 Mayo, 1659." Marti y Monso, E studios historico-artisticos, 
 Zaragoza, 1902(F), p. 567. 
 
CHAPTER XIV 
 
 The representation of atttos sacramentales. Description of the 
 autos at Madrid. The carros. Abuse of the representation of 
 autos. Protests of churchmen. Sums paid for the representation 
 of autos. Autos in the theaters. Great expense of these festivals. 
 
 The autos sacramentales 1 were performed at the instance 
 of the municipalities of the various cities and towns at 
 the festival of Corpus Christi. As Ticknor says, they 
 were in the height of their success in the age of Lope de 
 Vega and in that immediately following, and had become 
 an important part of the religious ceremonies arranged 
 for the solemn sacramental festival to which they were 
 devoted, not only in Madrid, but throughout Spain, the 
 
 'The meaning of this term has been given above (Chapter I). This 
 is not the place for an esthetic appreciation of the autos sacramentales. 
 For this the reader is referred to the works of Schack, Ticknor, Gonzalez 
 Pedroso, and others. Ticknor's criticism (Vol. II, p. 293, note) "that, 
 at all periods, from first to last, the proper autos were rude, gross, and 
 indecent" is much too severe and too sweeping. There are doubtless 
 passages in some of these autos which seem irreverent to a Protestant, 
 and of one, La Araucana, by Lope de Vega, so orthodox a Catholic 
 as Sr. Menendez y Pelayo has remarked: "Muy robusta debia de ser 
 la fe del pueblo que tolero farsa tan irreverente y brutal," and to enjoy 
 many of these productions they must be viewed "con los ojos de la Fe," 
 to use Lope's own words. La Puente del Mundo, cited by Ticknor, is 
 hardly a fair specimen of Lope's autos. It is an absurdly extravagant 
 and irreverent production, as Menendez y Pelayo admits, and is nothing 
 more than a parody a lo divino of La Puente de Mantible, an episode of 
 the French poem Fierabras (Academy's edition of Lope de Vega, Vol. II, 
 p. lxxvi). What finally led to the suppression of the autos sacramentales 
 by Charles III., in 1765, was, in all probability, not because of the autos 
 themselves, but of the inevitable accompaniments of the auto: the proces- 
 sion and the has, entremeses, and bayles. These frequently degenerated 
 into a spirit of irreverence and brutality that is shocking. We need only 
 cite as an instance that the very auto just mentioned, La Puente del 
 
 297 
 
2 9 8 THE SPANISH STAGE 
 
 theaters being closed while they were represented. 1 From 
 the earliest times they seem to have been accompanied by 
 dancing, and since the time of Lope by a loa and an entre- 
 mes. 2 These autos were acted upon movable cars 
 (carros) which passed through the city to the various 
 stations where the representation was to take place, and 
 hence this was called La Fiesta de los Carros. 3 Preceding 
 these cars, strange figures were paraded in the procession 
 — the Tarasca,* a sort of serpent surmounted by a figure 
 portraying the "Woman of Babylon," and huge figures 
 representing Moorish or negro giants, called Gigantones, 
 etc. 5 
 
 The theatrical managers whose companies were to 
 represent the autos were selected by the "comisarios" ap- 
 
 Mundo, is preceded by a Loa del Escarraman, of which Sr. Menendez y 
 Pelayo says: "Incredible as it may seem, this is a paraphrase a lo divino 
 of the famous jdcara of Quevedo, Carta de Escarraman a la Mendez," 
 Escarraman having been a notorious bully of Seville who served ten 
 years in the galleys for his crimes. 
 
 Juan de Mariana, in his treatise Contra los Juegos publicos (chap, xii), 
 says that the Zarabanda, the most indecent of these bayles, was danced 
 in the representations of the autos at Corpus Christi and also in the 
 nunneries. (See above, p. 71, note 4.) 
 
 1 Vol. II, p. a 93 . 
 
 2 See above, pp. 67 ff., and Perez Pastor, Nuevos Datos, p. 117. 
 
 3 In 1586 Jeronimo Velazquez represented three autos at Corpus, in 
 Madrid, the painter Rui Lopez de Avalos agreeing to paint three triumphal 
 cars, "las verjas donde se ha de poner el S. Sacramento y los carros donde 
 se han de representar los autos de este ano." Perez Pastor, Bulletin His- 
 panique, 1906, p. 366. See also below, p. 310. 
 
 'Benavente describes it as half serpent and half woman: 
 
 "La tarasca, 
 Que ya sale por el Corpus, 
 Medio sierpe y medio dama." 
 
 (Entremeses, etc., Vol. I, p. 13?.) 
 See Covarrubias, Tesoro, ad verb. 
 
 5 For a description of this procession, see Schack, Vol. II, pp. 128, 129, 
 and Ticknor, Vol. II, pp. 293-295. In the succeeding chapter will be 
 found the accounts of eye-witnesses. Ticknor describes the procession as a . 
 "sort of rude mumming, which certainly had nothing grave about it," in 
 which we quite agree, and we shall see that it finally degenerated into 
 such license that it called forth the earnest protests of churchmen. 
 
AUTOS SACRAMENTALES 299 
 
 pointed by the city for that purpose, who generally in- 
 cluded the "regidores" and "corregidor" of the city, 1 and 
 who, it seems, had to be approved by the ordinary. 2 
 
 The earliest autos sacramentales performed in Madrid, 
 of which we have any detailed description (so far as I 
 am aware), were those represented in 1574 by the com- 
 pany of Jeronimo Velazquez. At this time and for some 
 years thereafter, three autos were represented each year 
 at Madrid. In 1587 there were three autores de come- 
 dias: Nicolas de los Rios, Miguel Ramirez, and Juan de 
 Alcozer, each of whom represented an auto at the Corpus 
 festival in Madrid. 3 In 1592 four autos were repre- 
 sented, two (Job and Santa Catalina) by the company of 
 Gaspar de Porres, and two (titles not given) by Rodrigo 
 de Saavedra. 4 
 
 There is recorded an obligation dated March 3, 1574, 
 by Jeronimo Velazquez, to represent at the festival of 
 the Holy Sacrament of that year at Madrid three autos: 
 La Pesca de San Pedro, La Vendimia celestial, and El 
 Rey Baltasar quando en sus Convites profano los Vasos 
 del Templo, and to provide all the personages and 
 costumes and all other things necessary for the said 
 representations, "and he shall take part in the said repre- 
 sentations himself and shall provide the other necessary 
 persons; the city to furnish him with three cars (carros), 
 constructed with all the necessary devices and artifices, 
 without the said Jeronimo Velazquez providing anything 
 concerning the preparation and machinery of the said 
 cars, he only to furnish the persons and costumes, and 
 to provide people to move the said cars from place to 
 place. The city is to pay him 130 ducats, besides 20 reals 
 for the persons who move each car, i.e., 60 reals in all. 
 . . . He is to represent only on the day of Corpus along 
 
 1 Perez Pastor, Nucvoi Datos, pp. aio, 216. 
 
 'Ibid., p. 117. 'Ibid., p. 18. * Ibid., p. 29. 
 
3oo THE SPANISH STAGE 
 
 the route of the procession and afterward where the 
 "comisarios" may order." 1 
 
 The autor de comedias thus appointed to represent the 
 autos was obliged to give a trial performance before the 
 "comisarios," generally twenty days before the festival, 
 and the "comisarios" always reserved the right of insisting 
 upon the appearance of such players as they thought espe- 
 cially desirable and obliging the autor to hire players for 
 this purpose. Thus in 1585, when Gaspar de Porres was 
 to represent the three autos in Madrid, the "comisarios" 
 agreed to furnish him with the three cars provided with 
 invenciones, etc., in such manner as the said Porres may 
 require, but "he is to provide the personages and figures 
 which are to represent in the said autos with new cos- 
 tumes, and if necessary to provide another simple [a char- 
 acter which afterward developed into the gracioso~\ besides 
 the one whom he has in his company, and he must give a 
 trial performance of the said autos twenty days before 
 the said festival, for all of which he is to receive 400 
 ducats. . . . And besides this he is to receive a license 
 from the Council to represent two days in each week (not 
 counting feast-days) from Easter (Pascua de Resurrec- 
 tion) till Corpus Christi, and no other autor de comedias, 
 Spaniard or foreigner, shall be permitted to represent in 
 Madrid during the said time." 2 Moreover, the "comisa- 
 rios" were to be furnished with a list of the players in the 
 company, and they could compel any player whom they 
 desired to be brought from wherever he might be, to take 
 part in the autos, and this was to be done at the expense 
 of the manager of the company. 3 Frequently a player 
 
 'Perez Pastor, Nuevos Datos, pp. 333, 334. 2 Ibid., pp. 335, 336. 
 
 3 "En la villa de Madrid a quince dias del mes de Marzo de mil y 
 seiscientos y veinte y nueve afios, los senores Licenciado Melchor de 
 Molina, del Consejo y Camara de su Magestad, D. Francisco de Brizuela 
 y Cardenas, Corregidor de la dicha villa, Francisco Enriquez de Villa- 
 corte y Don Francisco de Sardeneta y Mendoza, regidores de la dicha villa 
 y comisarios para las fiestas del Santisimo Sacramento de este afio. — 
 Acordaron que los autos que se han de hacer para el dicho dia se den a 
 
AUTOS IN 1592 301 
 
 bound himself not to leave Madrid, but to "remain in 
 his house as a prison, so that he may take part in the 
 Corpus festival." 1 
 
 A minute description of the autos entitled Job and 
 Santa Catalina, represented by the company of Gaspar 
 de Porres at Madrid in 1592, is given by Perez Pastor. 
 The costumes to be worn are described in great detail : 
 Job is to wear a long coat of purple damask and a hat 
 of taffeta, and buskins; God the Father appears in a 
 tunic of sateen or taffeta of gold and purple, with a 
 cloak of white taffeta, etc.; and in the auto of Santa 
 Catalina there are to be three gallants dressed in the 
 Roman fashion, with coats of mail, etc. It is agreed 
 that the rehearsal is to be given twenty days before 
 Corpus, and each auto is to have an entremes; the city to 
 furnish the cars, prepared and painted at its own cost, 
 with all the inventions necessary for the representation, 
 and the wheels greased with lard or tallow, so that the 
 cars can be moved from place to place. Porres received 
 600 ducats for the representation, and each player was 
 furnished with a candle. 2 
 
 Bartolome Romero y Roque de Figueroa, autores de comedias, a cada uno 
 los dos, obligandose y dando fianzas de que haran los dichos autos en la 
 forma acostumbrada y con que para la Pascua de Resurreccion, antes 6 
 despues, quando se les mandare, hayan de dar quenta de sus companias, 
 y si para hacer las dichas fiestas les faltare 6 paresciere a los dichos 
 senores son necesarios algunos personajes, hombres 6 mugeres, hayan de 
 recibir los que se les ordenare, trayendolos a su costa de qualesquier partes 
 donde estuvieren, dandoles despachos para ello, y lo senalaron." (Ibid., 
 p. 216.) Three years before this, at the Corpus festival of 1626, Andres 
 de la Vega, an autor de comedias, was required to provide another 
 gracioso in the place of the one then in his company, and Cristobal de 
 Avendano, the other autor representing the festival, had to substitute 
 another actress. (Ibid., p. 210.) 
 
 1 In 1621 Bartolome de Robles and Micaela Lopez, his wife, were en- 
 gaged to act in the autos of Corpus of that year in Madrid, and bound 
 themselves not to leave the city "dejando el primero su casa por carcel, 
 para trabajar ambos durante las fiestas del Corpus en la corte." (Ibid., 
 p. 189.) 
 
 s The importance of this document may justify its insertion here in full: 
 "2 Marzo 1592. Obligacion de Gaspar de Porres para hacer dos autos. 
 En la villa de Madrid a dos dias del mes de Marzo de mil y quinientos y 
 
302 THE SPANISH STAGE 
 
 Of these autos sacramentales four were represented 
 annually at Madrid, beginning with this year (1592), 
 as nearly as we can determine ; prior to this, as we have 
 seen, the number varied. Two autores de comedias were 
 chosen by the "comisarios," each company representing two 
 autos, which took place at Corpus Christi on the evenings 
 of Thursday and Friday, and for which each autor (dur- 
 
 noventa y dos afios por ante mi el escribano publico e testigos de yuso 
 escritos parecieron presentes Gaspar de Porres, autor de comedias, estante 
 en esta corte coma principal deudor y obligado, y Geronimo Velazquez 
 desta villa de Madrid como su fiador y principal pagador, y ambos a 
 dos juntamente y de mancomun. . . . Otorgaron que se obligaban y obli- 
 garon que el dicho Gaspar de Porres hard para la fiesta del Santisimo 
 Sacramento deste presente ano de noventa y dos, dos autos, el uno de 
 Job en que entren su figura con un gaban de damasco morado y un 
 sombrero de tafetan y sus borceguies, quatro hijos con quatro baqueros de 
 damasco y brocatel con sus mantos de colores con sus tocados y borceguies 
 y un criado con una tunicela de damasco con su tocado, y los demas 
 sirvientes que son tres pastores con sus pellicos de damasco de colores, 
 caperucas de lo mismo y caragiielles y camisas de caniqui blancas; tres 
 amigos con tres tunicelas de damasco y sus mantos de tafetan y tocados 
 y borceguies, y quatro virtudes con quatro tunicelas de tafetan con cotas y 
 faldones y sus tocados y calcadillas; su muger de Job con un mongil a lo 
 judaico de raso leonado con sus tocas, el demonio principal con una 
 tunicela de tafetan negro, cota, faldin y calcadilla, y los otros tres de- 
 monios con tres ropas largas muy bien pintadas de bocas, y una figura de 
 Dios Padre con una tunicela de raso o tafetan que tenga oro y morado 
 y una capa de tafetan bianco, y una figura de un angel como se suele 
 vestir : y otro auto de Santa Catalina, en que haya tres galanes vestidos a 
 lo romano con cotas y faldones y tocados con monteras de terciopelo y raso 
 con sus mantos y calcadillas y borceguies: la figura de Catalina con un 
 vestido a lo romano corto de tela y tocado a lo romano; la criada tambien 
 a lo romano de damasco o de raso; dos senadores con dos tunicelas de 
 damasco y encima dos ropas de terciopelo de colores con sus tocados a lo 
 romano o gorras ; otras dos con dos baqueros y mantos y tocados y borce- 
 guies; y una figura de Santo Domingo y su companero con sus habitos 
 acostumbrados de estamena ; una figura de Christo con un sayo baquero 
 bordado con unas cifras que declaren la figura, y el tocado ni mas ni 
 menos, y un angel en habito de paxe de la misma manera que saliere el 
 christo salvo que no ha de llevar bordado el baquero. — Una figura del 
 nino Jesus con su tunicela de tafetan o raso que tenga oro con las insignias 
 de la pasion, y la misma figura de Christo ha de salir otra vez de resur- 
 reccion de la forma que se pinta, y una figura de la madre de Dios como 
 se pinta la imagen del rosario vestida de damasco: los quales dichos autos 
 vestidos los dichos personajes como esta dicho ha de ser a contento y 
 satisfaccion del Sefior Licenciado Alonso Nunez de Bbhorques del Consejo 
 de su magestad y comisario de las cosas de esta villa y de los senores 
 corregidor y comisarios por ella nombrados y ha de dar las muestras 
 
THE REPRESENTATION OF AUTOS 303 
 
 ing the first half of the seventeenth century, at least) re- 
 ceived 600 ducats. 1 
 
 It appears that at first (in Madrid, at all events) the 
 autos were represented in the morning, and that a change 
 was made by the Council in 1586, which commanded that 
 the performances at the festival of Corpus Christi be held 
 in the afternoon. On April 17, 1587, the President of 
 the Council was, however, petitioned to continue the order 
 of the preceding year, "as experience had shown how 
 much more advantageous this was, and with how much 
 greater solemnity the procession and the divine offices 
 were conducted, which took place on that day." On May 
 25, 1587, however, it was resolved that the representation 
 
 veinte dias antes de la dicha fiesta o el dia que el dicho sefior comisario 
 les ordenare y en cada auto ha de hacer un entremes a contento de los 
 dichos senores y ha de representar el dicho dia del Sacramento en la parte 
 y lugar que los senores del Consejo les ordenaren y mandaren ora sea por 
 la manana ora por la tarde, y de alii ha de ir a las demas partes y 
 lugares donde el dicho sefior comisario le ordenare por sus autos sin salir 
 del ambitu de la procesion y el viernes siguiente ha de representar a esta 
 villa en la plaza de San Salvador y de alii adonde le mandare el dicho 
 sefior comisario, y le ha de dar esta villa los carros aderezados y pintados 
 a costa della con las invenciones que fueren necesarias para las dichas 
 representaciones y untados con sebo o manteca para que puedan andar 
 dicho dia por las partes que han de andar y de alii los ha de hacer sacar 
 el dicho Gaspar de Porres y traerlos por las partes y lugares que se le 
 ordenare y mandare y volvellos a la dicha obreria el viernes en la noche 
 y entregallos a Pedro de la Puente obrero della, y demas desto le ha de 
 dar la dicha villa seiscientos ducados en dineros pagados los dos partes 
 luego y la otra tercia parte la mitad el dia que diere la muestra y la 
 otra mitad acabada la dicha fiesta, ye le han de dar una vela para cada 
 uno de los representantes que hicieren las dichas representaciones, y 
 demas desto han de representar en esta corte el dicho Gaspar de Porres y 
 Rodrigo de Saavedra que tiene los otros dos carros, desde el lunes de 
 Casimodo hasta el dicho dia del Sacramento sin que otro ningun autor 
 pueda representar, y se ha de procurar licencia del Consejo para que 
 representen desde el segundo dia de Pascua de Resurreccion hasta el 
 domingo de Casimodo, y se obligaron de hacer y que haran la dicha fiesta 
 de la manera que dicha es sin que haya falta alguna y si alguna hubiere 
 que a su costa se pueda hacer y haga y se busquen vestidos y personas que 
 hagan las dichas figuras, y por lo que costare se les pueda executar y 
 execute por solo el juramento de qualquiera de los dichos senores comisa- 
 rios de la dicha villa (siguen las seguridad.es) ." (Perez Pastor, Nuevos 
 Datos,j>p. 29-31.) 
 1 See above, p. 200. 
 
3 04 THE SPANISH STAGE 
 
 on Friday should take place before the Ayuntamiento of 
 the city in the morning, beginning at seven o'clock. 1 In 
 1600, when the autos of Madrid were presented by the 
 companies of Melchor de Villalba and Gabriel de la 
 Torre, the performance on Thursday took place in 
 the afternoon, first before the Council, and afterward 
 "wherever they may be ordered to perform." 2 Begin- 
 ning on the afternoon of Corpus Christi, the autos con- 
 tinued through the whole of the following day (Friday). 
 In 1609, when Alonso de Heredia represented the autos 
 in Madrid, he was required to perform them until two 
 o'clock in the morning. With each auto an entremes 
 was to be given, 3 and in 161 8, when the autos were 
 presented by Baltasar Pinedo and Hernan Sanchez de 
 Vargas, it was agreed that "each one of the autores 
 was to produce two autos and to have them composed 
 at his own cost and approved by the ordinary, fur- 
 nishing also with each auto an entremes, and presenting 
 them with new costumes." They were to give a re- 
 hearsal ten days before Corpus, and on that day they 
 
 1 Perez Pastor, Nuevos Datos, p. 19. 
 
 'Ibid., p. 52. It appears that at the Corpus festival in Seville in 1582 
 no less than seven autos were represented: El Testamento del Senor by the 
 company of Alonso de Capilla; El Cowvite que hizo el Rey Salomon a la 
 Reina Saba by Juan Bautista ; El Triunfo de la Verdad by Diego Pineda ; 
 Santa Felicitas y otros Mdrtires by Marcos de Cardenal ; La Muerte 
 de Orias y Casamiento de David con Bethsabee by Tomas Gutierrez; 
 Cuando Nuesira Seiiora salio de Egipto para Galilea by the com- 
 pany of Juan Gonzalez; and Cosme de Oviedo represented El Estaio 
 del Hombre desde su Juventud hasta que triunfa la Muerte. (Sanchez- 
 Arjona, Anales, p. 68.) In 1585 five autos were represented: two by 
 Pedro de Saldana, two by Alonso de Cisneros, and one by Tomas Gutie- 
 rrez. (Ibid., p. 74.) In general, however, four autos were represented 
 here also each year. In 1591 there appeared in the representation at 
 Corpus, in addition to the autos, a "carro de apariencias," brought out by 
 Juan Bautista de Aguilar, on which Juan Agustin de Torres and Antonio 
 Veloco "performed sleight-of-hand tricks with living birds, in the manner 
 of the Italians," "y con una armada de galeras y otras piezas de fuego 
 muy curiosas, con su musica y romances y letras a lo divino con un en- 
 tremes gracioso." (Ibid., p. 82.) For four autos represented by Diego 
 de Santander in 1596, he received 1200 ducats. (Ibid., p. 94.) 
 
 'Ibid., p. 112. 
 
THE REPRESENTATION OF AUTOS 305 
 
 were to represent from noon until ten o'clock at night, 
 and on Friday from ten in the morning till midnight, in 
 such places as should be assigned to them. In this case, 
 besides providing the cars (carros) and paying to the 
 autores 600 ducats each, the city agreed to furnish a wax 
 candle of half a pound to each actor and two wax candles 
 of one pound each to the autor and autora. 1 In 1621 it 
 was stipulated that Pedro de Valdes, who presented two 
 of the autos, "is to represent on Corpus day from two 
 in the afternoon till midnight, and on Friday from six 
 o'clock in the morning until midnight, and if he repre- 
 sent on Saturday, he is to receive the customary gra- 
 tuity." Besides, his company and that of Cristobal de 
 Avendafio (who presented the other two autos) were to 
 have the exclusive right of performing in the theaters of 
 Madrid from the date of granting the license until Corpus 
 Christi. 2 
 
 As already stated, the Corpus Christi celebration al- 
 ways began with a procession through the streets of the 
 city, and the stopping-places where the autos were to be 
 represented were designated by the civic authorities, who 
 provided the carros. In Seville, in 1609, the autos were 
 first to be represented "before the Most Holy Sacra- 
 ment, and afterward, during the whole of that day until 
 the bell for evening prayers rings, going through the 
 streets along which the procession passes, and if any car 
 should break down, the actors and all the paraphernalia 
 for the representation are to wait on the spot for two 
 hours until the car be repaired," and the places for repre- 
 sentation are designated "in case a car cannot proceed 
 because one in front of it be broken down." 3 Besides the 
 
 'Perez Pastor, Nue-vos Datos, p. 166. 'Ibid., p. 188. 
 
 *"Si en algun carro se quebrase alguna rueda viniendo detras otro 
 carro que haya menester pasar adelante, si se quebrase en la calle de 
 Genova, le hayan de sacar a la plaza de San Francisco; y si en la calle 
 de la Sierpe, a la entrada de lo ancho de la carcel 6 a la dicha plaza de 
 San Francisco; y si fuere a los Sileros, le saquen a la plazuela que esta 
 
306 THE SPANISH STAGE 
 
 representations which were to be given on the day of 
 Corpus, another was to be given in the Plaza de San 
 Francisco on the following Monday, and it was expressly 
 provided that no player was to pass from one car to 
 another, but that each car be furnished with all necessary 
 actors. Each auto had to be accompanied by a new en- 
 tremes, and a rehearsal had to be given thirty days before 
 Corpus. 
 
 In addition to the 600 ducats received by each autor 
 (sometimes this sum was 350 ducats for each auto, as in 
 Seville in 1609) for his two autos, a prize of 100 ducats 
 was generally awarded by the city to the autor de come- 
 dias whose company gave the best representations with 
 the finest costumes, and sometimes various sums were 
 awarded to individual players. 
 
 It was greatly to the advantage of the manager of a 
 company to be selected to represent the autos in Madrid, 
 for besides the large sum received therefor, he and the 
 other manager so selected were also granted the sole and 
 exclusive privilege of representing comedias in the 
 Madrid theaters from the day on which he received the 
 license (generally Easter) until Corpus Christi. 1 When 
 the court was in Madrid it was generally necessary to 
 give additional representations of the autos on the fol- 
 lowing Saturday, for which a gratuity was always received 
 by the manager of the company. 2 It was an invariable 
 condition that the autos represented in Madrid and Seville 
 should be new and should never have been seen before. 3 
 The remuneration received by poets for writing autos 
 doubtless varied, as did their honorarium for comedias, 
 but, being a shorter composition, the amount paid was 
 
 f rente de la botica; y si en la calle de Carpinteros, a la plazuela de San 
 Salvador, para que se aderecen y prosigan la representation." (Sanchez- 
 Arjona, Anales, p. 137.) 
 
 1 Perez Pastor, Nuevos Datos, pp. 4.9, 52, 123, 132, T62, 188 et passim. 
 
 'Ibid., pp. 112, 123, 129 et passim. 
 
 ' Sanchez-Arjona, Anales, pp. 125, 136, 215. 
 
AUTOS BY LOPE DE VEGA 307 
 
 much less than for a comedia. In 161 1 Lope de Vega, 
 then at the height of his popularity, received 1200 reals 
 for four autos represented at the Corpus festival of that 
 year in Seville. 1 In 161 8 Bartolome de Enciso received 
 200 reals for an auto entitled La Montanesa, while Jusepa, 
 
 'Three years before, in 1608, Lope had also written the four autos which 
 were represented at Madrid in that year: El Adulterio de la Esposa and 
 El Caballero del Fenix, performed by the company of Juan de Morales 
 Medrano, and Los Casamientos de Joseph and La Ninez de Crista, by the 
 company of Alonso Riquelme. The scenic appliances of the carros are 
 thus described: 
 
 "Para el auto del Adulterio de la Esposa: 
 
 —En el medio carro en lo alto ha de haber una nube 6 globo que se abra 
 en quartos a modo de azucena que sea bastante para que quepan tres per- 
 sonas dentro: ha de estar pintado de azul y estrellas, en este medio carro 
 ha de haber pintados algunos pesos y llamas de fuego porque es el carro 
 de la Justicia divina. 
 
 —En el otro medio carro ha de haber en lo alto un trono a modo de 
 capilla 6 yglesia, porque aqui se ha de representar la Iglesia; ha de haber 
 un dragon de siete cabezas, si pudiere ser, echando fuego por las bocas, 
 y si no pudiere ser vivo, sea pintado: este capilla ha de ser bastante para 
 que e'n ella este una muger sobre este dragon. 
 
 —En este medio carro ha de haber dos bofetones que salgan con dos 
 hombres hasta la mitad de los carros y los vuelvan arriba 
 
 —Ha de haber unas plomadas para subir una muger arriba. Dira el 
 modo de esta invencion Jaraba, cobrador de la comedia. 
 
 "Para el auto del Caballero del Fenix: 
 
 —En el medio carro sean quatro bastidores sobre la casa, que se abran 
 en la frente del carro: este una mesa con asiento y sea todo lo alto un 
 guerto con una pena sobre que pueda estar un Angel. 
 
 — EI otro medio carro sea un Globo pintado de mar y tierra por defuera 
 y por dentro de tinieblas, con un sol y luna eclisados y sangrientos, una 
 cruz grande en medio sobre un calvario, bastante a que este echada en el 
 una figura. 
 
 "Para el auto de Los Casamientos de Joseph: 
 
 —El medio carro sea un Palacio con un corredor y un altar con unos 
 ydolos: sea el Palacio el mas rico que sea posible, y si puede estar en 
 medio de quatro corredores la capilla del altar que dije, sera mejor. 
 
 — El otro medio carro tenga un cielo sobre la casa con una subida por 
 donde pueda descender del y volver a el una figura. Si hubiere pintura 
 por defuera sea el Carro de Pharaon y Joseph en el vestido de Rey. 
 Haya una mesa con invencion para que los platos que esten en ella se 
 desaparezcan a la vista. 
 
 "Para el auto de La Ninez deXpo: 
 
 —En el medio carro sea un templo con asientos y una silla en medio: 
 hanle de cubrir quatro bastidores que se caygan a su tiempo. 
 
 —El otro medio carro ha de ser un jardin y una palma en medio del con 
 
308 THE SPANISH STAGE 
 
 Vaca and her daughter Mariana de Morales were paid a 
 gratuity of 300 reals "por lo bien que en el trabajaron, x 
 and in the same year Salustio del Poyo received 200 reals 
 for Las Fuerzas de Sanson. 2 
 
 No expense seems to have been spared in the prepara- 
 tion of the autos, which were presented with a splendor 
 of decoration and costume that must have greatly pleased 
 the populacho, especially as these representations, being 
 on the streets and in the public squares, were free to all. 
 
 For the representation of El Naufragio de Jonas pro- 
 feta, at Plasencia in 1578, a large stage was built in the 
 square of the city, and upon it a tank was constructed sixty 
 
 todos los pasos de la Pasion por razimos 6 en cada razimo de datiles el 
 suyo: tenga el tronco como escalera por que se pueda subir, y sea muy alta: 
 este una cabana paxiza a un Iado y una fuente. Pongase cuydado en este 
 porque es notable. Si hubiere pintura por de fuera, sea toda de nifios 
 angelitos, ocupados en diversos juegos de muchachos. 
 
 "Pintura de los carros para la fiesta del Santisimo Sacramento deste afio 
 de 1608. 
 
 "Condiciones de la pintura de los carros: 
 
 — Hanse de pintar los carros a contento del senor Corregidor y comisa- 
 rios, etc. 
 
 — Hanse de pintar ocho medios carros conforme los autos lo requieren 
 dellos de arquitectura bien ordenada y compuesta y colorida de colores 
 finos y a cada arquitectura de carro conforme la historia del auto lo re- 
 quiere. 
 
 — Hanse de pintar todas las apariencias dentro y fuera de los carros y 
 todo lo que se hubiere de hacer demas de lo dicho conforme las memorias 
 que tienen dadas Riquelme y Morales, autores. 
 
 — Han de ir las puertas de los carros pintadas conforme los carros lo 
 requieren, cada una diferente de la otra, con sus peinazos y cruzeros con-' 
 trahechas al natural, y las ventanas han de ir contrahecbas a ventanas 
 naturales, unas diferentes de otras. 
 
 — Han de ir los rodapies de los carros pintados cada uno conforme al 
 carro que ha de ir puesto y que sea conforme a lo de arriba. 
 
 — Hanse de dorar todos los remates de los carros y pintar los balustres 
 y verjuelas de azul fino, y dorar los botoncillos deltas. 
 
 — Han de ir enlosados de pintura y enladriHados con sus colores los 
 suelos de los carros donde se han de representar altos y baxos, y los dos 
 medios carros que se afiaden se ha de hacer lo mismo. 
 
 — Hase de dar de azul la reja donde se pone la Custodia en la Plaza 
 de Santa Maria y dorar las manzanas della," etc. (Perez Pastor, Nuevos 
 Datos, pp. 106-109.) 
 
 1 Sanchez- Arjona, El Teatro en Sevilla, Madrid, 1887, p. 303. 
 
 'Ibid., p. 293, 
 
LOS MEDIOS CARROS 309 
 
 feet long and twenty feet wide, which was filled with 
 water, upon which a ship floated, with its sails and tackle, 
 large enough to hold a number of sailors and passengers. 1 
 
 At an early period, however, the autos, besides being 
 performed in the public squares, were also represented 
 at the theaters. On June 22, 1601, we find that Gaspar 
 de Porres presented autos in one of the theaters of 
 Madrid, and on the next two following days we read: 
 "Autos a los semaneros en el teatro." 2 Besides, autos 
 were frequently represented privately before the King, as 
 in June, 1609, when Domingo Balbin and Alonso de 
 Heredia presented the autos of that year before Philip 
 the Third in the Escurial. 3 
 
 The cars were beautifully painted and were frequently 
 of great magnificence; in 161 1 the amount paid for paint- 
 ing them was 1350 reals. 4 
 
 The number of cars for the autos seems to have varied : 
 to represent four autos, eight medios carros were re- 
 quired, as we have seen above, in the case of the autos of 
 1608. In 1619 we read of "eight medios carros on which 
 the representation is to be given, to be handsomely 
 painted, and . . . likewise the four medios carrillos 
 which are put in between for the representations,". 5 and 
 
 1 "En las fiestas del dia de Corpus Christi de aquel ano se hizo en 
 medio de la plaza un gran tablado, que parecia hecho para muchos 
 dias, y en lo alto un mar de sesenta pies de longitud y veinte de lati- 
 tud, con abundancia de agua que con mucho artificio habian hecho 
 subir alii. En el mar estaba una muy lucida nave, con sus velas y jarcias, 
 de tanta grandeza que estaban dentro muchos marineros y pasajeros 
 vestidos de librea. Aqui se represento el Naufragio de Jonas prof eta, y se 
 vio la nao ir por el agua, con la qual hubo gran conmocion y tormenta 
 con artificio de polvora que debajo del tablado se encendio." (Sanchez- 
 Arjona, p. 97.) 
 
 'Bulletin Hispanique (1907), p. 365. 
 
 'Bulletin Hispanique (1907), p. 375. 
 
 * Nuevos Datos, p. 125. 
 
 '"Se obliga a pintar los ocho medios carros, en que se hace la represen- 
 tacion, de pinturas finas . . . y tambien en los quatro medios carrillos que 
 se meten en medio para las representaciones." (Ibid., p. 182.) The term 
 medio carro (middle car) is explained by a document dated Madrid, May 
 T 5> 1593 : "Obligacion de Nicolas Granelo, criado de S. M.. pintor resi- 
 
310 THE SPANISH STAGE 
 
 in 1620 a medio carro was built "with its two bridges, 
 upon which the stage is to be placed, and the stage is to 
 have the same form as it has in the others [i.e., cars] 
 with its balustrades and railings." 1 
 
 That a stage was built at the various points along the 
 streets . where the auto was to be represented, and that 
 the carros were grouped around this stage, is evident from 
 many descriptions of the autos. Still, the word here used 
 for stage ( tablado ) seems sometimes to have the meaning 
 of scaffold or stand for spectators. 2 It is probable that 
 representations also took place upon one of the carros, so, 
 at all events, we should infer from the fact that in 1593 
 eight cars were ordered to be painted for the festival of 
 Corpus, beside "the one in the middle which serves for 
 the representations." 3 Moreover, above (p. 308) we 
 read of the "floors of the cars on which they are to act." 
 Perhaps it was the custom to set up the stage on the 
 bridges of one of the cars, as was done in 1620, as we 
 have just seen. When Rios represented a comedia and 
 
 dente en Madrid, de hacer la pintura de los S carros que esta Villa hace 
 para la fiesta del Santisimo y la del 'que sirve en medio para las repre- 
 sentaciones,' en precio de 230 ducados" (ibid., p. 35), and another record 
 dated Madrid, April 5, 1595: "Fianza de Pedro de la Puente, obrero de 
 la villa de Madrid, en favor de Fabricio Castello, pintor de su Magestad, 
 que hara la pintura de los ocho carros que esta villa hace para la fiesta 
 del Santisimo Sacramento deste presente ano de noventa y cinco, asi los 
 cuerpos principales como el que sirve en medio para las representaciones."' 
 (Ibid., p. 343.) For the auto entitled El Meson del Alma, represented at 
 Seville in 1607 by the company of Riquelme, the following description of 
 the medio carro was furnished by the city authorities: "Para el auto Et 
 Meson del Alma se dispuso que en un medio carro ha de haber una casa 
 grande, donde va toda la compania deste auto, con sus torres, chapiteles y 
 remates, en la qual han de ir pintados atributos de la Gracia y Virtudes 
 y lo demas que dijere el poeta. Item esta casa ha de tener quatro lienzos 
 en quadrado con la largura y anchura que le convenga." (Sanchez- 
 Arjona, Anales, p. 128.) 
 
 Ibid., p. 186. 3 Junio 1620. — Condiciones de un medio carro que se 
 ha de hacer para las fiestas del Santisimo Sacramento del ano 1620, "con 
 sus dos puentes en que ha de ir el tablado encima y el tablado ha de ser 
 de la misma forma que esta en los otros con sus balustres y antepechos." 
 
 * See Nuevos Datos, pp. 13, 14, 17. 
 
 * Nuevos Datos, p. 35, and ibid., p. 40: Abril 1595. "Fianza para los 
 8 carros triunfales y el de las representaciones en las fiestas del Corpus." 
 
EL TABLADO 311 
 
 an auto in the village of Fuenlabrada in August, 1603, it 
 was especially stipulated that "el tablado se ha de pagar y 
 aderezar por cuenta de la Cofradia." 1 Here tablado 
 could only have meant the acting stage. At the close of 
 the first scene of Josef de Valdivielso's El Peregrino, an 
 auto published in 1622, is the direction "Cierrase el 
 tablado, y queda dentro la Tierra." 2 
 
 Calderon's autos show clearly that there were fixed 
 stages or tablados, the cars being arranged around them, 
 the actors facing the select company before which the 
 auto is presented, while the great mass of the populace 
 see only their backs. In Calderon's El sacro Parnaso 
 (1659) the stage is referred to as "el tablado de la repre- 
 sentacion," and in the same author's Quien hallard Mujer 
 fuerte (1672), in the "Memoria de las Apariencias," we 
 read: "El segundo carro ha de tener tambien bajada para 
 el tablado, por donde pueda subir una muger." 3 
 
 The properties on these cars were of pasteboard 
 {pasta) and were made "as the poets requested" {con- 
 forme lo pidieren los poetas). 4 The costumes worn by 
 the players were of the richest and costliest stuffs. In 
 1624, when Antonio de Prado represented two of the 
 autos at Madrid, it was especially stipulated that "he 
 shall provide the costumes for the said autos and entre- 
 meses, and they are to be of brocatel and velvet and 
 damask and sateen, trimmed with gold passementerie, 
 all new and to the satisfaction of the comisarios." 6 
 
 Like the comedia, the autos sacrament ales were inva- 
 riably accompanied by bayles and entremeses. Cervantes 
 
 1 Nuevos Datos, p. 81. 
 
 2 Gonzalez Pedroso, in Bibl. de Autores Esp., Vol. 58, p. 203. 
 
 'Ibid., p. 403. See also Calderon's La Nave del Mercader: "baja la 
 Culpa al tablado." Ibid., p. 441, and La Vina del Seizor. Ibid., pp. 464, 
 475. For an account of the autos and their representation, see Schack, 
 Geschichte, etc., Vol. II, p. 129, and Julio Monreal, Cuadros viejos, pp. 
 203 ff., and especially p. 230. 
 
 "Perez Pastor, Nuevos Datos, p. 182. 
 
 5 Ibid., p. 205, and see above, p. 107. 
 
312 THE SPANISH STAGE 
 
 gives a description of a traveling company which was 
 representing the auto entitled Las Cortes de la Muerte 
 in various small towns during the octave of Corpus 
 Christi (we copy from the excellent translation of John 
 Ormsby) x : 
 
 Don Quixote was about to reply to Sancho Panza, but he was 
 prevented by a cart crossing the road full of the most diverse and 
 strange personages and figures that could be imagined. He who 
 led the mules and acted as carter was a hideous demon; the cart 
 was open to the sky, with a tilt or cane roof, and the first figure 
 that presented itself to Don Quixote's eyes was that of Death 
 itself with a human face ; next to it was an angel with large painted 
 wings, and at one side an emperor, with a crown, to all appearance 
 of gold, on his head. At the feet of Death was the god called 
 Cupid, without his bandage, but with his bow, quiver, and arrows ; 
 there was also a knight in full armour, except that he had no 
 morion or helmet, but only a hat decked with plumes of divers 
 colours; and along with these there were others with a variety of 
 costumes and faces. All this, unexpectedly encountered, took Don 
 Quixote somewhat aback, and struck terror into the heart of 
 Sancho ; but the next instant Don Quixote was glad of it, believing 
 that some new perilous adventure was presenting itself to him, and 
 under this impression, and with a spirit prepared to face any dan- 
 ger, he planted himself in front of the cart, and, in a loud and 
 menacing tone, exclaimed, "Carter or coachman, or devil, or what- 
 ever thou art, tell me at once who thou art, whither thou art going, 
 and who these folk are thou earnest in thy waggon, which looks 
 more like Charon's boat than an ordinary cart." To which the 
 devil, stopping the cart, answered quietly, "Senor, we are players 
 of Angulo el Malo's company [a theatrical manager and dramatist 
 who flourished about 1580] ; we have been acting the auto of 'The 
 Cortes of Death' this morning, which is the octave of Corpus 
 Christi, in a village behind that hill, and we have to act it this 
 afternoon in that village which you can see from this; and as it is 
 so near, and to save the trouble of undressing and dressing again, 
 we go in the costumes in which we perform. That lad there ap- 
 pears as Death, that other as an angel, that woman, the manager's 
 
 1 Don Quixote, Part II, chap. xi. 
 
MISERABILE VULGUS 
 
 p-c 3 
 
 wife, plays the queen, this one the soldier, that the emperor, and I 
 the devil ; and I am one of tile principal characters of the auto, for 
 in this company I take the leading parts. If you want to know 
 anything more about us, ask n\e, and I will answer with the utmost 
 exactitude, for, as I am a devilAI am up to everything." Belonging 
 to this company also was "a mWry-andrew, in a mummer's dress 
 with a great number of bells, \nd armed with three blown ox- 
 bladders at the end of a stick." 
 
 The above-mentioned Cortes Me la Muerte was probably 
 the auto which, begun by Migilel de Carvajal and finished 
 by Luis Hurtado de ToledoV was published in 1557, 
 and represented in Seville in V570 and again in 1571. 1 
 
 As in the performance of qpmedias, there was also, 
 even on such solemn occasions! as the representation of 
 autos sacrament ales at Corpus IChristi, much noise and 
 disorder among the motley crowds that thronged the 
 streets and the public squares to see them. Nor was this 
 disorder confined to the mob (populacho) . Under date 
 of June 16, 1615, we read the following: "In this Council 
 [Madrid] attention being drawn to the disorder which is 
 wont to be created on the stage ( tablado ) erected for the 
 purpose of enabling the wives of the regidores to view the 
 autos at the festival of the Holy Sacrament, the corregi- 
 dor commands that the said s|age or stand be apportioned 
 in the same manner as4ffewindows in the plaza are as- 
 signed for the bull-fights, according to seniority (por su 
 antiguedad) , beginning from the middle of the stage and 
 giving to the four most ancient gentlemen five, feet of 
 stage, and in this manner to continue the apportionment 
 on both sides, . . . making the division by means of 
 wooden frames," etc. 2 
 
 How these processions degenerated into mere mum- 
 mery through the license and abuse of the participants, 
 
 1 Sanchez-Arjona, Anales, p. 44. It has been republished by Don Justo 
 de Sancha in Vol. XXXV of the Biblioteca de Autores Espaholes. 
 ' Nuevos Datos, p. 158. 
 
314 THE SPANISH STAGE 
 
 and how the religious significance and solemnity or the 
 representations was greatly impaired and almost de- 
 stroyed by the boisterous and unruly conduct of the 
 crowd, is shown by an edict of the Bishop of Badajoz in 
 1605. To this decree the city of Badajoz objected, and 
 petitioned the King that the comedias and dances on the 
 day of Corpus should be allowed, as heretofore, "upon 
 a stage erected for that purpose, on which is revealed the 
 Most Holy Sacrament, and that the Corregidor, Bishop, 
 Dean, and Chapter of the said church take part." 
 
 Among other things, the edict of the Bishop 1 pro- 
 hibited the clothing of the image of Our Lady in bor- 
 rowed bridal garments; "(1) that no ruffed collars or 
 other adornments in fashion among women be put on 
 such images, under penalty of excommunication and a 
 fine of 20 ducats. (2) That no one dress himself as a 
 saint or take part as such in any procession or on a car 
 unless he be acting in some devotional auto in which a 
 saint takes part, and then he must have a license to do so ; 
 nor shall he stand at an altar or in any other place, unless 
 in some devotional auto that is being acted, for besides 
 the great indecency of such an action, we have seen and 
 know that for the said representations beautiful girls are 
 sought, who, as they are generally poor and are seen 
 
 1 The Bishop's edict contains the following prohibitions: 
 
 (1) "Que se vistan las imageries de Nuestra Senora con prestados que 
 llevan puestos para los casamientos las desposadas, que no se le pongan 
 lechuguillos ni otros adornos de moda entre las mugeres, so pena de ex- 
 comunion mayor, 20 ducados para la guerra contra infieles y perdida de 
 los tales vestidos." 
 
 (2) Que ninguno se vista de santo y a'sista vestido de tal, "en procesion 
 alguna ni en carro si no fuere habiendo de representar algun auto de 
 deuocion en que intervenga algun santo, y esto con licencia de nuestro 
 provisor dada en escrito, mas que de ninguna manera no puedan estar en 
 altares ni en otros puestos no habiendo auto en que se hable y represente 
 algo de devocion, porque fuera de la grande indecencia que esto tiene, 
 avemos visto y sabido que se andan buscando muchachas hermosas y de 
 buenos pareceres para las dichas representaciones, las quales, como ordina- 
 riamente son pobres, y son vistas de todo el pueblo, somos informado de 
 las ofensas a Dios y pecados que resultan dello." 
 
THE BISHOP OF BADAJOZ 315 
 
 by all the people, we are informed that offenses to God 
 and sins result therefrom. (3) That no cars in these pro- 
 cessions be drawn by oxen, mules, or horses, on account of 
 the shouts of the drivers and the disorder resulting from 
 the confusion of the cars with the saints who are carried 
 on litters, and the disputes which arise, as in the past year, 
 when swords were drawn and blows were exchanged, pro- 
 ducing great scandal; wherefore the said cars may be 
 brought out and the representations made to the people 
 either before or after the procession. (4) That no pro- 
 fane comedia be performed at the festival of Corpus 
 Christi, but only devout autos, without profane entre- 
 meses, nor any other thing that may divert the people 
 from the devotion and adoration of the Holy Sacrament 
 or from the reverence which is due to the presence of so 
 great a Lord [the Host], or which may incite the people 
 to laughter, shouts, or any other unseemly actions which 
 are repugnant to representations of this kind." 
 
 Down to the year 1635 these Corpus processions in 
 Seville had always taken place in the morning, but in this 
 year they were changed to the afternoon, and the autos 
 were represented on the cars in the morning, after high 
 mass. 1 
 
 We have, in a previous chapter, referred to the objec- 
 
 (3) "Que no se saquen para esta procesion carros con bueyes, mulas o 
 caballos, por los gritos que dan los carreteros y por el desorden que hay 
 en ello por estar a veces confundidos los carros con los santos que van en 
 andas y promoverse questiones como la del ano anterior en que se sacaron 
 las espadas y andaron a cuchilladas, promoviendo un fuerte escandalo; 
 por lo qual podrian salir dichos carros y hacer las representaciones al 
 pueblo antes o despues de la procesion." 
 
 (4) "Que en las fiestas del Corpus Christi no se haga comedia ninguna 
 profana sino algunos autos devotos sin mezcla de entremeses profanos ni 
 de cosa que no sea para mejor enderezar el pueblo a devocion y adorar al 
 Santisimo Sacramento, e conforme a la reuerencia que se debe en presencia 
 de tan gran Senor e no para mover el pueblo a risa y hacer otras descom- 
 posiciones, gritos, ruidos y alborotos indebidos con semej antes representa- 
 ciones." Todo esto so pena de excomunion mayor, 20 ducados para la 
 cera del Santisimo. (Ibid., pp. 103, 104.) 
 
 1 Sanchez-Arjona, Anales, p. 353. 
 
316 THE SPANISH STAGE 
 
 tions and protests of the historian Padre Juan de Mariana 
 to the manner in which the autos sacramentales were 
 represented, and to these the testimony of many other 
 writers might be added. In 1600 Fray Jose de Jesus 
 Mariana, a barefoot Carmelite of Madrid, 1 objects not 
 only, as we have seen, 2 to "vile and infamous men," as he 
 calls them, representing the autos sacramentales, but pro- 
 tests earnestly against the introduction of worldly and ir- 
 reverent entremeses into such sacred representations. He 
 says that these actors, "accustomed to their evil manner of 
 living, frequently do and say things before the Holy Sac- 
 rament which are wholly foreign to the name of Christian 
 and worthy of severe punishment. And even if it were 
 tolerable that persons so infamous should represent such 
 lofty mysteries, what have holy festivals to do with en- 
 tremeses treating of robberies and adulteries, which are 
 ordinarily mingled with the autos sacramentales? If this 
 is justly intolerable in profane comedias, how can it be 
 endured in those which treat of sacred subjects? It is 
 this admixture, in Spain, of the sacred and profane, which 
 offends all foreigners and all good and pious natives." 
 
 Despite these protests, of which we might cite many 
 more from the work of Sr. Cotarelo, autos sacramentales 
 continued to be represented in the public squares and 
 theaters of the principal cities until 1765. On June 10 
 of that year a royal decree was issued declaring that the 
 theaters were not proper places and the comedians were 
 unfit and unworthy persons to represent the sacred mys- 
 teries of which the autos sacramentales treat, and that 
 the King has therefore determined to prohibit absolutely 
 all representations of autos sacramentales and to renew 
 the prohibition of comedias de santos? Thus there 
 passed from the popular stage a kind of religious drama 
 
 1 In his Primera Parte de las Excelencias de la Virtud de la Castidad, 
 Alcala, 1601, chap, xvii; see Cotarelo y Mori, Conlroversias, p. 377. 
 
 2 Above, p. 262. 3 Controversias, p. 657. 
 
AUTOS IN THE THEATERS 317 
 
 that was peculiar to Spain and which, in the hands of 
 some of its dramatists, notably Calderon, had reached 
 the highest point of beauty and perfection. 
 
 We have already 1 alluded to the fact that autos sacra- 
 mentales were not only represented in the public squares, 
 but also in the theaters of Madrid as early as 1601. 
 Under what conditions these autos in the theaters took 
 place, we do not know. That an admission fee was 
 paid, however, in this event, is certain. It appears 
 that originally the autos were represented on only two 
 days: Corpus Christi day and the next day (Friday). 
 In 1574 Jeronimo Velazquez stipulated to represent three 
 autos "only on Corpus day and afterward wherever he 
 may be commanded." 2 But all the representations were 
 confined to these two days. So in 1594 the representa- 
 tions were to be on Corpus and the day following, 3 and 
 in 1599, when Gaspar de Porres presented the autos, 
 they were to be performed only on Corpus day and on the 
 following day, and it was expressly agreed that the carros 
 were to be returned on Saturday. 4 In 1600, when Mel- 
 chor de Villalba and Gabriel de la Torre represented the 
 autos at Madrid, they received for two autos each 650 
 ducats, to be represented on Thursday and Friday, 6 
 and in 1609, when the autos in Madrid were in charge 
 of Alonso de Heredia and Domingo Balbin, each was 
 to represent two autos on Thursday and Friday for 
 600 ducats, and if the court should be in Madrid on 
 Saturday they were to receive a gratuity for the rep- 
 resentations on that day. 6 This latter stipulation occurs 
 constantly in the succeeding years down to 1638. 7 In 
 1 61 2 Juan de Morales Medrano and Tomas Fernandez 
 de Cabredo represented the autos, and "because they had 
 
 1 P. zso. 
 
 2 Nuevos Dalos, p. 334. 
 
 5 Ibid., p. 38. 4 Ibid., p. 49. = Ibid., p. 52. 
 
 'Ibid., p. 112. See also above, p. 200. 
 
 7 Nuevos Datos, pp. 132, 134, 156, 160, 161, 166, 188, 206, 224. 
 
3i 8 THE SPANISH STAGE 
 
 given more representations than they were obliged to 
 give (Morales five and Cabredo seven) on Saturday, 
 besides those on Thursday and Friday," the former re- 
 ceived 700 and the latter 800 reals extra. 1 
 
 In 1639 the autos were represented in Madrid in the 
 following order : On Thursday afternoon ( Corpus day) all 
 four autos were to be given in the presence of the King be- 
 fore the royal palace at such an hour as the King should 
 fix; then the four autos were to be performed before the 
 Princess of Carignan, wife of Prince Thomas, in front of 
 the monastery of the Incarnation. On Friday before 
 the "casas del Ayuntamiento" in the Plazuela de San 
 Salvador, then two autos before the Council of Aragon 
 and two before the Council of Italy. On Saturday be- 
 fore the "Consejos de Inquisicion y Cruzada," and in the 
 afternoon to the Villa de Madrid, before the "casas del 
 Ayuntamiento," etc., and on Sunday, in the afternoon, 
 before the Archbishop of Granada, etc. 2 
 
 In 1649 there is specific information of the representa- 
 tion of autos in the public theaters. In that year "Diego 
 Osorio began to represent the auto sacramental which 
 fell to the lot of his company in the Corral del Principe, 
 on Wednesday, June 23, and he gave twelve repre- 
 sentations in the theater until July 4. The said Osorio 
 ceased to perform in the said Corral del Principe, and 
 Antonio de Prado entered it and began on Saturday, 
 July 10, giving fifteen representations of the auto sacra- 
 mental which he was to give, until July 25, for on July 
 24 there was no representation. Osorio did not [again] 
 represent until July 16, when he began in the Corral de la 
 Cruz, where he gave thirteen representations until July 
 30. On August 5 Prado began to represent the auto La 
 Vacante in the Principe, where he gave nine representa- 
 tions of the said auto until August 13, and then rested 
 
 1 Nuevos Da/os, p. 130. 
 
 'Perez Pastor, Calderon Documentos, Vol. I, p. 119. 
 
EXPENSE OF AUTOS 319 
 
 until the 24th, when he began in the said corral the auto 
 La Magdalena, of which he alone gave in this corral 
 fifteen representations until September 8, so that there 
 were twenty-four representations of the said two autos in 
 the said corral. Between September 14 and September 
 29 Prado gave ten representations. From October 3 to 
 October 16 he alone represented and then ceased. On 
 August 6 Osorio began in La Cruz and gave two repre- 
 sentations to August 10. On September 20 he again 
 represented in the Corral del Principe and gave seven 
 representations. From October 16 to November 1 Osorio 
 gave twelve representations." l 
 
 Whether the autos were afterward conducted on the 
 scale of magnificence which they attained in 1649, or 
 whether they were represented for as long a period as 
 they were given in the theaters in this year, we have no 
 means of determining. The Dutch traveler Francis van 
 Aerssen, who visited Spain in 1655, te ^ s us tnat when 
 
 'Perez Pastor, Calderon Documentos, Vol. I, pp. 166, 167. It is inter- 
 esting to add a list of the expenses incurred for the autos at Madrid in 
 this year, 1649, showing the enormous costs which these entertainments, 
 fostered by the idle and show-loving Philip IV, brought upon his exhausted 
 country. 
 
 Fiesta del Santisimo Sacramento. Ano 1649. 
 
 Gastos : 
 
 A los autores por las representaciones 710,600 mrs. 
 
 Al que compone los autos 112,200 
 
 Al cerero *>44>47° 
 
 A Juan de Caramanchel para hacer los carros 319,600 
 
 A Gaspar Flores y compania por las danzas 421,600 
 
 A Adrian Lopez por el lienzo de los toldos 366,656 
 
 Por traer la Tarasca 27,200 
 
 Hermanos de la Dotrina 112,200 
 
 La musica 76,296 
 
 Por llevar los carros y aderezos para ellos 14,012 
 
 Al mayordomo de propios para gastos menudos i7>76o 
 
 Al obrero para unos palos 21,760 
 
 . Al dicho para coser los toldos y hacerlos 105,944 
 
 A Juan Blanco por el tablado de la plaza 127,500 " 
 
 Tablado de Palacio 51,000 " 
 
 Carried forward 3,128,798 mrs. 
 
320 THE SPANISH STAGE 
 
 the autos were represented the theaters were closed 
 for a month. The money derived from the entrance 
 fees to the theaters during these representations may 
 have helped to defray the expenses of these festivals; 
 it was undoubtedly a source of profit for the autores 
 who represented the autos, for the sum of 950 ducats, 
 which they received, could only have compensated them 
 for the free representations on the first three days of the 
 Corpus festival. 
 
 These festivals were a very considerable financial help 
 to Calderon. Acknowledged as the foremost religious 
 poet of Spain, his services were in great demand on 
 these occasions, and he received a much larger hono- 
 rarium for his autos sacramentales than any other poet 
 had yet obtained. In 1639 he wrote for the Corpus 
 celebration of that year two autos: Santa Maria 
 Egipciaca and El mejor Huesped de Espana, and 
 in 1640 Los Misterios de la Misa and El Juicio final. 
 In 1645 ne wrote the four autos for the festival, re-. 
 
 Brought forward 3,128,798 rars. 
 
 A Francisco de Mena, por la escalera que se hace en casa 
 
 del Marques de Cafiete 22,200 " 
 
 Por poner los toldos 95,2°° " 
 
 De colgar el tablado 34,000 " 
 
 Atajos 11,050 " 
 
 A los escuderos de a pie 11,220 " 
 
 Traer los Gigantes 37,944 " 
 
 Puntas y valonas para los Gigantes 14.416 " 
 
 Atajo priraero de Santa Maria 6,800 " 
 
 Ministriles 5i58o " 
 
 Alguaciles 13,056 " 
 
 Limpiar la custodia 17,000 " 
 
 A los porteros que se ocupan 9,5*° " 
 
 Al alguacil mayor 6,800 " 
 
 Al cura de Santa Maria 3,400 " 
 
 Tablados para representar a el pueblo 6,732 " 
 
 Propina a los senores del Consejo y a la Villa 710,100 " 
 
 Total 4,133,816 mrs. 
 
 From this it will be seen that Calderon, who wrote the four aulas for the 
 festival of this year, received 112,200 maravedis = 300 ducats, and the 
 autores de comedias each 950 ducats. 
 
AUTOS BY CALDERON 321 
 
 ceiving 3300 reals vellon (copper), which sum was also 
 paid him in the years 1648 to 1653, while in 1654 to 
 1656 he received 4000 reals. 1 During this time and, I 
 believe, thereafter until his death, he alone was honored 
 with the privilege of writing the autos for the Madrid 
 festival. But besides the 3300 reals vellon which Calde- 
 ron received from the city for the autos, a document of 
 1652 shows that each of the two autores de comedias who 
 represented them was obliged to pay him 700 reals, i.e., 
 he then received 4700 reals. 2 In 1654-56 he was paid 
 4000 reals vellon, 3 while from 1657 to 1665 he received 
 4400 reals, i.e., 3000 from the city and 1400 from the 
 autores. In the latter year the sum paid him was 5800 
 reals, and this sum he continued to receive until 1680, the 
 year before his death, when 5500 reals were paid him for 
 two autos.* It appears that as early as 1658, 5 and per- 
 haps in the previous year, only two autos sacramentales 
 were represented each year at Madrid, and this was the 
 rule thereafter until the death of Calderon. Four autos 
 were also represented annually in Seville down to the year 
 1648, when only two were given, and the same number 
 thereafter. 6 Calderon continued to write the autos for 
 the Madrid festival until 1681, the year of his death, 
 when he left an auto unfinished, which was completed by 
 Don Manuel de Leon Marchante. 7 
 
 1 Perez Pastor, Calderon Documentos, Vol. I, pp. 120, 122, 127, 163, 168, 
 187, 196, 206, 224, 240. 
 'Ibid., pp. 196, 333, 337. 'Ibid., pp. 224, 238, 240. 
 
 'Ibid., pp. 249, 315, 336 et passim. 'Ibid., p. 257. 
 
 * Sanchez-Arjona, Anales, p. 449. 
 7 See above, p. 295. 
 
CHAPTER XV 
 
 Contemporary accounts of the representation of comedias and 
 autos. Francis van Aerssen. The Comtesse d'Aulnoy. The 
 behavior of audiences. Scenes in the theaters. Spanish players 
 abroad. Conclusion. 
 
 The accounts of persons who were eye-witnesses of the 
 representation of a comedia at a time when some of the 
 great dramatists were still living and when several of 
 the greatest among them had not long since passed away, 
 always possess an exceeding interest. When these ac- 
 counts are due to the pen of a foreigner, some allowance 
 must necessarily be made, not only for national prejudice, 
 which is apt to warp his judgment somewhat, but also for 
 a more or less imperfect knowledge of the language. 
 Nevertheless, they furnish us with a living picture of the 
 scene as it passed before the eyes of the spectator, and 
 herein they possess the definite value of contemporary 
 documents. With their aid it requires no very great flight 
 of the imagination to picture ourselves in one of the co- 
 rrales of Madrid, in the very place and atmosphere in 
 which these immortal productions of the great masters of 
 the Spanish drama were enacted, and to view them once 
 more, through the long vista of nearly three hundred 
 years. The very realistic description of the interior of the 
 Corral de la Olivera in Valencia, given in the comedia La 
 Baltasara, has already been alluded to in a previous chap- 
 ter. The other accounts which we possess belong, with two 
 exceptions, to the middle of the seventeenth century or 
 somewhat later. It may not be without interest, however, to 
 
 322 
 
"THE WHEEL OF FORTUNE" 323 
 
 give the earliest of these contemporary notices, slight as it 
 is. The simple narrative is taken from a MS. formerly in 
 the possession of Don Pascual de Gayangos — a name 
 ever to be recorded with gratitude in the annals of Span- 
 ish literature. This manuscript, written by a Morisco 
 of the time of Philip the Third, contains all sorts of moral 
 observations mingled with other matters and descriptions 
 of passing events, among them an account of a representa- 
 tion of Mira de Mescua's comedia La Rueda de la For- 
 tuna, which our author had witnessed. We do not know 
 when Mescua's play was written, but Lope de Vega, in 
 a letter to a friend, mentions that it was acted in Toledo 
 by the company of Juan de Morales before August, 
 1604. 1 
 The Morisco's account is as follows : 
 
 I passed through the door of a house which I saw many people 
 entering — men as well as women. Having gone in, I saw a large 
 patio, where, upon chairs and benches, men and women were sit- 
 ting; in a gallery sat the women of the common people, and there 
 were, besides, a number of balconies occupied by the distinguished 
 persons with their wives. In the patio a stage was erected, upon 
 which all eyes were fixed, and when the house was full, I saw two 
 ladies (damas) and two gallants (galanes) come out upon the stage 
 with their vihuelas, who sang these decimas: 
 
 "Quien se bio en prosperidad 
 Y se be en misero estado 
 Considere ques prestado 
 El bien y la adbersidad," etc. 
 
 Having finished singing, they retired, and an actor entered, clad 
 in a garment of damask, and recited the loa. After he had finished 
 and had withdrawn, other players entered to represent "The Wheel 
 
 "See the writer's Life of Lope de Vega, pp. 153, 154. As now printed 
 the loa shows that the comedia was also acted by the company of 
 Riquelme. (Dramaticos contemporaneos de Lope de Vega, Tomo II, Bibl. 
 de Aut. Esp.) 
 
324 THE SPANISH STAGE 
 
 of Fortune," which sets forth the various conditions of the world, 
 and how they are subject to change, etc. 
 
 A detailed description of the comedia follows. 1 
 
 Among the narratives of travelers in Spain who have 
 left any account of theatrical representations, one of the 
 most interesting is that of a Dutchman, Francis van Aers- 
 sen, who visited Spain in 1654-55, though his account 2 
 was not published till eleven years afterward. In 1670 
 an English translation of this work appeared in London, 
 entitled A Journey into Spain, though it is nowhere indi- 
 cated that this little book is a translation. 3 I shall quote 
 from this English version : 
 
 On one side of the Town [Madrid] is the Prado, a large Walk 
 made use of for the Tour; near it is a great Fabrick, but low, called 
 Buen Retiro. The Duke of Olivares, during his administration, 
 spent many Millions on a Structure that is not very considerable: 
 I saw but part of it, where a Comedy was preparing with Scenes, 
 that would amount to a great expence ; a Florentine was the Under- 
 taker. For ordinary Comedies here are two Theaters, where they 
 act every day. The Players have to themselves not above three half 
 pence for every person, the Hospital as much, and as much the 
 Town-house; [the French original says: and for a seat on the 
 benches one pays besides about two sous, which are for the city, to 
 which the theaters belong] ; to set down costs seven pence, the 
 whole amounting to fifteen pence. I can say litde to the Lines or 
 Plots, not being skilful enough in the language to understand 
 
 1 Schack, Nachtrage, p. 57. 
 
 1 Voyage d'Espagne, Contenant entre plusieurs particularitez de ce 
 Royaume, trois Discours Politique!, etc., avec une Relation de I'Estat fif 
 Gouvernement de cette Monarchic ; & une Relation particuliere de 
 Madrid. A Cologne, chez Pierre Marteau, 1666. The real author of this 
 work, according to R. Foulche-Delbosc, was Antoine de Brunei. (See 
 Revue Hispanique, Vol. Ill, p. 65.) 
 
 'A Journey into Spain. (Here follows a quotation from Seneca, de Vita 
 beata.) London. Printed for Henry Herringman, and are to be sold at 
 the Sign of the Blew Anchor in the Lower Walk of the Ne<w Exchange, 
 1670. 6 + 247 pp. 
 
FRANCIS VAN AERSSEN 325 
 
 Poetry, nor the figurative fashion of speaking that belongs to it : but 
 know they play their parts ill, few or none having either the meen 
 or genius of true Actors. [They do not play by the light of torches, 
 but] They present by day-light, so that their Scenes appear not 
 with advantage. Their Clothes are neither rich, nor appropriated 
 to their Subject; and the Spanish habit serves where the Scene is 
 Greece or Rome. The Playes I have seen have but three Acts, 
 called Jornadas. They usually begin by a Prologue in Musick, but 
 sing so ill, that their harmony resembles little Childrens whinings. 
 Between the Acts there is some little Farce, Dance, or Intrigue, 
 the most diverting of the whole Piece. The People are* so taken 
 with them it is hard to get a place, the best being bespoken, and the 
 excessive idleness of this Country is made evident in that in Paris 
 it self, though there are not Playes every day, there is no such 
 crowding to them. 1 
 
 The Dutch traveler's description of the Corpus Christ! 
 procession and the autos is as follows : 
 
 As the publick sports, the Moors introduced in Spain, whilst they 
 possessed it, continue after their exile ; the Church also retains some- 
 thing of their superstition, especially on Corpus Christi day. The 
 Twenty seventh of May we saw all its Ceremonies, which are- 
 many, and last long; they begin by a procession, whose first ranks 
 are intermixed with several Hoboies, Tabors, and Castanettas; a 
 great many habited in party coloured clothes, skip and dance as 
 extravagantly as at a Morrice. The King goes to St Maries 
 Church not far from his Palace, and after Mass, returns with a 
 Torch in his hand, following a silver Tabernacle, in which is the 
 Holy Wafer, attended by the Grandes of Spain, and his several 
 Councils. This day to avoid dispute, they observe not order, so 
 that the Counsellors de la Hazienda, joyn with those of the Indies; 
 before these Counsellors and certain other persons, move Machines, 
 representing Giants; these are Statues of Pasboard carried by men 
 concealed under them: they are of several shapes, some very 
 hideous,; all of them represent Femals, except the first, which is 
 only the Figure of a great head painted, within which is concealed 
 
 1 A Journey into Spain, pp. 19-21 ; Voyage d'Espagne, pp. 29, 30. 
 
326 THE SPANISH STAGE 
 
 a little man that gives it meen and motion : it being a Colossus over 
 the body of a Pigmie. Amongst these chimerical Monsters, there 
 is one which represents two Giantesses, Moors, or Aethiopians, 
 such having really been if we may beleeve the vulgar, who call them 
 Hijos de Vecinos, that is, neighbors children. The people are so- 
 taken with these Gothick figures, that there is scarce any Village 
 without them. They report the Giantesses to have lived in the 
 time of King Mammelin, and on that account sometimes call them 
 Mammelins, after the name of that Gothick or Moorish King who 
 once Reigned in Spain. I was told of another terrible Pageant 
 (machine epouvantable qui roule ce jour la) which they call 
 Tarasca, from a wood that was formerly in Province, where at 
 present stands the City of Tarascon on the banks of Rosne, over 
 against Beaucaire. They fancy that in this place was once a Ser- 
 pent (no less enemy of Mankind, then that which seduced our first 
 Ancestors in Paradise) called Behemoth, and report that St Martha 
 by oraisons triumphed over it, leading it prisoner in her apron 
 strings. Be this History or Fable, the Tarasca is a Serpent of enor- 
 mous greatness in form of a Woman, moving on wheels, the body 
 covered with scales, a vast belly, long tail, short feet, sharp talons, 
 fiery eyes, gaping mouth, out of which extend three tongues, and 
 long tusks. This Bulbegger stalks up and down and they which are. 
 under the pastboard and paper, of which it is composed, by certain 
 Springs, cause it to move so dexterously, that it puts off the Hat to 
 the Sots that stare at it, and sometimes lays hold on Countrey fel- 
 lows, whose fright moves laughter amongst the people. Such as- 
 please themselves in telling wonders of this foppery, relate that a 
 certain Town having sent to some of its neighbors six of these paper 
 Giants, two Pigmies and the Tarasca to be made use of on Corpus 
 Christi day, they which give them their motion being entered, to 
 divert themselves in the passage, caused them to dance as at pro- 
 cessions by couples : they were met by certain Muliters or Carriers, 
 who (Moonshine discovering at a distance, these imaginary Mon- 
 sters,) marching with a great deal of prattle and loud laughter, 
 (for their merrier passing two or three Leagues) not recollecting" 
 what was to be done the day after, were so affrighted, that the ter- 
 ror still augmenting, by their contemplating those fantasiries, they 
 at last run away with all their might. The conductors of the 
 Monsters perceiving this, casting off their Vizards, went out of the- 
 
THE FESTIVAL OF CORPUS CHRISTI 327 
 
 Machines to disabuse them, running after them to cause them to 
 come back to their Mules and charges; this increased their aston- 
 ishment, and hastened their pace, which aided by the wings of fear, 
 soon transported them cross the fields to a village, which they 
 allarmed to free the Countrey of highway men, so hideous, they 
 could be little less then Devils : the other in the mean time slipping 
 their cases, and perceiving themselves masters of the spoils, the 
 muletiers had abandoned, began to visit the baggage, and finding 
 Wine, drank so much they fell fast asleep till morning. The 
 Muletiers after their raising the Village, and bringing the Justice 
 to the place, perceived their mistake, and the Countrey fellows 
 laughing heartily at them, drank the remainder of the Wine in 
 recompence of their trouble. The Village of the solemnity, a great 
 while waited for those grim Puppets, which came too late, and by 
 their excuse and relation of what had happened, disordered the 
 whole procession, changing it into a Ring of such as abandoned 
 the Cross and Banner, to hearken to their story. The pleasantest 
 posture of these Mammelinas that I saw was, when they made their 
 salutes before the Queens Balcony, besides some feats of activity by 
 address of those that danced them. The King passing by it, salutes 
 the Queen with a smile, and the Queen and Infanta rise a little 
 before he comes at them, to return his compliment. The Procession 
 having filed to the Piazza, returns by the High street or Calle 
 Mayor, adorned by many Tapestries waving on the Balconies, 
 filled with men and women of all conditions : the crowd is so great 
 one cannot pass without difficulty, and we had much ado to return 
 to St Maries Church where the procession ended. As soon as free 
 from it we went to the Palace, and there saw the King, Queen, and 
 Infanta, return with all the Court Ladies. I think I have men- 
 tioned all that is worth notice, unless it be that as on this day all 
 the men put on Summer cloaths, so do all the Ladies, and those new 
 and very rich, of several fashions and colours. In the afternoon 
 about five a clock, Autos are represented: these are ghostly Come- 
 dies (Comedies spirituelles) , with interludes, very ridiculous to 
 give rellish to what is serious and tedious in the pieces themselves. 
 The two companies of Players that belong to Madrid at this 
 time, shut their theatres, and for a month represent these Holy 
 Poems: this they do every evening in publick on Scaffolds erected 
 to that purpose in the streets before the houses of the Presidents of 
 
328 THE SPANISH STAGE 
 
 several Councils. They begin at Court the day of the Solemnity, 
 when a seat under a State is provided for their Majesties: the Stage 
 is at the foot of these Scaffolds, and [because the players act with 
 their backs turned toward the crowd, which is in the square] little 
 painted Booths are rowled to it, environ it [the stage] and serve 
 as tiring houses [where they dress, from which they enter upon the 
 stage and to which they retire at the end of each scene]. This is 
 continued certain days, every President having one [day] and a 
 Stage and Scaffold erected before his house. Before these Autos 
 begin, all the foppery of the Procession dances, and the Gigantine 
 Machines make the people sport ; but what I most admired in that 
 which I saw at a distance in the old Prado, is, that in the streets 
 and open air they use Torches to those pieces, which in the daily 
 Theaters, and within doors, they represent without other light then 
 that of the Sun: all these antick ceremonies appeared much more 
 ridiculous to those that beheld them, then they can possibly do in 
 my describing them, and confirm me in what I often observed, that 
 the Spaniards, and other wise and grave nations seem fondest in 
 their diversions, as Misers at their feasts sometimes become most 
 prodigal. 1 
 
 In a little work entitled Relation de I'Estat cif Gou- 
 vernement d'Espagne, printed at Cologne in 1666, and 
 generally bound in the above-mentioned Voyage d'Es- 
 pagne, the author, Francois Bertaut, 2 who accompanied 
 the Marechal de Gramont to Spain in 1659, gives a de- 
 scription of the Madrid theaters, which I here copy : 
 
 Concerning the Comedia, there are troupes of players in nearly 
 all the towns, and they are better, in comparison, than our own, 
 but there are none in the pay of the King. They represent in a 
 court-yard, where a number of private houses join together, so 
 that the windows of the rooms, which they call rexas, because the 
 most of them are provided with iron gratings, do not belong to 
 them [the players] but to the owners of the houses. They repre- 
 
 1 A Journey into Spain, pp. 83-88; Voyage d'Espagne, pp. 1 18-124. 
 2 See the excellent Bibliography of works of Travel in Spain by R. 
 Foulche-Delbosc, in the Revue Hispanique, Vol. Ill, pp. 65, 69. 
 
MADAME DE MOTTEVILLE 329 
 
 sent by day and without torches, and their theaters (except in the 
 Buen Retiro, where there are three or four distinct salons) have 
 not such fine decorations as ours, but they have an amphitheater and 
 a parterre. There are two places or Salles in Madrid, which they 
 call Corrales, and which are always filled with merchants and 
 artisans, who leave their shops and repair thither with cloak, sword, 
 and poniard, and who all call themselves Cavalleros, even down to 
 the cobblers, and it is these who decide whether the comedia is good 
 or not. And because they now hiss and now applaud the play and 
 are drawn up on both sides in ranks, and as this is a sort of salvo, 
 they are called Mosqueteros. It is on these that the fortune of the 
 author depends. . . . Some of the spectators have seats close to the 
 stage, which places they preserve from father to son like an entailed 
 estate (mayorazgo) , which cannot be sold or pledged, so great a 
 passion have they for the theater. The women all sit together in a 
 gallery at one end [of the theater], which the men are not allowed 
 to enter. 1 
 
 The Memoirs de Madame de Motteville (Francoise 
 Bertaut) contain a letter written to her from Madrid, on 
 October 21, 1659, by her brother, Frangois Bertaut, 
 who, as already noted, accompanied the Marechal de 
 Gramont on his mission to Spain in reference to the 
 Peace of the Pyrenees and the marriage of Louis the 
 Fourteenth to the Infanta Maria Teresa, daughter of 
 Philip the Fourth of Spain. In this letter Bertaut gives a 
 brief account of a play which he saw performed before the 
 royal family at the Buen Retiro : 
 
 The best thing of all and the most interesting, I reserve for the 
 last ; it was the comedia which was acted at the palace by the light 
 of six large torches of white wax, contained in huge silver candle- 
 sticks. On the two sides of the room were two alcoves, closed by 
 a curtain. In one of them were the Infantas and other persons of 
 the palace, while in the other one opposite was the Marechal. 
 Along the two sides were only two long benches covered with 
 Persian carpets. The ladies, to the number of ten or twelve, took 
 
 1 Relation de I'Estat & Gouvernement d'Espagne, pp, 59, 60. 
 
33Q THE SPANISH STAGE 
 
 seats upon these carpets on both sides, their backs leaning against 
 the bench. Behind them, on the side where the Infanta sat, but 
 further on, toward where the players were, and almost behind 
 them, some gentlemen were standing, and a grandee was on the 
 side where the Marechal sat. The rest of us Frenchmen stood 
 behind the benches against which the ladies were leaning. The 
 King, Queen, and Infanta entered after one of the ladies who bore 
 a torch. As the King entered he took off his hat to all these ladies 
 and then took a seat in front of a screen, the Queen on his left and 
 the Infanta on the left of the Queen. During the whole comedy, 
 save a single word which he spoke to the Queen, the King moved 
 neither foot, hand, nor head, only casting his eyes about once in a 
 while, nobody being near him except a dwarf. When the comedy 
 was over, all the ladies arose and left their places one by one, assem- 
 bling in the middle of the room like canons leaving their seats after 
 a service, and joining hands they made their reverences, which 
 lasted for some minutes ; then they went out one after another, while 
 the King was still uncovered. Finally he arose and made a mod- 
 erate bow (une reverence raisonnable) to the Queen, the latter 
 bowed to the Infanta, and taking one another by the hand, as it 
 seemed to me, they went out. 1 
 
 In 1679 the Comtesse d'Aulnoy journeyed through 
 Spain, and in her second letter, dated at San Sebastian. 
 
 writes : 
 
 After I had rested somewhat from the fatigue of the journey, it 
 was proposed that we go to the comedia. . . . When I entered the 
 theater there was a cry of mira! mira! i.e., look! look! The decora- 
 tions of the theater were not brilliant. The stage was raised, rest- 
 ing upon barrels, over which were boards, ill arranged. The 
 windows were all open, for they do not use torches, and you can im- 
 
 l Memoirs, etc., Maestricht, 1782, Vol. V, pp. 360, 361. The Infanta was 
 Dona Maria Teresa, the bride of Louis XIV., and the comedia, from the 
 fact that the galan was an Archbishop of Toledo, was probably, according 
 to Pellicer (Vol. I, p. 192), La Conquisla de Oran, which he ascribes to 
 Lope de Vega. Doubtless this is the comedia by Luis Velez de Guevara, 
 La Conquista de Oran, 6 El Gran Cardenal de Espana Fray Francisco 
 Jimenez de Cisneros, published in Comedias Escogidas, Part XXXV, 
 Madrid, 1671. When the Prince of Wales, afterward Charles L, "under- 
 took his romantic wooing journey" to Spain with Buckingham, the con- 
 temporary account of the royal entry into Madrid, on March 23, 1623, 
 informs us that: "in the streets of the passage divers representations were 
 
MADAME D'AULNOY 331 
 
 agine how much this detracts from the spectacle. They represented 
 the "Life of St. Anthony," and when the players said anything 
 which pleased the audience, everybody cried out victor! victot I I 
 learned that this was the custom in this country. I noticed that the 
 devil was not dressed differently from the other actors, save that 
 his hose were flame-colored and that he wore a pair of horns, to 
 distinguish him from the rest. The comedia was in three acts, as 
 they all are. At the end of each serious act they played a farce 
 with some pleasantries, in which the gracioso or clown appeared, 
 who, amid a great number of dull jests, occasionally uttered some 
 that were not so bad. These interludes were mingled with dances 
 to the music of harps and guitars. The actresses had castanets and 
 wore little hats. This is the custom when they dance, and when 
 they dance the Zarabanda, it seemed that they did not touch the 
 ground, so lightly did they glide. Their manner is quite different 
 from ours; they move their arms too much, and often pass their 
 hands over their hats and faces with a very pleasing grace, and they 
 play the castanets admirably. 
 
 Moreover, one must not think that these players — because San 
 Sebastian is a small place — are very different from those of Madrid. 
 I have been told that the King's players are somewhat better, for, 
 after all, they, too, play what they call Comedias famosas, that is, 
 the best and most famous comedies, and in truth the greater part 
 of them are quite ridiculous. For example, when St. Anthony said 
 the confiteor, which was quite frequent, everybody kneeled, and 
 each one gave himself such a violent mea culpa that one thought 
 they would crush their breasts. 1 
 
 In her tenth letter, written from Madrid on May 29, 
 1679, Madame d'Aulnoy gives the following description 
 of the opera of Alcina, 2 which she witnessed: 
 
 made of the best comedians, dancers and men of musicke, to give con- 
 tentment to the Royal paire [Charles and Philip IV.] as they passed it." 
 The scene is presented in a rare German print in the Grenville library, 
 which shows the players on a rude platform or stage raised about five 
 feet from the ground, with a curtain at the back and on the sides. (See 
 W. B. Rye, England as seen by Foreigners in the Days of Elizabeth and 
 James I., etc., London, 1865, p. ex. Also Nichols, The Progress of James 
 I., Vol. IV, pp. 824 and 877.) 
 
 1 Relation du Voyage d'Espagne, a La Haye, chez Henry van Bulderen, 
 Tome Premier, 1693, P- 55- 
 
 2 Founded on an episode in the Orlando Furioso. 
 
332 THE SPANISH STAGE 
 
 I never saw such wretched machinery. The gods descended on 
 horseback upon a beam which extended from one end of the stage 
 to the other ; the sun was lighted up by means of a dozen lanterns 
 of oiled paper in each of which was a lamp. When Alcina prac- 
 tised her enchantments and evoked the demons, the latter arose 
 leisurely out of hell upon ladders. The gracioso or clown made 
 countless rude jests. The musicians have rather good voices, but 
 sing too much from the throat. Formerly all sorts of persons were 
 permitted to enter [the Buen Retiro, where the opera of Alcina 
 was presented before the King], although the King was present, 
 but this custom is changed now and only great lords, or at least 
 titled persons or knights of the three military orders, are admitted. 
 The building is certainly very beautiful and handsomely painted and 
 gilded; the boxes are furnished with blinds (grillees de jalousies) 
 like those we have at the Opera, but they reach from top to bottom, 
 so that they seem to form a kind of room. The side on which the 
 King sits is magnificent. Moreover, the finest comedy in the world, 
 I mean of those which they play in the city [i.e., in the public 
 theaters], is often approved or hissed, according to the caprice of 
 some wretch. 
 
 At this time, as already related, 1 the fate of a new come- 
 dia on the Madrid boards generally depended upon the 
 whim of a shoemaker. 
 The writer continues : 
 
 There is a certain place in the theater, a kind of amphitheater, 
 called the cazuela. Hither flock all the women of a mediocre 
 virtue, and all the great lords also repair to it to speak with them. 
 Sometimes so much noise is made there that the thunder cannot be 
 heard. They say so many witty things that one almost dies of 
 laughter, for their vivacity is not restrained by good breeding. 2 
 
 Madame dAulnoy gives a brief account of an auto which 
 she saw represented in Madrid in June, 1679. After de- 
 scribing summarily the procession which always precedes 
 
 1 See above, pp. iai, 122. 
 
 2 Relation du Voyage d'Espagne, La Haye, 1693, Tome III, p. 21. 
 
ALONSO LOPEZ PINCIANO 333 
 
 the auto, she says that the King went to the church of 
 Santa Maria, near the palace, to meet the procession. 
 
 On that day all the ladies put on their summer clothes and ap- 
 pear in all their finery on the balconies, with baskets of flowers and 
 bottles of scented water, which they throw down when the pro- 
 cession passes. . . . When the Holy Sacrament, which had been 
 carried in the procession, is returned to the church, the people repair 
 to their houses to dine and then to attend the auto. . . . These are 
 tragedies upon sacred subjects, the execution of which is very 
 bizarre. They are represented in the yard or in the street of the 
 President of each Council, to whom this is due. The King comes 
 there, and all the persons of quality receive tickets on the previous 
 evening. We were also invited, and I was surprised that they 
 should have lighted an extraordinary number of torches while the 
 sun was shining brightly on the comedians, and made the candles 
 melt like butter. They played the most absurd piece that I have 
 ever seen. Here is the plot of it: The Knights of St. James are 
 assembled, and our Lord comes to beg them to receive him into 
 their order. There are several who are quite willing, but the elders 
 represent to the others the wrong which they would commit by 
 admitting among their number a person of lowly birth, for St. 
 Joseph, his father, was a poor carpenter and the Holy Virgin had 
 worked as a seamstress. Our Lord awaits the decision with much 
 anxiety, and is at length refused, but the Order of Christ is 
 finally instituted for him, and all are satisfied. This is a Portuguese 
 order. . . . These autos last a month. 1 
 
 Of the character of Spanish audiences and of their be- 
 havior, we have already spoken. Alonso Lopez Pinciano 
 gives an amusing account of the scenes enacted among the 
 spectators in the Corral de la Cruz about 1595 or per- 
 haps earlier. With his friends Ugo and Fadrique, the 
 Pincian had gone to see a tragedy of Euripides at the 
 above theater. While waiting for the performance to 
 begin, Fadrique says : "This is by no means a poor pastime, 
 —for here we can enjoy many and various things, observ- 
 
 1 Ibid., p. 55. 
 
334 THE SPANISH STAGE 
 
 ing these people gathered together. One throws a hand- 
 kerchief from above into the patio, and a seller of fruits 
 or confections picks it up, unties the knot in the corner, 
 takes out the coin and, wrapping in it the fruit demanded, 
 tosses it up and perchance it alights in the mouth of some 
 one for whom it was not intended, who involuntarily bites 
 into it— handkerchief and all. Then, to watch the wran- 
 gling over the bancos: this banco is mine; this seat 
 was reserved by my servant, etc., and the arguments pro 
 and contra. To watch some fellow cross the whole thea- 
 ter to reach his seat, and see how they shout at him and 
 twit him. Or to see blows exchanged in the women's 
 gallery in a quarrel over a seat or in a fit of jealousy," x etc. 
 A very animated description of the scenes in a Spanish 
 theater at about the middle of the seventeenth century 
 is given by the dramatist Juan de Zabaleta, in his Dia de 
 Fiesta por la Tarde, Madrid, 1692, p. 236 (the first 
 edition is of Zaragoza, 1666). He says: 
 
 He must dine hurriedly at noon, who intends to go to the 
 comedia in the afternoon. His anxiety to get a good seat hardly 
 permits him to warm the chair at the dinner-table. He reaches the 
 door of the theater, and the first thing he does is to try to enter 
 without paying. The first misfortune of players is to work much 
 and to have but few persons pay. For twenty persons to enter on 
 three quartos would not do much harm if it were not an occasion 
 for many others to do the same. For if only one has not paid, 
 countless others will also refuse to pay. All wish to enjoy the 
 privilege of free admission in order that others may see that they 
 are worthy of it. This they desire with such intense eagerness that 
 they will fight to obtain it, and by fighting they achieve their object. 
 Rarely does a man who has once quarreled to avoid paying ever 
 pay at any subsequent time. A fine reason to quarrel, in order to 
 profit by the sweat of those who labor to entertain one ! And then, 
 because he does not pay, will he be easy to please? On the con- 
 trary, if a player wears a poor costume he insults him or hisses him. 
 
 1 Philosophia Antigua, Madrid, 1596, pp. 529, 530. 
 
JUAN DE ZABALETA 335 
 
 I should like to know how this fellow and those who imitate him 
 can expect a player to wear fine clothes, when they refuse to pay 
 him. . . . Our idler moves on into the theater and approaches the 
 person who assigns the seats and benches, and asks for a place. 1 He 
 is met with the reply that there are none, but that a certain seat 
 which has been engaged has not yet been occupied, and that he 
 should wait until the guitar-players appear, and if it be still vacant, 
 he may then occupy it. Our man argues, but to amuse himself, in the 
 meanwhile, he goes to the dressing-room. There he finds women 
 taking off their street clothes and putting on their theatrical cos- 
 tumes. Some are so far disrobed as though they were about to 
 retire to bed. He takes his place in front of a woman who, having 
 come to the theater on foot, is having her shoes and stockings put 
 on by her maid. This cannot be done without some sacrifice of 
 modesty. The poor actress must suffer this and does not dare to 
 protest, for, as her chief object is to win applause, she is afraid to 
 offend any one. A hiss, no matter how unjust, discredits her, since 
 all believe that the judgment of him who accuses is better than 
 their own. The actress continues to dress, enduring his presence 
 with patience. The most indecorous woman on the stage has some 
 modesty in the green-room, for here her immodesty is a vice, while 
 there it is of her profession. 
 
 The fellow never takes his eyes off her. . . . He approaches the 
 hangings (panos) to see whether the doubtful seat is occupied, and 
 finds it vacant. As it appears that the owner will not come, he 
 goes and takes the seat. Scarcely has he been seated when the 
 owner arrives and defends his claim. The one already seated re- 
 sists, and a quarrel ensues. Did this fellow not come to amuse 
 himself, when he left his home? And what has quarreling to do 
 with amusement ? . . . Finally the quarrel is adjusted, and the one 
 who has paid for the seat yields and takes another place which has 
 been offered him by the peacemakers. The commotion caused by 
 the struggle having subsided, our intruder is also quieted and now 
 turns his eyes to the gallery occupied by the women {cazuela), 
 carefully scrutinizing their faces until he finds one who particularly 
 strikes his fancy, and guardedly makes signs to her. 
 
 The cazuela, my dear sir, is not what you came to see, but the 
 
 "The sura paid at the door (entrada) only entitles the person to admis- 
 sion, not to a seat, for which an extra sum must be paid. 
 
336 THE SPANISH STAGE 
 
 comedia. . . . He is looking round in every direction, when he 
 feels some one pull his cloak from behind. He turns and sees a 
 fruit-seller, who, leaning forward between two men, whispers to 
 him that the woman who is tapping her knee with her fan says that 
 she has much admired the spirit which he has shown in the quarrel 
 and asks him to pay for a dozen oranges for her. The fellow looks 
 again at the cazuela, sees that the woman is the one that caught his 
 fancy before, pays the money for the fruit, and sends word that she 
 may have anything else she pleases. As the fruit-seller leaves, the 
 fellow immediately plans that he will wait for the woman at the 
 exit of the theater, and he begins to think that there is an inter- 
 minable delay in beginning the play. In a loud and peevish manner 
 he signifies his disapproval, exciting the mosqueteros, who are stand- 
 ing below, to break forth with insulting shouts, in order to hasten 
 the players. Why do they do this ? . . . Not one of those who are 
 shouting would run the risk of saying a word to a player in the 
 street. And besides being foolish and cowardly to treat them thus, 
 it is most ungrateful, for of all people actors are those who strive 
 hardest to please. The rehearsals for a comedia are so frequent and 
 so long that it is often a positive torment. And when the time for 
 the first performance arrives, every one of them would willingly 
 give a year's pay to make a good appearance on that day. And 
 when they come upon the stage, what fatigue, what loss would they 
 not willingly undergo to acquit themselves well of their task? If 
 they are to cast themselves from a rock they do it with the fear- 
 lessness of despair, yet their bodies are human, and they feel pain 
 like any other. And if in a comedia a death-struggle is to be repre- 
 sented, the actor to whose lot it falls writhes upon the dirty stage, 
 which is full of projecting nails and splinters, with no more regard 
 for his costume than if it were the coarsest leather, while often it is 
 very costly. . . . And I have seen an actress of great repute (who 
 died only a short while ago) representing a passage where, in a 
 rage, she tears a garment to tatters to heighten the effect of her 
 acting, though the article torn may cost twice as much as the money 
 she receives for the performance. . . . 
 
 But women also go to see the comedia. On feast-days men go to 
 the play after lunching, but women go before. The woman who 
 goes to the comedia on a holiday generally makes it an affair of a 
 whole day. She meets one of her friends, and they take a bite of 
 
AMAZONS IN THE STEWPAN 337 
 
 breakfast, reserving the midday meal for the evening. Then they 
 go to mass, and from the church straight to the cazuela to get a 
 good seat. There is no money-taker at the door yet. They enter 
 and find a sprinkling of women as foolish as themselves already in 
 the cazuela. They avoid the front seats, for these are for the 
 women who come to see and be seen ; so they take a modest seat in 
 the middle. They express their pleasure at having found so com- 
 fortable a place and cast their eyes about for some pastime. Finding 
 none, the rest from the hurry of the morning serves as a satisfaction. 
 Other women enter, and some of the more brazen sit by the front 
 railing of the cazuela, thus shutting out the light from those in the 
 middle. Now the merry-making is let loose. The money-takers 
 enter. One of our friends draws a handkerchief from beneath the 
 folds of her petticoat, and with her teeth looses a knot tied in the 
 corner of it, and takes out a real (34 maravedis) and asks for the 
 return of ten maravedis. While she is doing this the other takes 
 from her bosom a paper containing ten quartos (40 maravedis), and 
 hands her money to the doorkeeper, who passes on. The one with 
 the ten maravedis in her hand now buys a package of filberts for 
 two quartos, and, like a child, does not know what to do with the 
 remaining ochavo (2 maravedis) which she has received in change; 
 finally she drops it in her bosom, with the remark that it is for the 
 poor. Now the two friends begin to crack the filberts, and you can 
 hear them munching them; but one of the filberts is full of dust, 
 the other contains a dry kernel, while another has an oily taste. . . . 
 Now more women are crowding in. One of those who are in front 
 makes signs to two others who are standing behind our two friends, 
 and without asking permission the newcomers pass between the two, 
 stepping on their skirts and disarranging their cloaks, which pro- 
 vokes the exclamation : "Did you ever see such rudeness !" and they 
 begin to shake and fleck the dust from their skirts. Those in the 
 front seats begin to eat sandwiches, and presently one of the two 
 friends remarks: "Do you see that man down there with grayish 
 hair who is taking a seat on one of the benches on the left ?" etc. . . . 
 Here follows some scandal, for which she is reproved by another 
 woman sitting near. . . . 
 
 The cazuela being now full, the apretador enters (he is the door- 
 keeper, who makes the women sit closer so that they may make more 
 room), accompanied by four women, well dressed and thickly 
 
338 THE SPANISH STAGE 
 
 veiled, whom he wants to accommodate, for they have given him 
 eight quartos. He approaches our friends and tells them to sit 
 closer; they protest; he insists, and they reply that the women 
 should have come earlier, when they would have found seats. 
 Finally the newcomers let themselves fall upon those already seated, 
 who, to get away from under them, unconsciously make room. 
 There is grumbling on all sides, but at last quiet is restored. . . . 
 It is now half-past two o'clock, and the friends, who had not dined, 
 begin to get hungry. At length one of the women who had been 
 accommodated by the apretador gives to our friends each a handful 
 of prunes and some candied yolks of eggs, with the remark : "Come, 
 let us be friends and eat these sweets which some booby gave me." 
 They begin to eat and want to strike up a conversation, but say 
 nothing, as they cannot stop eating. Presently there is an alterca- 
 tion at the door of the cazuela between the doorkeeper and a num- 
 ber of youths who want some women to enter free, and they burst 
 into the cazuela quarreling. A great commotion and uproar ensues. 
 The women rise excitedly, and in their anxiety to avoid those who 
 are quarreling they fall over one another. . . . Those who rush up 
 from the patio to lend aid or restore order push into the jumbling 
 mass and bowl the women over. All now take to the corners as 
 the best place in the cazuela, and some on all fours and others run- 
 ning seek a place of safety. Finally the police expel the men, and 
 every woman takes a seat where she happens to be, none occupying 
 the one she had at first. One of the two friends is now on the 
 last bench, while the other is near the door. The former has 
 lost her gloves and finds that her gown is torn ; her friend is bleed- 
 ing at the nose as the result of the scuffle, and, having lost her hand- 
 kerchief, makes use of her petticoat. All is lamentation, when the 
 guitar-players enter, and quiet is once more restored. . . , 1 
 
 In no country, as already observed, had the drama re- 
 ceived greater encouragement than in Spain, nor was its 
 popularity limited to any one class, but all, from the 
 highest to the lowest, favored and supported it. As de- 
 veloped and perfected by the great Phenix, Lope de Vega, 
 
 1 Obras de D. Juan de Zabalela, Madrid, 1692, "El Dia de Fiesta por la 
 Tarde," pp. 296 ff. 
 
SPANISH PLAYERS ABROAD 339 
 
 it was a genuine product of the Spanish soil. Whatever 
 its subject-matter, whether mythology, history, or legend, 
 all was translated into the Spain of the day; its characters 
 not only spoke Spanish, but they were Spaniards in every 
 vein and fiber. In a word, it was truly national in char- 
 acter, and herein lies one of the chief glories of the 
 Spanish drama, which is shared only by England among 
 the countries of modern Europe. Such a rapid and 
 extraordinary development of the drama necessitated a 
 vast number of players for its exposition, and the names 
 of nearly two thousand actors have come down to us, 
 who, from the rude beginnings of Lope de Rueda upon 
 an improvised stage in the public square, to the magnificent 
 and costly entertainments of Philip the Fourth in the Buen 
 Retiro, represented the uninterrupted productions of the 
 Spanish Muse, from the simple pasos, eglogas, and farsas 
 to the great masterpieces of Lope de Vega and his host 
 of followers. And yet, great as was the number of 
 Spanish players, they seem to have limited their sphere 
 of action almost exclusively to their own country or to 
 the Spanish possessions in Italy. During the long occu- 
 pation of the Netherlands by Spain the Spanish language 
 gained great currency through that country, 1 and Spanish 
 players certainly visited the Netherlands frequently. 2 
 Our information as to their journeys in the remaining 
 countries of Europe is also very slight when compared 
 with the records left by the many companies of traveling 
 players from England and Italy during the latter part of 
 
 1 "In de zestiende en zeventiende eeuw was de Spaansche taal in ons 
 vaterland bijna zoo gemeenzaam als tegenwoordig de Fransche." (Geys- 
 beek, Anthologisch en Critisch Woordenboek, Bd. Ill, quoted by Schwe- 
 ring, Zur Geschichte des niederlandischen und spanischen Dramas in 
 Deulschland, Miinster, 1895, p. 76.) 
 
 ' I have been unable to consult the following article, which may contain 
 some information on this point: Te Winkel, "De invloed der Spaansche 
 Letterkunde op de Nederlandsche in de zeventiende eeuw," in the Tijd- 
 schrift -voor Nederlandsche Taal- en Letterkunde, Eerste Jaargang, Leiden, 
 1881, S. 59. Melchor de Leon seems to have been in Brussels with his com- 
 pany in 1629. See Appendix, — List of Actors and Actresses. 
 
34 o THE SPANISH STAGE 
 
 the sixteenth and beginning of the seventeenth centuries. 
 The earliest notice of Spanish players abroad that I have 
 found falls in the year 1604. On August 2 of that year 
 a Spanish actress was found murdered at Saint-Germain- 
 des-Pres, and two Spanish actors were convicted of the 
 crime and executed. 1 Some Spanish players also ap- 
 peared at the Port Saint-Germain on October 27, 1613, 
 but met with no success. 2 A company also visited Paris 
 in 1 61 8, but we know nothing further about them. 3 In 
 1643 Pedro de la Rosa and his company visited Paris, 
 and returned thither in 1674, and in 1660 Sebastian de 
 Prado took a troupe of players to Paris at the instance 
 of Maria Teresa, daughter of Philip IV. and wife of 
 Louis XIV., whom she had married the previous year. 
 Some members of this company are said to have re- 
 mained in France twelve years ; Prado certainly did not, 
 for we find him in Spain in the following year. In 1666 
 we again hear of Spanish players who gave a Ballet des 
 Muses at Saint-Germain-en-Laye on December 2, among 
 them Jeronima de Olmedo and Maria de Anaya. 4 
 
 The only record of the visit of a Spanish company to 
 London has already been mentioned (above, p. 139, 
 
 1 Memoires et Journal de Pierre de I'Estoile, ed. Michaud et Poujolat, 
 Paris, 1857, p. 378. See Rigal, Le Theatre Francais avant la periode 
 classique, Paris, 1901, p. 50, note 3. 
 
 2 In a letter dated October 27, 1613, Malherbe says: "Je viens tout a 
 cette heure de la comedie des Espagnols, qui ont aujourd'hui commence a 
 jouer a la porte Saint-Germain dans le faubourg; ils ont fait des mer- 
 veilles en sottises et impertinences, et n'y a eu personne qui ne s'en soit 
 revenu avec mal de tete ; mais pour une fois il n'y a point eu de mal de 
 savoir ce que c'est. Je suis de ceux qui s'y sont excellemment ennuyes," 
 etc. {Lettres de Malherbe, ed. Lalanne (Grands Ecrivains), Paris, 1862, 
 Vol. Ill, p. 350.) And in a letter of November 24 (p. 358) he remarks: 
 "Les Espagnols ne plaisent a personne; ils jouent au faubourg Saint- 
 Germain, mais ils ne gagnent pas le louage du jeu de paume oil ils 
 jouent." 
 
 'Memoires du Marechal de Bassompierre, ed. Petitot, Tome XX, Paris, 
 1822, p. 157, who merely remarks: "Nous eumes les comedies espagnoles 
 cet hiver-la." 
 
 'Rouanet, Intermedes Espagnols, Paris, 1897, p. 316, quoting Fournel, 
 Les Contemporains de Moliere, Tome II. 
 
DECLINE OF THE DRAMA 341 
 
 note 1 ) , when Juan Navarro Oliver represented a play 
 before the King on December 23, 1635, for which he re- 
 ceived ten pounds. 
 
 But great as the popularity of the drama was in Spain, 
 and rapid as was its rise, its decline and fall were almost 
 equally rapid, and by the middle of the seventeenth cen- 
 tury it was clearly on the wane. Indeed, a change is 
 perceptible a decade earlier. The death of the great 
 founder of the national drama, Lope de Vega, in 1635, 
 withdrew from it a support which caused the magnificent 
 structure to waver. By the middle of the century all the 
 greatest dramatists, with the single exception of Calderon, 
 were dead. Guillen de Castro died in 1631; Alarcon's 
 death occurred in 1639, followed by Mira de Mescua in 
 1644. Tirso de Molina died in 1648, although he had 
 ceased to write for the stage even before Lope's death. 
 Of the lesser lights of the drama, Montalvan died in 
 1638, and Luis Velez de Guevara in 1644. All these had 
 passed from the stage of life, and Calderon alone, of 
 those who had helped to rear the imposing fabric of the 
 drama, was still writing comedias after the middle of the 
 century, and even of his followers, Rojas and Moreto had 
 written their best plays by that time. No great Spanish 
 comedia dates after 1650. And here, once more, at the 
 close as at the beginning, the Spanish national drama 
 exhibits a striking parallel to the English, which had also 
 produced all that was best in it before the closing of the 
 theaters in 1642. 
 
 That the Spanish theater was on the decline by 1650, 
 a glance at the list of the great leaders of the theatrical 
 companies convincingly shows. The older ones, who had 
 taken part in the great renascence under the magical 
 touch of Lope — Velazquez, Cisneros, Rios, Porres, An- 
 tonio de Villegas, Vergara, Melchor de Villalba, etc. — 
 had long been dead, while those who shared in the greatest 
 glory of the stage — Baltasar Pinedo, Domingo Balbin, 
 
342 THE SPANISH STAGE 
 
 Cristobal Ortiz de Villazan, Alonso de Riquelme, Cristo- 
 bal de Avendafio, Tomas Fernandez de Cabredo, Manuel 
 Vallejo, Antonio Granados, Pedro de Valdes, Hernan 
 Sanchez de Vargas, and Juan de Morales Medrano — had 
 also passed away, and Antonio de Prado, Alonso de 
 Olmedo, and Roque de Figueroa all died in 1651. Those 
 who were left, like the surviving dramatists, were but the 
 smaller lights that still shone for a while in the glow cast 
 behind them as the great stars one by one disappeared be- 
 neath the horizon. 
 
 And it was, perhaps, not unfitting that this should be so. 
 These famous autores had been the friends and associates 
 of the great poets who created this vast and wonderful 
 drama ; for particular players of their companies many of 
 the most celebrated comedias had been written; the re- 
 hearsals were often conducted in the presence of the poet, 
 and the parts perfected under his eye. For them the 
 business of the stage was an actual and living thing, not 
 a dead and dry tradition. But the sun had set, and while 
 one great star was still refulgent in the gathering gloom, 
 it was only a question of a little while when it, too, should 
 disappear, and all be enveloped in darkness. 
 
APPENDIX 
 
APPENDIX A 
 
 REPRESENTATIONS IN THE CORRALES OF MADRID, 
 
 1 579 -1 602. 
 
 (From an article by Sr. Perez Pastor, in the Bulletin Hispanique (1906).) 
 
 1579 
 
 Producto de comedias para el Hospital civil de la Pasion desde 
 JO de Mayo de IS79 hasta 31 de Diciembre de el: 
 
 Mayo. — "En treinta de Mayo de 1579 anos se nombro por 
 comisario de las comedias al senor Francisco de Prado el qual ha 
 de usar desta comision desde 7 de Junio del dicho afio por dexacion 
 que hizo dello Luis de Barahona, comisario que fue de las dichas 
 comedias hasta este dicho dia." 
 
 Junio. — "En 7 dia del mes de Junio del dicho afio estando en 
 el Hospital de la Sagrada Pasion juntos en su cabildo D. Alonso 
 Enriquez, Pedro de Ledesma y Gonzalo de Monzon, diputados, y 
 Juan Lopez y Pedro Alvarez de 'Casasola y Gaspar de la Torre 
 y Valdivieso y Juan Diaz, cofrades, Francisco de Prado, comisario 
 de las comedias, dixo que Francisco Osorio, autor de comedias, ha 
 venido a esta corte y le ha pedido le de corral en que represente sus 
 comedias, y que el le ha senalado el corral de Valdivieso, y que el 
 dicho Francisco Osorio se ha obligado a hacer el teatro y dos 
 tablados a los lados a su costa y que el aprovechamiento dellos sea 
 para los Hospitales sin que se les descuente cosa alguna, y demas 
 desto le da el dicho Francisco Osorio diez reales cada dia que 
 representare y destos diez reales se dan siete reales a la de 
 Valdivieso cada dia que se representare, y hoy dicho dia es el 
 primero que representa el dicho Osorio y que ansi mesmo halla que 
 en el corral de la Pacheca esta Salcedo y en el de Puente Ganasa 
 que ansi mesmo representan hoy dicho dia y firmaron de sus 
 nombres. — Juan Lopez — Gonzalo de Monzon." 
 
 345 
 
346 APPENDIX A 
 
 "El dicho Osorio comediante represento en el dicho corral de 
 la de Valdivieso segundo y tercero dia de Pascua que fueron a los 
 ocho y nueve de Junio del dicho ano y por respeto de la poca gente 
 que tuvo no hubo aprovechamiento ninguno mas de los diez reales 
 que dio del corral, de los quales de los dichos dos dias se dieron a 
 la de Valdivieso catorce reales y quedaron seis y cupo a esta casa 
 quatro, los quales se metieron con la quenta de Salcedo y el susdicho 
 Osorio se fue luego sin representar mas. — Francisco dc Prado — 
 Gonzalo de Monzon." 
 
 Domingo 7 de Junio de 1579 representaron Ganasa y Salcedo, 
 y el Hospital de la Pasion tuvo de aprovechamiento de las dos 
 comedias 221 reales y 10 maravedises de las dos tercias partes qup le 
 pertenecen. 
 
 En 8 de Junio segundo dia de pascua, 156 reales y 12 maravedis 
 de las comedias de Ganasa y Salcedo. 
 
 En 8 de Junio pago Ganasa 20 reales de las representaciones de 
 los dias i° y 2° de Pascua. 
 
 En 9 de Junio 195 reales y 10 maravedises de las comedias que 
 en dicho dia hicieron Ganasa y Salcedo. 
 
 1 1 de Junio. Representaron Ganasa y Salcedo. 
 
 14 de Junio, domingo de la Trinidad. Representaron Ganasa y 
 Salcedo. 
 
 "Jueves dia del Corpus Christi diez y ocho del mes de Junio de 
 1579 anos, de pedimento de Francisco de Prado, vecino desta villa 
 de Madrid, comisario nombrado para los aprovechamientos que 
 procedieren de las comedias tocantes al Hospital de la Pasion desta 
 corte, yo el presente escribano fui al corral de Puente, que es en 
 la calle del Lobo, donde representa hasta ahora Ganasa, italiano, y 
 al corral de la Pacheca para ver si habia representacion e pidio 
 por testimonio como no habia representacion en el un corral ni en 
 el otro porque Ganasa es ido a Toledo y Salcedo tiene las fiestas del 
 Corpus que se hicieron hoy en esta villa, y de su pedimento doy 
 fee que hoy dicho dia a las quatro de la tarde al punto fui a los 
 dichos corrales y no habia gente en ellos y estaban vacios de manera 
 que se entiende no haber comedias este dia, y yo el presente escri- 
 bano doy fee que en la sala de los senores alcaldes de la casa y corte 
 de su Magestad anteayer martes de manana se dixo que por man- 
 dado de su Magestad llevaban a Toledo al dicho Ganasa y sus 
 companeros para la fiesta de hoy dicho dia y ansi por mandado de 
 
APPENDIX A 347 
 
 los dichos senores alcaldes se les dieron mulas para el dicho efecto, 
 y doy fee que el dicho Salcedo ha fecho hoy las fiestas desta villa, 
 y de pedimento del dicho Francisco de Prado lo firme y signe. — 
 Diego Verdugo de Leon." 
 
 En 21 de Junio de 1579 Francisco de Prado hace saber a los 
 diputados de la Pasion que Ganasa no ha vuelto de Toledo, ni sabe 
 quando vendra Salcedo y que no hay comedias en la corte. 
 
 En 24 de Junio Ganasa, vuelto ya de Toledo, represento en el 
 corral de Puente. 
 
 En 28 y 29 Junio represento Ganasa en el corral de la Pacheca. 
 
 Julio, 2. — "Yo Alonso de Robles, escribano de su majestad en la 
 sii corte, doy fee que Ganasa, italiano, represento en el corral de la 
 Pacheca hoy Jueves dos del mes de Julio deste ano de setenta y 
 nueve dia de trabajo, y que en la dicha representacion declaro que 
 se le habia dado licencia de representar dos dias en la semana por 
 los Senores del Consejo de su Magestad, y en fee de ello di esta el 
 dicho dia mes y ano de pedimento de Francisco de Prado y lo firme 
 de mi nombre. — Alonso de Robles, escribano." 
 
 5 de Julio, Domingo. Represento Ganasa en la Pacheca. (Id. 
 martes 7 Julio.) 
 
 "Domingo 12 de Julio. Represento Cisneros en el corral de la 
 calle del Lobo, que es el de Puente, y fue la primera representacion 
 que hizo en Madrid despues que salio de la corte." 
 
 En el mismo dia represento Ganasa en el corral de la Pacheca. 
 
 16 de Julio. Represento Ganasa en la Pacheca. 
 
 22 de Julio. Representaron Ganasa y Cisneros cada uno una 
 comedia. (Id. 25 y domingo 26.) 
 
 28 y 30. Ganasa. 
 
 Agosto.— Domingo 2. Ganasa y Cisneros. {Id. 5, 6, 9 y 10.) 
 
 15 Agosto. Alonso Rodriguez, el Toledano, represento en el 
 corral de Puente porque Cisneros no estaba en la corte. Repre- 
 sento tambien Ganasa en la Pacheca. 
 
 Domingo 16 de Agosto. Represento Ganasa. No hubo repre- 
 sentacion en el corral de Cristobal de Puente por no haber autor 
 en Madrid. 
 
 18 de Agosto de 1579. No hubo representacion en la Pacheca 
 por estar fuera de Madrid los italianos, ni en el corral de Puente 
 por no haber autor en Madrid. 
 
 20 Agosto. Represento Ganasa en la Pacheca. 
 
348 APPENDIX A 
 
 Domingo 23. Representaron Ganasa y Cisneros. (Id. 24.) 
 
 27 de Agosto. No hubo representacion en la calle del Lobo 
 porque Cisneros estaba ausente, ni en el de la Pacheca porque 
 Ganasa no quiso representar al ver que habia poca gente en el 
 corral, y se devolvio el dinero a las personas que habian entrado. 
 
 30 Agosto. Represents Ganasa en la Pacheca y hubo un voltea- 
 dor en la calle del Lobo. 
 
 Setiembre. — En 6 de Setiembre de 1579 represento Velazquez la 
 primera vez de esta temporada en el corral de Puente; y los dias 
 anteriores no hubo representacion porque la licencia que se dio a 
 los autores para representar dos dias de trabajo fue solamente para 
 los meses de Julio y Agosto. En el mismo dia represento Ganasa 
 en la Pacheca. 
 
 8 de Setiembre. Hubo dos comedias una de Ganasa y otra de 
 Velazquez. 
 
 10 de Setiembre. Represento Velazquez. (Id. 15.) 
 
 13 de Setiembre. Ganasa y Velazquez. 
 
 17 de Setiembre. Represento Ganasa aunque fue dia de trabajo 
 y es la primera vez que lo hace en este mes. 
 
 20 de Setiembre, Domingo. Hubo comedia de Ganasa y de 
 Velazquez. (Id. 21 y 24.) 
 
 27. Velazquez en la calle del Lobo. En el corral de la Pacheca 
 hubo mucha gente y mucha mas en la calle esperando la repre- 
 sentacion que no se hizo porque Juan Alberto Ganasa no habia 
 tenido licencia para ello. 
 
 29. Ganasa y Velazquez. 
 
 Octubre. — 10. Ganasa y Velazquez. (Id. 4, 6, 8 y 11.) 
 
 13. Ganasa en la Pacheca. Velazquez estaba fuera de Madrid. 
 
 15. No hubo representacion en la Pacheca "por lo mucho que 
 llovio." 
 
 18 y 20. Ganasa. 
 
 22. "No hubo comedia a causa de los toros que hubo." 
 
 25 Octubre. Represento por primera vez en el corral de Puente 
 
 Rivas, maestro de comedias y no represento mas que este dia. 
 
 Ganasa represento en la Pacheca. 
 
 28 y 29. Ganasa. 
 
 Noviembre. — Domingo i°. Represento Ganasa. (Id. 3, 7, 8, 
 10, 12, 15.) 
 
 18. Ganasa y Salcedo ( 1" dia). (Id. Domingo 22.) 
 
APPENDIX A 349 
 
 24 y 26. Ganasa. 
 
 Domingo 29. Ganasa, Salcedo y Granado. 
 
 "Yo Francisco de Olea doy fee ... en como hoy domingo 29 
 dias del mes de Noviembre de 1579 afios fue el primero dia que se 
 represento en el corral que las cofradias de la Sagrada Pasion y 
 Nuestra Senora de la Soledad tienen en esta dicha villa en la calle 
 de la Cruz, en el qual asi mismo represento la primera vez Juan 
 Granado e Galvez, autores de comedias, esta ultima vez que vinie- 
 ron a esta corte sin que hubiesen representado en el ni en otro corral 
 donde se acostumbra hacer las dichas comedias otra vez desta 
 postrera venida . . . Francisco de Olea." 
 
 Lunes 30 de Noviembre. Representaron Ganasa, Salcedo y 
 Granado. 
 
 Diciembre. — 3. Represento Ganasa. 
 
 Domingo 6. Ganasa, Salcedo y Granado. 
 
 8. Ganasa y Velazquez. En este dia se notifico a Cristobal de 
 Puente dueno del corral de la calle del Lobo, que tenian al- 
 quilado las cofradias, que cesaba este arrendamiento y que los 
 asientos, tablados y pertrechos que a costa de las cofradias se habian 
 hecho en dicho corral se transladarian al nuevo teatro de la calle de 
 la Cruz ya por evitar gastos ya tambien porque Francisco Salcedo, 
 que representaba en la calle del Lobo, se ha ausentado. 
 
 10. No hubo representacion en ningun corral por haber Uovido 
 mucho. 
 
 13. Representaron Ganasa y Granado; 
 
 17. Representaron Ganasa y Granado y fue la primera vez que 
 se represento por Granado en la Cruz en dia de trabajo. 
 
 18. Ganasa en la Pacheca y Granado en la Cruz. 
 
 20. Ganasa y Granado. 
 
 21. Ganasa. 
 
 22 y 23. Granado. 
 
 25 y 26. Granado y Ganasa. 
 
 Domingo 27. No representaron los Italianos ni Granado en los 
 corrales publicos porque lo hicieron a los senores del Consejo de 
 S. M. 
 
 28. Ganasa y Granado. 
 
 29. Se dio licencia a Granado y Galvez para que pudiesen rep- 
 resentar todos los dias hasta el de Reyes proximo. 
 
 29 y 30. Represento Granado en el corral de la Cruz. 
 
350 APPENDIX A 
 
 31. Ganasa en la Pacheca "y no represento Granado en la 
 Cruz." {Archivo de la Diputacion provincial de Madrid. Ltbros 
 de cuent as del Hospital de la Pasion, VII, 115, 2 -) 
 
 — "Razon puntual de la ejecucion del corral de la Cruz para las 
 comedias el afio 1579": Empezo la obra el 13 de Octubre de 1579 
 por cuenta de las dos obras pias, la Sagrada Pasion y Nuestra 
 Sefiora de la Soledad. El edificio y gastos del mismo estuvieron a 
 cargo de Getino de Guzman, fiador que habia sido de D" Leonor de 
 Cortinas para el rescate de Miguel de Cervantes. 
 
 1580 
 
 Cargo de las comedias del aho 1580 para el Hospital de la 
 Pasion : 
 
 Enero. — En I de Enero hubo representacion por Ganasa. {Id. 
 3, 5, 6.) 10. Granado. 12. Ganasa. 14. Ganasa y Granado. 
 {Id. 17 y 20.) 23. Cisneros y Ganasa. 24. Ganasa y Granado. 
 {Id. 26 y 27.) 28. Empezo Cisneros a representar en el corral de 
 Puente que habia estado desbaratado; y ademas trabajaron hasta 
 Carnestolendas Granado en la Cruz y Ganasa en la Pacheca. 29. 
 Cisneros y Granado. 31. Cisneros, Granado y Ganasa. 
 
 Febrero.— 3. Cisneros y Granado. 4. Cisneros, Granado y 
 Ganasa. 5. Cisneros en la Cruz. 7. Cisneros, Granado y Ga- 
 nasa. 8. Cisneros en la Cruz y dio "para ayuda de costa del 
 corral" 200 reales que le correspondian de su aprovechamiento como 
 autor. 9. Ganasa y Granado (Cisneros se habia ido a Alcala de 
 Henares). 10, 11, 12, 13, 14, 15 y 16. Ganasa y Granado. 17, 
 miercoles de Ceniza. Se suspenden las representaciones. 
 
 Septiembre. — 11. Empezo a representar Rivas en la Pacheca. 
 12. Rivas. 14. Empieza Cisneros en la Pacheca. 15 a 25. Cis- 
 neros. 26, 28. No hubo representacion. 27, 29 y 30. "Cisneros. 
 
 Octubre. — 1° a 10, 16 a 19. Cisneros. 20 a 22. No hubo 
 comedia. 23 a 25. Represento Juan Granado. 26. No hubo 
 comedia. 27. Granado. 28. Juan Granado y Alonso Rodri- 
 guez. Se suspenden las representaciones por muerte de la Reina 
 D a Ana. {Archivo de la Diputacion provincial, VII, 115, 2.) 
 
APPENDIX A 351 
 
 1581 
 
 Cargo de las comedias del ano 15S1 para el Hospital de la Pasion 
 y cof radio de la Soledad : 
 
 30 noviembre 1581. — Ganasa represento en la Cruz y fue el 
 primer dia que hubo comedia despues de la muerte de la Reina 
 Ana. "Y de todo el aprovechamiento de la comedia, sin la repre- 
 sentacion, se allegaron ducientos y setenta reales y medio de que 
 cupo a la cofradia de la Soledad de la tercia parte que lleva noventa 
 reales y cinco maravedis, y a la Pasion le cupo de sus dos tercias 
 partes ciento y ochenta reales y doce maravedis." 
 
 Diciembre. — 3. No represento Ganasa en el teatro de la Cruz 
 porque lo hizo al Consejo de Cruzada en casa del Comisario ge- 
 neral; Galvez represento en el corral de la Pacheca "la primera 
 comedia que en este ano hizo." 4. Ganasa en la Cruz. 5, 7, 8. 
 Ganasa en la Cruz y Galvez en la Pacheca. 10. Id. "Este dia 
 represento Alonso Rodriguez, el de Toledo, la primera farsa en el 
 corral de Puente y envio de todo aprovechamiento, con la repre- 
 sentacion, 54 reales." 12, 14 y 16. Ganasa en la Cruz, y Galvez 
 en la Pacheca. 17, 18. Ganasa en la Cruz, Galvez en la Pacheca, 
 y Rodriguez en el Puente. 19, 20 y 21. Ganasa en la Cruz, y 
 Galvez en la Pacheca. 22. Granado en la Pacheca. 23. Saldana 
 en la Cruz. 24. Ganasa en la Cruz, Galvez en la Pacheca y Sal- 
 dana, por primera vez, en el corral de Puente. 25. Ganasa, Gal- 
 vez y Saldana en la Cruz, Pacheca y Puente. 26. Saldana en la 
 Cruz, Galvez en la Pacheca. Ganasa represento al presidente del 
 Consejo. 27 y 28. Ganasa, Galvez y Saldana. 29. Saldana. 30. 
 Ganasa, Galvez y Saldana. 31. Ganasa y Galvez. "No repre- 
 sento Saldana porque el y su compafiia estuvieron en la Cruz 
 viendo a los Italianos." (Archivo de la Diputacion, VII, 115, 2, 
 y 59, 2, XII, 17.) 
 
 1582 
 
 Cargo de las comedias del ano 1582 para el Hospital de la Pasion 
 y cofradia de la Soledad: 
 
 Enero. — 1. Representaron Ganasa, Galvez y Saldana. 2. Gal- 
 vez. 3 y 4. Ganasa y Galvez. 5. Saldana en la Pacheca. 6. 
 Ganasa, Galvez y Saldana. 7. Ganasa y Galvez. 8. Saldana en 
 la Cruz. Galvez y Juan Granado salieron para Valladolid. 9. 
 
352 APPENDIX A 
 
 Ganasa en la Cruz. 10. Saldafia en la Cruz. II. Ganasa en la 
 Cruz. 12. Saldafia en la Pacheca. 14. Saldafia en la Cruz. No 
 representaron los Italianos por estar enfermos algunos de ellos. 
 15. Saldafia en la Pacheca, Velazquez en la Cruz "y fue su primera 
 representacion." 16. Ganasa en la Cruz, "que es el de las obras 
 pias"; Saldafia en la Pacheca. 17. Velazquez en la Cruz. 20. 
 Velazquez en la Cruz, Saldafia en la Pacheca. No representaron 
 los Italianos en la Cruz por estar en Guadalajara a la boda de 
 D. Rodrigo de Mendoza. 1 21. Saldafia en la Cruz, Velazquez en 
 la Pacheca. 22. Velazquez en la Cruz. 23. Velazquez en la 
 Cruz, Saldafia en la Pacheca. 24. Saldafia en la Cruz. 25. 
 Velazquez en la Cruz. 26. Saldafia en la Cruz. 28 y 29. Sal- 
 dafia en la Cruz, Velazquez en la Pacheca. 30. Velazquez en la 
 Cruz. 31. Saldafia en la Cruz. 
 
 Febrero. — 2. Saldafia en la Cruz. 4. No hubo representaciones 
 por la procesion general para recoger los pobres mendigos en el 
 Hospital general. 5. Velazquez en la Cruz. 6. Ganasa en la 
 Cruz "y fue la primera que hizo despues que vino de Guadalajara.'' 
 7. Saldafia en la Cruz. 8. Ganasa en la Cruz. 9. Velazquez en 
 la Cruz. 10. Saldafia en la Cruz. 11. Domingo. Velazquez 
 en la Pacheca, Ganasa en la Cruz y Saldafia en el corral de 
 Puente. 12. Velazquez en la Cruz. 13. Ganasa en la Cruz. 
 14. Saldafia en la Cruz. 15. Ganasa en la Cruz. 16. Velaz- 
 quez en la Cruz. 17. Saldafia en la Cruz. 18. Domingo. 
 Ganasa en la Cruz, Velazquez en el Puente, y Saldafia en la 
 Pacheca. 19. Ganasa en la Cruz, Velazquez en la Pacheca. 20. 
 Ganasa en la Cruz, Saldafia en la Pacheca. 21. Velazquez en la 
 Pacheca, Ganasa en la Cruz. 22. Ganasa en la Cruz, Saldafia en 
 la Pacheca. 23. Ganasa en la Cruz, Velazquez en la Pacheca. 
 24. Velazquez en la Cruz, Saldafia en la Pacheca. 25 y 26. Sal- 
 dafia en la Cruz, Velazquez en la Pacheca. 27. Saldafia en la 
 
 1 (Enero 1582, sabado.) "Salio a representar Ganasa el italiano una 
 comedia, la qual . . . oyeron con mucho aplauso y por haber tanta gente 
 no se pudo representar en el tablado que para ello estaba hecho . . ." — 
 "Domingo siguiente ... a la nocbe represento Ganasa el italiano, con 
 que se entretuvieron hasta fue hora de cenar." (Relacion de todo lo 
 sucedido en los casamientos de los senores Don Rodrigo y Dona Ana de 
 Mendoza, hijo y hermano del senor Marques de Cenete y Duque del 
 Infantado, que se celebraron en la ciudad de Guadalajara a 20 de Enero 
 de 1582. Relaciones historicas de los sigloi XVI y XVII, Madrid, 1896.) 
 
APPENDIX A 353 
 
 Pacheca, Velazquez en la Cruz. "No represento Ganasa a causa 
 de su prision." 
 
 Abril. — 1 6. Segundo dia de Pascua. Velazquez en la Cruz "y 
 fue el primero dia de representacion despues de la quaresma deste 
 dicho ano." 17. Cisneros en la Cruz, Velazquez en la Pacheca. 
 18. Cisneros en la Cruz. 19. Velazquez en la Cruz. 20. Cis- 
 neros en la Cruz. 21, 22 y 23. Velazquez en la Cruz. 24. Cis- 
 neros en la Cruz. 25. Cisneros en la Cruz, Velazquez en la 
 Pacheca. 26. Velazquez en la Cruz. 27. Cisneros en la Cruz. 
 29. Velazquez en la Cruz, Cisneros en la Pacheca. 30. Cisneros 
 en la Cruz. 
 
 Mayo. — 1. Cisneros en la Cruz, Velazquez en la Pacheca. 
 2 y 3. Velazquez en la Cruz. 4. Cisneros en la Cruz. 5. Velaz- 
 quez en la Cruz. 6. Cisneros en la Cruz, Velazquez en la 
 Pacheca. 7. Cisneros en la Cruz. 8 y 10. Velazquez en la 
 Cruz. 11. Cisneros en la Cruz. 13. Velazquez en la Cruz, 
 Cisneros en la Pacheca. 14. Velazquez en la Cruz. 15. Cis- 
 neros en la Cruz. 16. Velazquez en la Cruz. 17. Cisneros en 
 la Cruz. 20. Cisneros en la Cruz, Velazquez en la Pacheca. 
 21. Cisneros en la Cruz. 23. Velazquez en la Cruz. 24. Velaz- 
 quez en la Cruz, Cisneros en la Pacheca. 25. Cisneros en la 
 Cruz. 26. Velazquez en la Cruz. 27. Velazquez en la Pa- 
 checa, Ci sneros en l a Cruz. 28. Velazquez en la Cruz. 29. Cis- 
 neros en la Cruz. 
 
 Junio. — 1. Cisneros en la Cruz. 2. Velazquez en la Cruz. 
 3. Velazquez en la Cruz, Cisneros en la Pacheca. 4. Velazquez 
 en la Cruz. 5 y 6. Cisneros en la Cruz. 7. Velazquez en la 
 Cruz. 8. Cisneros en la Cruz. 9. Velazquez en la Cruz. 10. 
 Velazquez en la Pacheca, Cisneros en la Cruz. 1 1 . Velazquez en 
 la Cruz, Cisneros en la Pacheca. 19 y 20. Cisneros en la Cruz. 
 29. Un italiano volteo en la Pacheca y siguio trabajando con sus 
 volteadores hasta el dia de Santiago. 
 
 Julio. — En 29 de Julio hubo juego de manos y siguio durante 
 algunos dias. 
 
 Agosto. — 5. Hizo Saldana "una comedia en el teatro de las 
 obras pias, que fue la primera que represento despues de la tasa del 
 quartillo." El volteador trabajo en la Pacheca. 6. Saldana en la 
 Cruz. El volteador en la Pacheca. 10, 13 y 15. Saldana hizo 
 comedia en la Cruz. El volteador trabajo en la Pacheca. 16 y 19. 
 
354 APPENDIX A 
 
 Saldana en la Cruz. 24. Saldafia represento en la Cruz y los 
 Italianos nuevos hicieron otra comedia en la Pacheca. 26. Saldana 
 en la Cruz y los Corteses en la Pacheca. 
 
 Septiembre.— 2, 8, 9, 16, 21 y 23. Saldana en la Cruz y los 
 Corteses en la Pacheca. 29 y 30. Los Italianos nuevos. 
 
 Octubre.— 17 y 18. Los Italianos. 28. Osorio y los Italianos. 
 3 1 . Osorio y los Italianos. 
 
 Noviembre. — 1. Osorio y los Italianos. 7, 14 y 15. Angulo y 
 los Corteses. 
 
 Diciembre. — 12. Alonso Rodriguez. 18 y 19. Alonso Rodri- 
 guez. Hubo titeres en la Pacheca. 21, 25, 26, 27, 28. Alonso 
 Rodriguez. (Archivo de la Diputacion provincial, VII, 115, 2, 
 y 59, 2, XII (2400), 17.) 
 
 1590 
 
 Aprovechamiento de las comedias para el Hospital general: 
 
 Enero, lunes 1° — Entraron 458 reales de las dos comedias de 
 Velazquez y Rios. 2. Velazquez y Cisneros. 3. Rios y Cis- 
 neros. 4. Velazquez y Rios. 5. Cisneros y Rios. 6. Cisneros y 
 Velazquez. 7. Velazquez y Rios. 9. Velazquez y Cisneros. 
 nyi2. Velazquez y Rios. 13. Rios y Cisneros. I4yi5. Velaz- 
 quez y Rios. 16. Rios y Cisneros. 17 a 31. Velazquez y Rios. 
 
 Febrero. — 2, 3, 4 y 5. Velazquez y Rios. 6. Porras, Velazquez 
 y Rios. 7, 8 y 9. Velazquez y Rios. 10. Velazquez. 11 a 20. 
 Rios y Velazquez. 21. Velazquez y Cisneros. 22. Velazquez y 
 Rios. 23. Velazquez y Cisneros. 24. Rios y Cisneros. 25. Ve- 
 lazquez y Cisneros. 26. Velazquez y Rios. 27. Rios y Cisneros. 
 
 Marzo. — 1° Velazquez y Rios. 2. Rios y Cisneros. 3. Ve- 
 lazquez. 5. Rios y Velazquez. 6. Velazquez y Cisneros. 
 
 Mayo. — 3 a 7. Cisneros. 9. Rios. 11 y 12. Cisneros. 13 a 
 3 1 . Cisneros y Rios. 
 
 Junio. — 1, 2 y 3. Rios y Cisneros. 6. Cisneros. 7. Rios. 10 
 a 16. Rios y Cisneros. 18 y 19. Cisneros. 
 
 Julio.— 15. Alcocer. 17. Villalba. 19. Alcocer y Villalba. 
 20. Alcocer. 21. Villalba y Alcocer. 23. Alcocer. 24, 25, 28 
 y 31. Villalba. 
 
 Agosto. — 2. Villalba. 4 y 5. Villalba. 19 a 31. Osorio. 
 
 Septiembre. — 2 a 30. Osorio. 
 
APPENDIX A 355 
 
 Octubre. — 2 a 30. Osorio. 
 
 Noviembre. — 1 a 25. Osorio. 26 a 30. Cisneros. 
 
 Diciembre. — 1° Cisneros. 2. Osorio. 3. Cisneros. 4 y 5. 
 Cisneros. 6 y 7. Melchor de Leon. 8 a 15. Cisneros y Leon. 
 17. Cisneros y Osorio. 18 y 19. Leon y Cisneros. 20. Cisneros. 
 21. Leon y Cisneros. Trabajo tambien un volador. 23. Cisne- 
 ros y Leon. 25. Cisneros. 26 y 27. Cisneros y Leon. 28. 
 Leon. Hubo comedia en casa de Gonzalo de Monzon. 30. Cis- 
 neros y Leon. 
 
 Total de ingresos en el ano 1590: 1,840,613 maravedis. Gastos: 
 igual cantidad. {Archivo de la Diputacion. Manual del Hos- 
 pital general, II, 158, 8.) 
 
 1601 
 
 Enero. — 1° Gaspar de Porres y Baltasar Pinedo. 3 a 24. 
 Porres y Pinedo. 25 y 26. Pinedo. 28, 30 y 31. Porres y 
 Pinedo. 
 
 Febrero. — 1° Porres y Diego Lopez de Alcaraz. 2. Porres y 
 Pinedo. 3. Alcaraz. 4. Porres y Pinedo. 5 a 8. Porres y Al- 
 caraz. 9. Pinedo y Alcaraz. 10. Porres y Pinedo. 11. Pinedo 
 y Alcaraz. 13 a 16. Porres y Alcaraz. 17 y 18. Porres y 
 Pinedo. 19. Porres y Alcaraz. 20. Porres y Pinedo. 21. 
 Porres y Alcaraz. 22. Porres y Pinedo. 23 a 25. Pinedo y Alca- 
 raz. 26 y 27. Porres y Pinedo. 28. Alcaraz y Pinedo. 
 
 Marzo. — 1° Porres y Pinedo. 2. Porres y Alcaraz. 3. Pinedo 
 y Alcaraz. 4. Porres y Pinedo. 5. Porres y Alcaraz. 6. Pinedo 
 y Alcaraz. 
 
 Abril. — 29 a 30. Gaspar de Porres. 
 
 Mayo. — 1° a 7. Gaspar de Porres. 9. Pedro Jimenez de Va- 
 lenzuela. 10 y 11. Porres y Gabriel Vaca. 12. Porres. 13 a 
 15. Porres y Vaca. 16. Vaca. 18. Porres. 19 a 22. Porres y 
 Vaca. 232131. Porres. 
 
 Junio. — 3 a 17. Gaspar de Porres. 22. Porres (Autos en el 
 teatro). 23 y 24. Autos a los semaneros en el teatro. 
 
 Julio.— 12, 13, 18 y 22. Gabriel de la Torre. 23 y 30. Anto- 
 nio de Villegas. 
 
 Agosto.— 3 a 31. Villegas. 
 
 Septiembre. — 3 a 30. Villegas. 
 
356 APPENDIX A 
 
 Octubre. — 2 a 18. Villegas. 19. Los Franceses. 20 y 21. 
 Villegas. 26, 27 y 28. Gabriel de la Torre. 
 
 Noviembre. — 2 a 13. Gabriel de la Torre. 14 a 23. Gabriel 
 Vaca y Pedro Jimenez de Valenzuela [these two autores managed, 
 a company in partnership]. 
 
 Diciembre. — 2 a 18. Vaca y Jimenez de Valenzuela. 21 a 31. 
 Villegas. (Archivo de la Diputacion. Manual del Hospital 
 general, II, 158, 8.) 
 
 1602 
 
 Enero. — 4 a 29. Jeronimo Lopez. 
 
 Abril. — 8 y 9. Pedro Jimenez de Valenzuela. 
 
 Mayo. — 3. Pedro Jimenez de Valenzuela. 23, 24. Los Es- 
 panoles [this company was formed by Pedro Rodriguez, Diego de 
 Rojas, and Gaspar de los Reyes]. 26 a 28. Pedro Jimenez de 
 Valenzuela. 
 
 Junio. — 16 y 18. Los Espanoles. 
 
 Agosto. — 11 a 30. Villegas. 
 
 Septiembre. — 3 a 30. Villegas. 
 
 Octubre. — 1 a 9. Villegas. 31. Villegas. 
 
 Noviembre. — 1 a 7. Antonio Granados. 8. Gabriel de la 
 Torre. 10 a 27. Granados. 
 
 Diciembre. — 4 a 29. Juan de Morales. (Archivo de la Dipu- 
 tacion. Manual del Hospital general, II, 198, 8.) 
 
APPENDIX B 
 
 AUTORES DE COMEDIAS WHO REPRESENTED THE 
 AUTOS SACRAMENTALES IN MADRID 
 
 1574 Jeronimo Velazquez represented three autos at the Corpus 
 festival of this year. 
 
 1578 Alonso de Cisneros, three autos. 
 
 1579 Mateo de Salcedo. 
 
 1580 Alonso de Cisneros. 
 
 1 58 1 Jeronimo Velazquez. 
 
 1582 Alonso de Cisneros and Jeronimo Velazquez. 
 
 1585 Gaspar de Porres, three autos. 
 
 1586 Jeronimo Velazquez represented three autos. 
 
 1587 Nicolas de los Rios, Miguel Ramirez, and Juan de Alcozer. 
 
 1589 Jeronimo Velazquez, three autos. 
 
 1590 Nicolas de los Rios and Alonso de Cisneros. 
 
 1 59 1 Alonso de Cisneros. 
 
 1592 Gaspar de Porres and Rodrigo de Saavedra, each two autos. 
 
 1593 Alonso de Cisneros and Gaspar de Porres. 
 J 594 Jeronimo Velazquez, two autos. 
 
 1595 Alonso de Cisneros and Antonio de Villegas. [Porres?] 
 
 1596 Nicolas de los Rios and Antonio de Villegas, each two autos. 
 
 1597 Nicolas de los Rios. 
 
 1598 Antonio de Villegas and Diego Lopez de Alcaraz. 
 
 1599 Gaspar de Porres (two autos) ; Diego Lopez de Alcaraz 
 
 and Luis de Vergara, each an auto. 
 
 1600 Melchor de Villalba and Gabriel de la Torre, each two 
 
 autos. 
 
 1602 Pedro Jimenez de Valenzuela. 
 
 1603 Juan de Morales Medrano. 
 
 1604 Gaspar de Porres. 
 
 357 
 
358 APPENDIX B 
 
 1605 Gaspar de Porres. In this year only two autos were repre- 
 
 sented, both by Porres. For these he received 3700 
 reals. {Bull Hisp. (1907), p. 372.) 
 
 1606 Baltasar Pinedo and Juan de Morales Medrano. 
 
 1607 Baltasar Pinedo and Nicolas de los Rios. 
 
 1608 Alonso Riquelme and Juan de Morales Medrano. 
 
 1609 Alonso de Heredia and Domingo Balbin. 
 
 1610 Alonso Riquelme and Hernan Sanchez de Vargas. 
 
 161 1 Hernan Sanchez de Vargas and Tomas Fernandez de 
 
 Cabredo. 
 
 1 612 Juan de Morales Medrano and Tomas Fernandez de 
 
 Cabredo. 
 
 1613 Alonso de Riquelme and Antonio de Villegas. 
 
 1614 Juan de Morales Medrano and Baltasar Pinedo. (Bull. 
 
 Hisp. (1907), P. 379-) 
 
 161 5 Hernan Sanchez de Vargas and Pedro de Valdes. 
 
 1 61 6 Pedro Cebrian and Pedro Cerezo de Guevara. In Paz y 
 
 Melia, Catalogo, No. 1641, we read that Alonso de 
 Riquelme represented Lope's auto La Isla del Sol in this 
 year. 
 
 1617 Cristobal de Leon and Baltasar Pinedo. 
 
 1618 Baltasar Pinedo and Hernan Sanchez de Vargas. 
 
 1 619 Baltasar Pinedo and Hernan Sanchez de Vargas. 
 
 1620 Alonso de Olmedo and Cristobal de Avendano. 
 
 1 62 1 Pedro de Valdes and Cristobal de Avendano. (Bull. Hisp. 
 
 (1908), p. 244.) 
 
 1622 Manuel Vallejo. 
 
 1623 Juan de Morales Medrano and Antonio de Prado. 
 
 1624 Juan de Morales Medrano and Antonio de Prado. 
 
 1625 Andres de la Vega, Tomas Fernandez de Cabredo, and 
 
 Juan de Morales Medrano. In this year each autor rep- 
 resented one auto and a part of the fourth auto. (Bull. 
 Hisp. (1908), p. 252.) 
 
 1626 Cristobal de Avendano and Andres de la Vega. 
 
 1627 Roque de Figueroa and Andres de la Vega. 
 
 1628 Andres de la Vega and Bartolome Romero. 
 
 1629 Bartolome Romero and Roque de Figueroa. 
 
 1 630 Andres de la Vega and Roque de Figueroa. 
 1632 Manuel Vallejo and Francisco Lopez. 
 
APPENDIX B 359 
 
 1633 Antonio de Prado and Manuel Vallejo. 
 
 1637 Pedro de la Rosa and Tomas Fernandez de Cabredo. 
 
 1638 Bartolome Romero (two autos) and Antonio de Rueda and 
 
 Pedro Ascanio (each one). 
 
 1639 Antonio de Rueda and Manuel Vallejo. 
 
 1640 Bartolome Romero. 
 
APPENDIX C 
 
 CASTS OF COMEDIAS 
 
 The following casts of comedias of the seventeenth century have 
 been collected from various sources, the most of them from manu- 
 scripts in the Biblioteca Nacional. They are arranged in chrono- 
 logical order. 
 
 La bella Ester (1610) 
 
 Lope de Vega. Autog. MS. in British Museum, dated at 
 Madrid, April 5, 1610. This comedia was afterward published in 
 Part XV of Lope's Comedias under the title La hermosa Ester. 
 
 Bassan Morales 
 
 Egeo Vicente 
 
 Tarses Torres 
 
 Marsanes Carrillo 
 
 Adamasa Fuentes 
 
 Setar Morales 
 
 El Rey Assuero Sanchez 
 
 Un Capitan Carrillo 
 
 Mardoqueo Toledo 
 
 La Reyna Vasti 
 
 Ester S a Polonia 
 
 Selvagio Vicente 
 
 Sirena, labradora Clara 
 
 Musica Villaverde 
 
 Aman Rosales 
 
 In Act III the part of Marsanes is assigned to Antonio. This 
 is the company of Hernan Sanchez de Vargas. 
 
 360 
 
APPENDIX C 361 
 
 La buena Guarda 6 la Encomienda bien guardada (1610) 
 
 Lope de Vega. Autog. MS. dated at Madrid, April 16, 1610, 
 formerly in the possession of the Marquis Pidal. 
 
 Personas del P° Acto : 
 
 Leonarda Catalina [de Valcazar] 
 
 Dona Luisa Mariana [de Herbias?] 
 
 Un Escudero [Martin de ?] Vivar 
 
 Don Juan Luis 
 
 Don Luis [Pedro de] Espana 
 
 El hermano Carrizo, sacristan [Diego Lopez] Basurto 
 
 Felix, mayordomo [Alonso de] Olmedo 
 
 Dona Clara Maria de Argiiello 
 
 Dona Elena Catalina 
 
 Don Pedro, su padre [Luis de] Quinones 
 
 Ricardo, viejo Espana 
 
 Don Carlos Benito [de Castro] 
 
 Musicos 
 
 Hablan en el Segundo Acto : 
 
 Felix [Alonso de] Olmedo 
 
 Carrizo [Diego Lopez] Basurto 
 
 Dona Clara Maria de Argiiello 
 
 Un Angel Mariana 
 
 Una Voz Catalina Valcacer 
 
 Portera 
 
 Don Carlos Benito [de Castro] 
 
 Gines [Agustin] Coronel 
 
 Carrizo, fingido Vivar 
 
 Un pastor [Alonso de] Riquelme 
 
 Un huesped [Pedro de] Callenueva 
 
 ' Hablan en el 3 Acto : 
 
 Carrizo Basurto 
 
 Felix Olmedo 
 
 Tres bandoleros Coronel, Espana, Callenueva 
 
362 APPENDIX C 
 
 Liseno > ... Argiiello 
 
 Cosme}*" 7 ^ ' Luis 
 
 ( Catalina 
 
 Dos damas s T „' • „ 
 
 (.Jeronima 
 
 C Espafia 
 Dos S alanes i Luis 
 
 Dos musicos , 
 
 Dos nadadores •>,-,„ 
 
 i Callenueva 
 
 Don Carlos Benito 
 
 Un pastor Riquelme 
 
 Un Angel Mariana 
 
 Don Pedro Quinones 
 
 Gines Coronel 
 
 La hortelana Jeronima 
 
 La portera Catalina 
 
 Carrizo, fingido Vivar 
 
 Un platero Callenueva 
 
 This is the company of Alonso Riquelme. Comedias escogidas 
 de Lope de Vega, ed. Hartzenbusch (Bibl. de Jut. Esp.), Vol. Ill, 
 p. 326. 
 
 La Discordia en los Casados (1611) 
 
 Lope de Vega. Autog. MS. (Osuna) dated at Madrid, August 
 2, 161 1, with licenses to 1618. Paz y Melia, Catdlogo, No. 933. 
 
 Alberto Arellano. Soria 
 
 Aurelio Quinones 
 
 Musico Quinones 
 
 Personas del 3 Acto: 
 
 Cenardo Arellano. Soria 
 
 Panfilo Herrera 
 
APPENDIX C 363 
 
 El Bastardo Mudarra (161 2) 
 
 Lope de Vega. Autog. MS. signed at Madrid, April 27, 1612, 
 formerly in the possession of Sr. Olozaga. I have an excellent 
 photo-zincograph of it, published in 1886. 
 
 Personas del P° Acto : 
 
 Dona Alanbra Ana Maria 
 
 Gonzalo Bustos Cintor 
 
 Rui Velazquez Benito 
 
 Gonzalo Gonzalez Cintorico 
 
 The remaining characters are unassigned. The MS. contains 
 licenses to represent dated Madrid, May 17, 1612; Caragoca, 
 January 29, 1 61 3, and Antequera, May 13, 1616, and in 161 7. 
 
 La Dama boba (1613) 
 
 Lope de Vega. Autog. MS. (Osuna) dated at Madrid, April 
 28, 1 61 3. Paz y Melia, Catdlogo, No. 810. 
 
 Liseo, caballero Ortiz [de Villazan] 
 
 Leandro, caballero Almonte 
 
 Turin, lacayo [Baltasar de?] Carvajal 
 
 Octavio, viejo [Luis de] Quifiones 
 
 Miseno, su amigo [Juan de] Villanueva 
 
 Duardo Guebara 
 
 Laurencio Benito [de Castro] 
 
 Feniso, caballero [Manuel] Simon 
 
 Rufino, maestro [Pedro] Aguado 
 
 Nise, dama Jeronima [de Burgos] 
 
 Finea, su hermana Maria [de los Angeles?] 
 
 Celia, criada Isabel [Rodriguez?] 
 
 Clara, criada Ana Maria [de Ribero] 
 
 This is the company of Pedro de Valdes. Perhaps the "Isabel" 
 is Isabel de Velasco, who married Luis Quifiones in 1614. 
 
364 APPENDIX C 
 
 La Tercera de la Sancta Juana (1614) 
 
 Tirso de Molina. Autog. MS. inedited [since published by Sr. 
 Cotarelo], dated at Toledo, August 6, 1614. Catalogo, No. 3035. 
 I have a copy of this MS. made years ago. The cast is in Tirso's 
 hand. It was represented, apparently, by two companies. The 
 characters of the play are in the middle column : 
 
 Bernardo Don Luis [Luis de] Toledo 
 
 [Inigo de] Loaisa Cesar [Juan de] Montemayor 
 
 Diego Don Diego, viejo Cristobal 
 
 Nauarete Lillo [Antonio de] Sanpayo 
 
 Xpo. nfb Sr Montemayor 
 
 M" La Sancta M a de Morales 
 
 Lorenzo S. Laruel Ant" de Prado 
 
 Ana M a Aldonca . La S a Petronila[deLoaysa] 
 
 Peynado, pastor [Pedro] Aguado 
 
 Isabel Dona Ines 
 
 La S a Ana Maria [de Ulloa?] 
 
 Montemayor Crespo, pastor Aguado 
 
 Mingo, pastor . . [Cristobal de] S. Pedro 
 Berrueco pastor Juan Ximenez 
 
 2° Acto. Personas : 
 
 Don Luis Toledo 
 
 Aldonca la S rl Petronila 
 
 Don Diego S. Pedro 
 
 Lillo Sanpayo 
 
 D. Jorge Xpobal 
 
 Maria, monja la S ra Anna Maria 
 
 Dona Ines la dicha 
 
 Cesar Montemayor 
 
 Nfa Senora la S ra Petronila 
 
 El nino Jesus Sanpaico 
 
 El Angel Antonio del Prado 
 
 3° Acto. Personas de el : 
 
 D. Diego Alonso fre. [Alonso Fernandez de Guardo?] 
 
 D. Luis Toledo 
 
APPENDIX C 365 
 
 Lillo Sanpayo. Guardia 
 
 Crespo Aguado 
 
 Berrueco Ju° Ximenez 
 
 Mingo S. P° [i.e. San Pedro] 
 
 Cesar M te mayor 
 
 Dona Ynes Ana Cabello 
 
 La Santa M a de Morales 
 
 El Angel Antonio de Prado. Juan de Madrid 
 
 Nuestra Seriora la S a Petronila [de Loaysa] 
 
 Jesus Nino Sanpaico 
 
 Maria, monja la S a Ana Maria 
 
 Otra monja la S a Madalena [de Oviedo] 
 
 Una nifia Sanpaico 
 
 Un Alma Ju° Ximenez 
 
 En Toledo, a 24 de Agosto de 161 4 afios. 
 
 El Sembrar en buena Tierra (1616) 
 
 Lope de Vega. Autog. MS. in British Museum, dated Madrid, 
 January 6, 1616. It contains a license to perform, signed by 
 Tomas Gracian Dantisco on January 12, 1616. 
 
 Personas del P° Acto : 
 
 Don Felix [Cristobal] Ortiz [de Villazan] 
 
 Florencio Benito 
 
 Galindo, criado Sanchez 
 
 Dona Prudencia Eugenia [de Villegas ?] 
 
 Ynes 
 
 Celia Lugia 
 
 Elena 
 
 Fabio [Francisco Mufioz de la] Plaza 
 
 Felino [Antonio] Ramos 
 
 Don Alonso [Juan de] Valdivieso 
 
 Lizardo Herrera 
 
 Liseo Escruela[ ?] 
 
 Fidelio Ra 
 
366 APPENDIX C 
 
 Personas del 2° Acto: 
 
 Arseno Cemela 
 
 Otavio Ramon 
 
 Un escriuano Ramos 
 
 Un alguacil Plaza 
 
 The other characters are unassigned. 
 
 3° Acto : 
 Florencio Benito 
 
 The name of one of these actors once appears as Escruela, then as 
 Ceruela. This name is otherwise unknown. Escoriguela was a 
 well-known player. 
 
 Quien mas no puede (1616) 
 
 Lope de Vega. Autog. MS. dated at Madrid, September i, 
 1616, in the possession of Mr. John Murray. 
 
 Personas del P° Acto : 
 
 Ramiro, Rey de Nauarra Zancado 
 
 Don Beltran, criado suyo Bernardino 
 
 El Conde Henrriq Xpobal 
 
 Nufio, criado del Conde Ossorio 
 
 Dona Eluira, ynfanta Ana 
 
 Lucinda, donzella suya Francisca 
 
 Ordofio, Rey de Leon P° Zebrian 
 
 Laynez, criado del Rey Cuebas 
 
 Ynigo, criado del Conde el q bayla, Al° 
 
 Dona Blanca, herm" del Conde Maritardia 
 
 Personas del 2° Acto : 
 
 Dona Blanca 
 
 Don Ynigo 
 
 Celio Antonio 
 
 Laynez 
 
 Don Sancho Cuebas 
 
APPENDIX C 367 
 
 Don Arias Antonio 
 
 Lisis Francisca o Ana Mufioz 
 
 Riselo o Cuebas o Bernardino 
 
 Menandro Villanas el q bayle q no se el nonbre 
 
 Luzinda, El Conde Henrriq, Dona. Eluira, Nuno, Rey Ramiro, 
 Don Beltran, unassigned. In the third act only one character is 
 assigned : Estela to Francisca. 
 
 Las Paredes oyen' (161 7) 
 
 Juan Ruiz de Alarcon. D. Luis Fernandez Guerra, D. Juan 
 Ruiz de Alarcon, Madrid, 1 87 1, p. 257, says that the MS., appar- 
 ently an autograph, is preserved in the Osuna library. But be? 
 tween this date and 1882, when Rocamora published his Catalogue 
 of the Osuna manuscripts, it must have disappeared, for it is not 
 mentioned by Rocamora and never passed into the possession of 
 the Biblioteca Nacional. See ibid., p. 497. 
 
 Celia Dorotea [de Sierra] 
 
 D. Juan [Damian] Arias 
 
 Beltran Pedro de Villegas 
 
 Dona Ana Maria de Cordoba 
 
 Ortiz Frasquito 
 
 D. Mendo [Luis Bernardo de] Bobadilla 
 
 Lucrecia Maria de Vitoria 
 
 Conde Azua 
 
 Duque [Gabriel] Cintor 
 
 Escudero 
 
 Marcelo 
 
 Leonido Francisco de Robles 
 
 Un arriero Bernardino [Alvarez?] 
 
 Una musica Maria de Vitoria 
 
 Otro musico [Juan] Mazana 
 
 Otro musico Navarrete 
 
 La Guarda cuidadosa 
 
 Miguel Sanchez, el Divino. The comedia was first printed at 
 Alcala in 161 5. The manuscript from which the following cast is 
 
368 APPENDIX C 
 
 taken, and which was formerly in the Osuna collection, is now in 
 the Biblioteca Nacional. Paz y Melia, Catdlogo, No. I43 1 - ^ > s 
 of the early seventeenth century. See La Isla barbara and La 
 Guarda cuidadosa, two comedies by Miguel Sanchez (el Divino), 
 ed. by H. A. Rennert, Boston and Halle, 1896. 
 
 Trebacio Lorenzo [Hurtado ?] 
 
 Leucato Diego 
 
 Principe [Juan de] Montemayor 
 
 Roberto [Inigo de] Loaysa 
 
 Nisea Maria [de Jesus? de Vitoria?] 
 
 Arsinda Ana Maria [de Ulloa?] 
 
 Florela, labradora Isabelica 
 
 Ariadeno Navarrete 
 
 Fileno Mifiano 
 
 Florencio Bernardo 
 
 In a MS. comedia of the beginning of the seventeenth century, 
 Como a de usarse del Bien y a de preuenirse el Mai, existing in the 
 Biblioteca Palatina at Parma and described by Professor Restori in 
 Studj di Filologia Romanza, fasc. 15, Roma, 1891, p. 129, occur 
 the names of the following players: Sotomayor, Olmedo(?), Isa- 
 belica, Naba[rrete], La S a Bernarda, Tapia, Perez, and Loaysa. 
 This comedia, which was afterward published (Halle, 1899) by 
 Professor Restori with the title : 
 
 Los Guzmanes de Toral, 
 
 was written by Lope de Vega, and, as the title 1 occurs in the first 
 list of his Peregrino en su F 'atria, is prior to 1604. The third act 
 is in Lope's hand and has the following cast : 
 
 Rey Don Alfonso Sotomayor 
 
 Dona Greida M a 
 
 Don Payo Obredo [Olmedo?] 
 
 Dona Aldonza Isabelica 
 
 Tirso Trebino 
 
 Godinez, lacayo Naba[rrete] 
 
 Urgel Diego 
 
 Alvaro Olmedo 
 
APPENDIX C 369 
 
 Pascuala la S" Bernarda 
 
 Dona Ana de Haro Isabel b a 
 
 Don Garcia 
 
 Don Lope Diaz de Haro Diego 
 
 Sancho Manrique Diego 
 
 Verveco Tapia 
 
 Mireno Juanico 
 
 Soldado i° Tapia 
 
 Soldado 2° Juanico 
 
 Soldado 3 Perez 
 
 Alonso Ansurez Loaisa 
 
 El Desden vengado ( 1 6 1 7 ) 
 
 Lope de Vega. Autog. MS. signed at Madrid, August 4, 1617, 
 formerly in the Osuna library, now in the Biblioteca Nacional. 
 Paz y Melia, Catdlogo, No. 871. 
 
 El Conde Lucindo , Fadrique 
 
 Tomin, criado [Agustin] Coronel 
 
 Feniso Juan Jeronimo [Valenciano] 
 
 Roberto, caballero Juan de Vargas 
 
 Leonardo Cosme 
 
 Rugero, Rey de Napoles Juan Bautista [Valenciano] 
 
 Lisena, damn D a Maria [Coronel ?] 
 
 Celia, dama Manuela [Enriquez] 
 
 Evandro, su padre 
 
 Ynarda, criada Vincenta [de Borja?] 
 
 Schack, Nachtr'dge,. p. 46. This is probably the company of 
 Juan Bautista Valenciano. 
 
 El Martir de Madrid ( 1619) 
 
 Mira de Amescua. Partly autograph, with a license to perform 
 dated 161 9. Paz y Melia, Catdlogo, No. 2029. There are other 
 licenses as late as 1 641. 
 
 Alvaro Ramirez Jusepe 
 
 D. Fernando Lorenzo [Hurtado] el autor 
 
370 APPENDIX C 
 
 La infelice Dorotea (1620) 
 
 Andres de Claramonte wrote it for Juan Bautista Valenciano. 
 Sanchez-Arjona, Anales del Teatro en Seville p. 214. MS. copy 
 in the Biblioteca Nacional. Paz y Melia, Catalogo, No. 1594- 
 
 D. Garcinunez Fadrique 
 
 El Rey Juan Jeronimo [Valenciano] 
 
 D. Fernando Juan Bautista [Valenciano] 
 
 Nuno de Lemos Andres [de Claramonte?] 
 
 Arnao [Agustin] Coronel 
 
 Solano Miguel 
 
 Layn [Cristobal de?] Avendano 
 
 Mendo Jusepe 
 
 Teodora S' Maria [Candau?] 
 
 Dorotea S a Manuela [Enriquez] 
 
 Leonor S™ Maria de los Angeles 
 
 D. Juan Manuel de Coca 
 
 Amor, Pleito y Desafio (1621) 
 
 Lope de Vega. Autog. MS. dated at Madrid, November 23, 
 1 62 1, with a license of January 14, 1622. Formerly in the Duran 
 collection and now in the Biblioteca Nacional. Catalogo, No. 171. 
 
 D. Alvaro de Rojas [Pedro] Maldonado 
 
 D. Juan de Padilla Lorenzo Hurtado 
 
 D. Juan de Aragon Francisco Trivino 
 
 El Rey Alfonso Juan Bautista [Valenciano] 
 
 Dona Beatriz la Senora Angela [de Toledo ?] 
 
 D a Ana la S ra Francisca de Soria( ?) 
 
 Martin, escudero Antonio Rodriguez 
 
 Tello, criado Vicente 
 
 Sancho, criado Pedro de Valdes 
 
 Leonor la Senora Jeronima [de Burgos] 
 
APPENDIX C 371 
 
 La nueva Victoria de D. Gonzalo de Cordoba (1622) 
 
 Lope de Vega. Autog. MS. in the Biblioteca Nacional, dated 
 at Madrid, October 8, 1622. Catalogo, No. 2409. 
 
 Lisarda, dama la S ra Manuela [Enriquez] 
 
 Fulgencia, criada S ra Ana 
 
 D. Juan Ramirez Fadrique 
 
 Bernabe, lacayo [Agustin] Coronel 
 
 EI Capitan Medrano Cosme 
 
 Estevan, criado Jusepe 
 
 El Bastardo Juan Jeronimo [Valenciano] 
 
 El Obispo de Holstad [Juan de] Vargas 
 
 El Duque de Bullon Jusepe 
 
 D. Gonzalo de Cordoba Juan Bautista [Valenciano] 
 
 D. Francisco de Harras Manuel 
 
 El Baron de Tili Naruaez 
 
 Musico [Manuel] Simon 
 
 El Poder en el Discreto (1623) 
 
 Lope de Vega. Autog. MS. in the Biblioteca Nacional, dated at 
 Madrid, May 8, 1623. Paz y Melia, Catalogo, No. 2649. There 
 are two casts given in the MS. 
 
 Serafina, dama Maria Calderon Josef a [Vaca?] 
 
 Rosela, criada D" Isabel 
 
 Teodosio, Rey de Sicilia . . . Lezcano Bracamonte 
 
 Celio, de su camara Morales Arias 
 
 Alejo, criado de Celio Castro Trivino 
 
 El Conde de Augusta Suarez Morales 
 
 Flora, dama Mariana [Vaca] Mariana [Vaca] 
 
 The MS. contains a license dated 1624, and the company on the 
 right was in all probability that of Juan de Morales Medrano, in 
 which both his wife and his daughter Mariana appeared. My copy 
 gives the name "Bracamonte," not Vacamonte. 
 
372 APPENDIX C 
 
 Celos con Celos se cur an ( 1625) 
 
 Tirso de Molina. MS. copy, formerly in the Osuna collection, 
 now in the Biblioteca Nacional. Paz y Melia, Catalogo, No. 563. 
 It contains licenses dated 1625. There are two casts: 
 
 Cesar [Cristobal] de Avendafio Gutierrez 
 
 Carlos Viera Segobia 
 
 Gascon Bernardo Matias 
 
 Sirena Maria de Montesinos . . Juana de los Reyes 
 
 Diana Catalina Moreno Ines 
 
 Marco Antonio Lezcano Francisco Alonso 
 
 Alejandro [ ?] Juan Alonso 
 
 Narcisa M a Candau Luisa 
 
 Un grande chico [Bait.] Moreno [ ?] 
 
 Un jardinero Ordonez Marcos 
 
 The first of these companies seems to be that of Cristobal de 
 Avendafio about the year 1632. 
 
 El Brasil restituido (1625) 
 
 Lope de Vega. Autog. MS. dated at Madrid, October 23, 1625, 
 now in the Lenox Library, New York. 
 
 Personas del P° Acto : 
 
 Dona Guiomar M a de Vitoria 
 
 Don Diego [Gabriel?] Cintor 
 
 Bernardo Bernardino [Alvarez?] 
 
 Laurencio [Juan] Antonio 
 
 Leonardo [Luis Bernardo de] Bobadilla 
 
 El Coronel de Olanda Arias con barba Frangesa 
 
 Alberto, su hijo El Spir santo del Auto 
 
 El Gobernador El Autor 
 
 Machado Pedro [de Villegas?] 
 
 La Monarquia de Espafia 
 
 Ongol 
 
 Darin 
 
 Soldados 
 
 El Brasil Maria de Cordoba 
 
APPENDIX C 373 
 
 Personas del 2° Acto : 
 
 La religion Catolica Dorotea [de Sierra] 
 
 El Brasil La Autora 
 
 D. Manuel de Meneses Musico 
 
 D. Fadrique de Toledo Arias 
 
 Leonardo Bobadilla 
 
 Machado Pedro 
 
 D* Guiomar M" de Vitoria 
 
 D. Juan de Orellana [Juan] Mazana 
 
 D. Diego Ramirez 
 
 El Coronel electo Bernardino 
 
 Don Enrique de Alagon Cintor 
 
 Don Diego de Espinosa Antonio 
 
 Don Pedro de Santisteban .... fr c0 de rro [Francisco de Robles?] 
 
 Apolo Arias 
 
 La heregia M" de Vitoria 
 
 Un soldado el nino 
 
 This is probably the company of Andres de la Vega. See my 
 article in the Mod. Lang. Review for January, 1906, p. 108. 
 
 El piadoso Aragones (1626) 
 
 Lope de Vega. Autog. MS. dated at Madrid, August 17, 1626, 
 now in the Biblioteca Nacional. Paz y Melia, Catdlogo, No. 2607. 
 Licenses of Madrid, September 15, 1626; Zaragoza, 1627, and Lis- 
 bon, 1 63 1. 
 
 Almirante Vicente 
 
 D. Bernardo [Pedro ?] Jordan 
 
 D. Pedro Agramonte Quadrado 
 
 Alcalde Lorenzo 
 
 These names are crossed out, and the following are added : 
 
 D. Pedro Agramonte Felipe 
 
 Bernardo Jordan 
 
 Raymundo de Luna Mateo 
 
 Mendoza Tapia 
 
374 APPENDIX C 
 
 Musico Leon 
 
 D. Juan de Beamonte Max" 
 
 El Favor en la Sentencia ( 1626) 
 
 Jacinto Cordeiro. Autog. MS. in the Biblioteca Nacional. Paz 
 y Melia, Catdlogo, No. 1242. Written for Bartolome Romero. 
 
 Porcia la Autora [Antonia Manuela Catalan] 
 
 Arminda Dorotea 
 
 Rey Estrada[ ?] 
 
 El Principe [Gabriel] Zintor 
 
 Conde [Alonso de] Osuna 
 
 Rosando Autor [Bartolome Romero] 
 
 D a Linda Micaela 
 
 Gascon Tomas [Enriquez?] 
 
 Sanchez- Arjona, Anales, p. 272. 
 
 Amor con vista (1626) 
 
 Lope de Vega. Autog. MS. signed at Madrid on December 10, 
 1626. Licenses to perform in Madrid, of 1627, and in Lisbon, 
 1630. In the Biblioteca Nacional. Paz y Melia, Catdlogo, No. 
 149. 
 
 El Conde Otabio Autor [Antonio de Prado] 
 
 Tome, criado suyo [Luis Bernardo de] Bobadilla 
 
 Celia M a de Calderon [this is crossed out] Vitoria 
 
 Lisena Autora [Mariana Vaca de Morales] 
 
 2° Acto : 
 Julio Jeronimo 
 
 Sin Secreto no ay Amor (1626) 
 
 Lope de Vega. Autog. MS. signed at Madrid, July 18, 1626, 
 with licenses to perform of Madrid, August 2, 1626; Zaragoza, 
 October 13, 1626, and Granada, April 28, 1630. British Museum. 
 Published by me, Baltimore, 1894 (Mod. Lang. Assoc). 
 
 Celio Tapia 
 
 Fabricio Jeronimo 
 
APPENDIX C 375 
 
 Del Monte sale quien el Monte quema (1627) 
 
 Lope de Vega. Autog. MS. signed at Madrid, October 20, 
 1627. Licenses of Madrid, May 17, 1628; Valencia, September 
 28, 1628; Granada, October 1, 1636. In the Biblioteca Nacional. 
 Catalogo, No. 848. 
 
 El Conde Henrrique Arias 
 
 Feliciano Jusepe 
 
 Narcisa, labradora S ra Maria de Heredia 
 
 Tirso, villano Heredia 
 
 Juana, labradora S ra Catalina [de Medina ?] 
 
 Celia, dama S ra Ana Maria [de Ulloa?] 
 
 Clara, criada S ra Francisca 
 
 El Rey de Francia [Francisco de] Salas 
 
 Mauricio, Gobernador [Juan de] Montemayor 
 
 El Marques Roselo S r Marcos. Rueda 
 
 Leonelo, Capitan Alvarez 
 
 The names Valdes, Mencos, and Francisca also occur. 
 
 La Conpetencia en los Nobles (1628?) 
 
 Lope de Vega. MS. in the British Museum with corrections 
 supposed to be in the hand of Lope. 
 
 Acto 2°: 
 
 D. Juan [Juan] Antonio 
 
 D. Pedro [Manuel] Simon 
 
 Hernando Autor 
 
 Guzman Canobas 
 
 Don Luis Damian [Arias ?] 
 
 Don Diego Luis de Salacar 
 
 El Rey Nabarrete 
 
 Beltran Saqedo 
 
 Dona Juana Ana de Moya 
 
 Dona Maria Catalina [de Peralta?] 
 
 Leonor su muger de Nabarrete 
 
 Toreadores Marcos y Grajales 
 
 According to the suelta of this comedia, it was first represented 
 by Tomas Fernandez. It was in the repertory of the companies 
 
376 APPENDIX C 
 
 of Rueda and Ascanio in 1638-40. See Rosell, Entremeses de 
 Benavente, Vol. I, p. 377. 
 
 La gran Columna fogosa (1629?) 
 
 Lope de Vega. MS. copy in Biblioteca Nacional. Paz y Melia, 
 Catdlogo, No. 1412. The MS. contains original licenses dated at 
 Plasencia, 1629. 
 
 El Enperador Valente, ereje Al° Gomez 
 
 Pretoriano, ereje P° Goncalez 
 
 Agustulo, ereje Dominguez 
 
 Posidonio, ereje .Domingo Hernandez 
 
 San Basio, Obispo Fernando Lopez 
 
 Eraclio, cauallero biejo Gaspar Serrano 
 
 Antonia, hija de Eraclio Antonio 
 
 Sabina, criada de Ant" Martin 
 
 Patricio P° de Bonilla 
 
 Un encantador Diego Lopez 
 
 Satan Juan Martinez 
 
 Otro demonio Diego Lopez 
 
 Emerencio, biejo Diego Lopez 
 
 Leonicio, criado Juan Martinez 
 
 Fulbino, criado Domingo Hernandez 
 
 Telemarco Francisco Rodriguez 
 
 Decio, criado Luis 
 
 Un hebreo Dominguez 
 
 El Castigo sin Venganza ( 1 63 1 ) 
 
 Lope de Vega. Autog. MS. dated at Madrid, August I, 1631, 
 in the Ticknor Library, Boston. See my article, "Ueber Lope de 
 Vega's El Castigo sin Venganza" in Zeitschrift fiir Rom. Phil., 
 1901, p. 411. 
 
 El Duque de Ferrara Autor [Manuel Vallejo] 
 
 El Conde Federico Arias 
 
 Albano 
 
 Rutilio 
 
 Floro 
 
 Luzindo 
 
APPENDIX C 377 
 
 El Marques Gonzaga [Francisco de] Salas 
 
 Casandra Autora [Maria de Riquelme] 
 
 Aurora Ber[nar]da 
 
 Lucrezia Geronima [de Valcazar] 
 
 Batin [Pedro Garcia] Salinas 
 
 Cintia Maria de Ceballos 
 
 Febo y Ricardo 
 
 The Bernarda mentioned above is probably Bernarda Ramirez 
 de Robles. 
 
 Peligrar en los Remedios (1634) 
 
 D. Francisco de Rojas Zorrilla. MS. partly autog. in Biblioteca 
 Nacional. Paz y Melia, Catalogo, No. 2552. At the end, in the 
 hand of Rojas: "Finished on Saturday, December 9, 1634, Ior 
 Roque de Figueroa." 
 
 La Duquesa Violante la Senora Isabel [Blanco ?] 
 
 Celia, criada Bernarda [Ramirez?] 
 
 Bojeton, criado [Francisco] Tribino 
 
 Conde Federico [Manuel] Coca 
 
 El Almirante de Sicilia Paz 
 
 El Marques Alberto, privado Roque [de Figueroa] 
 
 El Rey de Napoles Sigismundo Francisco de la Calle 
 
 Carlos, su hermano Jacinto Varela 
 
 Infanta de Sicilia Maria de San Pedro 
 
 Duque Conrado Bargas 
 
 La Desdicha de la Voz (1639) 
 
 Calderon. Autog. MS. dated at Madrid, May 14, 1639; with 
 licenses of June 1 and November 3, 1639. In the Biblioteca 
 Nacional. Paz y Melia, Catalogo, No. 873. 
 
 Don Juan Pedro Manuel de Castilla 
 
 Don Pedro el Autor [Antonio de Rueda] 
 
 Don Diego [Diego de] Leon 
 
 Don Luis, viejo Jusepe [de Carrion] 
 
 Feliciano Pedro [Ascanio] 
 
378 APPENDIX C 
 
 Luquete [Diego] Ossorio 
 
 D* Beatriz Ma. de [Heredia] 
 
 Schack, Nachtrdge, p. 87. This is the company of Antonio de 
 Rueda. 
 
 A un tiempo Rey y Vasallo (1642) 
 
 Comedia de Luis de Belmonte Bermudez, del Dr. Manuel Anto- 
 nio de Vargas y de D MS. of the first act in the hand of 
 
 Vargas and nearly the whole third act in the hand of Belmonte. 
 See Paz y Melia, Catdlogo, No. 19. The author of the second act 
 is probably Geronimo Cancer; v. Stiefel, in Ztft. fur Roman. 
 Philol., XXXII, p. 486; Sanchez-Arjona, Anales, p. 295. 
 
 Rey de Sicilia Inigo 
 
 Duque de Calabria Francisco Garcia 
 
 Almirante Mejia 
 
 La Infanta Beatriz la S ra Maria de Jesus 
 
 Belisarda, labradora Jusepa de Salazar 
 
 Silena S ra Antonia de Santiago 
 
 Laura, dama Jusepa Roman 
 
 Pasquin, gracioso Bernardo 
 
 Julio, cr'tado Salvador 
 
 Principe, 7 anos S ra Francisca Berdugo 
 
 This is the company of Pedro de la Rosa. This play was written 
 for Juana de Espinosa, then (1642) the widow of Tomas Fernan- 
 dez, and the manager of a company. 
 
 La belligera Espanola (?) 
 
 Pedro Juan de Rejaule y Toledo (who wrote under the pseudo- 
 nym Ricardo de Turia). MS. copy in the Palatina at Parma, 
 belonging to the early seventeenth century. The play was first 
 printed in the Norte de la Poesia espanola, at Valencia, in 1616, 
 a copy of which I possess. See A. Restori in Studj di Filologia 
 Romanza, fasc. 15, Roma, 1891, p. 92. 
 
 Guacolda la S ra Ana Maria 
 
 D* Mencia la S™ Juana [de Espinosa? or de Segura?] 
 
 D. Pedro Tomas Fernandez 
 
 Lantaro Aldana [Aldama?] 
 
APPENDIX C 379 
 
 Rengo Simon Gutierrez 
 
 Valdiuia Pedro Maldonado 
 
 Laupi y Aluarado Villanueva 
 
 Rauco Lastra 
 
 Pillan y Bouadilla Barco 
 
 Gracolano y ofro Indio mocp Aranda 
 
 Paciencia en la Fortune ( ?) 
 
 Anonymous. Copy of the first half of the seventeenth century 
 in the Biblioteca Palatina at Parma. See Restori, ibid., p. 143. 
 The names of the actors are : 
 
 Luis de Estrada, Carlos, Juan Goncalez, Pedro Perez, Cuebas, 
 Nabarete, Berio, Belasco, Caceres, Barionuebo, and Juan Mazana 
 (added in a different hand). 
 
 Troya abrasada (1644) 
 
 Calderon. Autog. MS. in the Biblioteca Nacional, Madrid. 
 Paz y Melia, Catalogo, No. 337 1. 
 
 Paris Pedro Manuel 
 
 Hector -. D" Veatriz 
 
 Priamo 
 
 Rey de Troya, varba Juan Matias 
 
 Casandra Maria Macana 
 
 Elena Autora 
 
 Ismenia, criada Jusepa 
 
 Achiles Najara 
 
 Sinon Francisco Albarez 
 
 Menelao, Rey de Esparto Mexia 
 
 Agamemnon, Rey de Atenas Juan Antonio 
 
 Un criado de Ector 
 
 Viznaga Marin 
 
INDEX 
 
INDEX 
 
 Abadia, Juan de la, 161, 162 
 Acacio, Juan, 52, 53, 63, 133, 221 
 Academia degli Intronati, 22 and n. 1 
 Actors and Actresses: dissoluteness 
 of the latter causes women to be 
 banished from the stage, 145 ; 
 number of actors in a company, 
 145, 146 ; actors in Moliere's com- 
 pany, 145, n. 3 ; actors take several 
 parts. 146; hardships of the pro- 
 fession, 159; Rojas's account of, 
 159-160; Cervantes on, 160; ac- 
 tors in France, 160, n. 2; addicted 
 to gambling, 164-165 ; account of 
 his adventures related by Rojas, 
 166-169; actors sometimes patched 
 up plays, 171-172; they ill-treat 
 the poetasters, 172-173 ; engaged 
 at Shrovetide, 181; the salaries 
 of actors, 1 81-188; actors from 
 Madrid visit Valencia, 193-194; 
 Spanish actors in Paris, 170, n., 
 339-341 ; character of actresses, 
 206-207 ; women forbidden to act, 
 207; forbidden on the stage in 
 i6i3(?), 220, n. 2; when actresses 
 may be visited, 246 ; the Partidas 
 of Alfonso on actors, 254; with- 
 out civil rights in France, 254; 
 the profession of acting, 255; un- 
 der the ban of the church, 256- 
 257; their general bad character, 
 266-267; celebrated actresses, 
 268-269; temptations of, 269- 
 270; Madame d'Aulnoy on, 270; 
 anonymous writer on, 270, n. 2 ; 
 visit other countries, 339-341 
 Admission to the theater, price of, 
 
 112-115 
 Adultera (La) penitente, 198 
 Adulterio (El) de la Esposa, 177, 
 
 n. 1, 307, n. 
 Adiiersa (La) Fortuna de Rui Lo- 
 pez de Avalos, 196 
 Aerssen, Francis van, 99, 319; his 
 account of autos and comedias, 
 324-328 
 
 Afectos de Odio y Amor, 198 
 Aguado, Andres, 40, n. 1 
 Aguilar, Francisco de, 83, n. 
 Alarcon, Juan Ruiz de, 84, n. 2, 
 
 89, n., 93, n. 3, 94, n. ; prologue to 
 
 his Comedias, 117; 180, 186, 226, 
 
 n. 1, 232, n., 341 
 Alcaraz, Diego Lopez de, 107, 109, 
 
 n., no, 165, 214, 215, 221-229 
 Alcayde (El) de si mismo, 86, 87, 
 
 89 
 Alcazar, royal palace, 230; theater 
 
 in, 230; representations in, 237 
 Alcina, opera, 331 
 Alcocer, Fr. Francisco de, 259 
 Alcozer, Juan de, 299 
 Aldea Gallega, 155 
 Alegria, Francisco de, 41, 204, 205 
 Alenian, Mateo, 154, n. 
 Alemana (La), dance, 74, n. 2 
 Alexander VI., Pope, 256, n. 2 
 Alfonso the Learned, his Siete Par- 
 tidas, 4, n. 1, 252-253, 254 
 Algunas Hazanas de D. Garcia 
 
 Hurtado de Mendoza, 180 
 Allen, H. Warner, 121, n. 2, 129, 
 
 n. 2 
 Alleyn, Edward, no, n. 1 
 Almenas (Las) de Toro, 268 
 Almenda, Antonio de, 68, n. 2 
 Almonacid, Diego de, 50, 55, 57 
 Almonacid, Diego de (el mozo), 57 
 Alvarez, Luis, 184 
 Alvarez de Vitoria, Francisco, 223 
 Amante (El) agradecido, 93, n. 3 
 Amantes (Los) de Teruel, 199 
 Amar como se ha de amar, 186 
 Amelia, Juan Jeronimo, no, n. 2, 
 
 193 and n. 8, 223 
 Amor con Vista, 165, n. 
 Amor, Pleito y Desafio (Lope de 
 
 Vega), 236 
 Amor (El) vandolero, 94, n. 1 
 Anaya, Maria de, 340 
 Andaluces, Los, 150, n. 
 Andreini, Virginia, 269, n. 2 
 Angeles, Maria le los, 63, 268 
 
 383 
 
384 
 
 INDEX 
 
 Angulo, Juan de, 183, 184, n. 1 
 
 Animal (El) de Ungria, 95, n. 4 
 
 Antonia Infante, 127, 188, 292, 294 
 
 Antonia Manuela, 155, 186 
 
 Antonozzi, Maria, engineer, 243, n. 
 
 "Apariencias," 52, 80, 97-98 
 
 "Appearances," 98, 99 
 
 Aranjuez, representations at, 238 
 
 Araucana (La), 297, n. 
 
 Arauco domado, 90 
 
 Arbeau's Orchesographie, 74, n. 2 
 
 Arcadia (La), 176 
 
 Archduchess Margaret, Queen of 
 Philip IV., 211; comedias repre- 
 sented before, 230-231 
 
 Archer, William, 91, n. 2 
 
 Argensola, Lupercio Leonardo de, 
 261, 262 
 
 Arias de Penafiel, Damian, 202, 
 223 ; greatest of actors, 267 
 
 Ariosto, his comedias represented in 
 Spain, 21 
 
 Armona, Antonio, 36, n. 2, in, n. 3 
 
 "Arte nuevo de hacer Comedias, 
 105, 287, 288 
 
 Artieda, Andres Rey de, 79, n. 1 
 
 Asalto (El) de Mastrique, 84, n. 1 
 
 Ascanio, Pedro de, 188, 190, n. 2, 
 194,223,285 
 
 Audiences in the corrales, 117; mo- 
 rality of, 120-121 ; in France, Ger- 
 many, and Italy, 120-121 ; ap- 
 proval of, indicated by shouting 
 Victor! 121-124; enter without 
 paying, 124-126; ruffianism of, 
 125-130; show disapproval by 
 hissing, etc., 279; account of Lo- 
 pez Pinciano, 333-334; account 
 of Juan de Zabaleta, 334-338 
 
 Aulnoy, Countess of, 99, 121, 239, 
 n. 2, 270 and n. 2, 330, 331-333 
 
 Auto de San Martinho, 7, n. 1, 
 48, n. 1 
 
 "Autor de Comedias," meaning of, 
 9> 32. 33. n - 1, 169-170; dishonest 
 practices of, 173-174; become 
 members of other companies, 190 ; 
 sums received for a performance, 
 194-197; guaranteed an ayuda 
 de costa, 199; amount received for 
 representing an auto, 200-202; 
 autor es between 1600 and 1603, 
 214; number limited to eight by 
 the decree of 1603, 215-216; 
 autores between 1603 and 1615, 
 216; twelve permitted by decree 
 of 161 5, 220; autores between 161 5 
 and 1640, 223 ; appointed to rep- 
 
 resent autos, 300, 302; when au- 
 tos were represented, 3°3 _ 3°5> 
 number of autos represented, 303- 
 304; amount received for repre- 
 senting autos, 305-30* 
 
 Autos, earliest, 6; represented by- 
 guilds, 7; representations in the 
 sixteenth century, 23, 24; mean- 
 ing of auto, 48, n. 1 ; Auto de la 
 Ungion de David, 65, n. 1 ; Auto 
 de Santa Maria Egipciaca, 80 
 
 Autos, Farsas, etc., Coleccion de, ed. 
 Rouanet, 7, n. 2, 10, u. 3, 65, n. i, 
 287, n. 2 
 
 Autos Sacramentales, earliest, 7, n. 
 1 ; distinguished from autos, 7, 
 n. 1 and 2, 9; at Toledo in 
 1580, 10; represented in the 
 corrales of Seville, 53; apa- 
 riencias in, 97, 98; costumes for, 
 107—108 ; four represented annu- 
 ally in Madrid, 177, n. 1; autos 
 written by Lope de Vega, 177, 
 n. 1 ; amount paid for, 177, n. 1 ; 
 sums paid for representing an 
 auto, 200-202; represented be- 
 fore Philip III., 231; again pre- 
 sented after the death of Prince 
 Baltasar, 248; opposition of the_ 
 church to, 261-266, 316; the rep- 
 resentation of autos, 297-312; 
 suppressed by Charles III, 297, 
 n. ; earliest autos represented 
 in Madrid, 299 ; Job, Santa Cata- 
 lina, La Pesca de S. Pedro, La 
 Vendimia Celestial, El Rey Bal- 
 tasar, 299; description of the 
 autos Job and S a Catalina, 301 
 and n. ; four represented annu- 
 ally in Madrid, 302; autos in 
 Seville, 304, n. 2, 305; amount 
 paid for representing, 305-306: 
 sums received bv dramatists for 
 writing, 306-307; the painting of 
 the carros, 308 and n. ; number of 
 carros, 309—310; stage for autos, 
 3 10-3 n; the properties, 3 1 1 ; dis- 
 order in representing autos, 313 ; 
 edict of the Bishop of Badajoz, 
 314-315 ; the Corpus procession in 
 Seville, 315; suppressed in 1765, 
 316; autos in the corrales, 317- 
 318; great expense of autos, 319; 
 sums paid to Calderon for autos, 
 321; contemporary accounts of 
 the representation of autos, 
 325 ff. ; account of Madame 
 d' Aulnoy, 332 
 
INDEX 
 
 385 
 
 Avendano, Cristobal de, 139, u. 1, 
 
 i93i '99, 223. 229, 234, 235, 301, 
 
 n, 305 
 Avendano, Francisco de, 19 
 "Aventuras del Bachiller Trapaza," 
 
 173, n. 
 Averiguador, El, 112, n., 237, n. 1; 
 
 249, n. 2 
 Avila, Diego de, 13, n. 3 
 Avila, Juan de, 41 
 Avisos and Anaies, 273 
 Avisos de Pellicer, 240, n. 4 
 \Ay Verdades! que en Amor, 98 
 Ayala, D* Elvira de, 49, 50, n. 1 
 Ayala, D. Gaytan de, 102 
 Ayamonte, Marquis of, 51, 53 
 Ayuso, Miguel de, 147 
 
 Badajoz, Bishop of, 314-315 
 Balbin, Domingo, 1S6, 200, 216, 231, 
 
 3°9. 3i7 
 Baltasar, Prince, 240; death of, 247; 
 
 248 
 Baltasara (La), 278, n. 2 
 Bances Candamo, Francisco de, 266, 
 
 n. 1, 276, n. 2 
 Baudot (Los) de Verona, 240, n. 4 
 Bapst, G., 65, n. 1, 101, 105, 106, 
 
 137. 138, 140 
 "Baptism of St. John," auto, 23 
 Barbieri, Nicolo (Beltrame), 140 
 Barcelona, festival of Corpus at, 4; 
 
 escarraman at, 73 
 Bargagli, Scipione, 22, n. 1 
 "Barquillos," 278 
 Barrera, D. Cayetano A. de la, 32, 
 
 "• 3. 79. n. 1, 235, 244, n. 3, 245, 
 
 n. 2, 288, n. 1 
 Barrio, Cristobal de, 150, n. 
 Barrionuevo, D. Jeronimo de, 
 
 Avisos, 243, n., 244, n. 2 
 Baschet, Armand, 29, n. 1, 142, n. 2 
 Bassompierre, Le Marechal de, 340, 
 
 n. 3 
 Bastidor =: wing of stage scenery, 
 
 92, n. 3, 97 and n. 
 Basto, Conde del, 180 
 Basurto, Diego Lopez, 184 
 Bayles, 69; distinguished from 
 
 Danzas, 69, n. 3 ; the Zarabanda, 
 
 70-71; various bayles, the Cha- 
 
 cona, Escarraman, etc., 72-73 ; 
 
 bayles antiguos, 74; Bayle del 
 
 Caballero de Olmedo, 70, n. 3 ; 
 
 Bayle de Jdcara, 125, n. 4; Bayle 
 
 de la Entrada de la Comedia, 
 
 126, n. 
 Bella (La) Aurora, 93, n. 3 
 
 Belligera (La) Espanola, 83, n. 
 
 Belmonte, Luis de, 180 
 
 Benzon, Luisa, 183 
 
 Berenger de Palaciolo, 4 
 
 Bernardo de Bovadilla, Luis, 223 
 
 Bertaut, Francois, 118, n. 3, 121 and 
 n., 328, 329 
 
 Bezon, Juan de, 186 
 
 Bezona, La — Ana Maria, 186 
 
 Bibbiena, Cardinal, La Calandra, 
 256 
 
 Blason (El) de los Chaves, 278, n. 
 
 Bocangel, D. Gabriel de, 232, n. 
 
 Bodas (Las) del Alma con el Amor 
 divino, 211 
 
 Bonilla y San Martin, A., 16, n. i, 
 71, n. 1 
 
 Booksellers, dishonesty of, 174 
 
 Borja, Vicenta de, 107 
 
 Bosberg, Sarah v., 140 
 
 Bourland, C. B., 18, n. 1 
 
 Boxiganga, the, 153 
 
 Boy Bishop (Obispillo), 127 
 
 Braones, Alonso Martin de, 290, n., 
 295, n. 2 
 
 Bravo, Pedro, 149 
 
 Buen Retiro, the, 238-239; repre- 
 sentations in, 239-243 ; visited by 
 the public, 240 
 
 Bulletin Hispanique, 10, n. 4, 28, 
 n. 2, 30, n. 2, 31, n. 2, 32, n. 1, 
 33. n. 5, 34, n. 1 and 2, 35, n. 1 and 
 2, 36, n. 2, 37, n. 2, 44, n. 2, 80, n., 
 107, n., no, n. 2, 141, n. 4, 163, 
 n. 3, 165, n., 177, n. 1, 202, n. 7, 
 203, n. 1, 204, n. 1, 215, n. 1, 231, 
 11. 1, 233, n. 2, 298, n. 3, 309, u. 2 
 and 3 
 
 "Bululu,'' the, 151 
 
 Burbadge, James, 34, n. 5 
 
 Burgalesa (La) de Lerma, 91, n. 1 
 
 Burgos, Antonio de, 68, n. 2 
 
 Burgos, Jeronima de, 194, 234, 258, 
 268 
 
 Burlador (El) de Sevilla, 90, 91 
 
 Burladora (La) burlada, 83, n., 84, 
 n. 1 and 2, 94, n. 
 
 Burlas (Las) de Pedro de Urde- 
 malas, 236 
 
 Burnyng Knight, the, 77 
 
 Caballero (El) del Fenix, 177, 11., 
 
 307, n. 
 Caballero (El) del Sol, 102 
 Caballeros (Los) nuevos, 190 
 Cabello, Ana, 185 
 Cabranes, Diego de, 259 
 Cabrera de Cordoba, Luis, in, 210, 
 
386 
 
 INDEX 
 
 n. 2, 2ii, n. 2, 214, n., 230 and 
 n. 1, 232, n. 2 
 Caida (La) de Faeton, 235 
 Calderon, Maria, 163-164 and n., 
 
 186, 189, 269 
 Calderon, D. Pedro, ix, 74, n. 2, 86, 
 87, 89, 90, 92, 118; El galan 
 fantasma, 118, n. 4; 174, n. 2, 177, 
 n., 197, 198, 199, 202, 226, n. 1, 
 232, n. ; Circe, 241 ; La Purpura 
 de la Rosa, 241 ; El mayor En- 
 canto Amor, 242; Los ires mayores 
 Prodigios, 242, 243, n., 244, n. 2; 
 writes the autos in 1645, 247; the 
 aulas of 1648, 248, 276, n. 2, 279; 
 writes saynetes, 294-295 ; autos, 
 311; autos written for various 
 festivals, 320; sums received for 
 them, 321; writes autos till 1681, 
 
 321. 34i ' . 
 
 Collar hasta la Ocasion, 32, n. 3 
 Calle, Francisco de la, 295, n. 3 
 Camacho, Alonzo Gonzalez, 64, n. 1, 
 
 187 
 "Cambaleo," the, 152 
 Cancionero Classense, 70 
 Candado, Luis, 125 
 Candau, Maria, 65, 193, 27T, n. 
 Caiiete, Manuel, 3, n., 7, n. i, 15, 16, 
 
 n. 1, 19, n. 3, 23, n. 3 
 Capellan (El) de la Virgen, 93, n. 1 
 Caramuel, J., on the comedia, 33, 
 
 n. 1 ; on scenery, 86, n. 1, 163, 
 
 n. 3 ; on actors, 267 and u., 268, 
 
 n. 3, 269 and n. 2, 279, n. 1 ; on en- 
 
 iremeses, 288, n. 2 
 Carlos V. en Francia, 278, n. 
 Caro, Rodrigo, 60 
 Carrillo, Jose, xiii 
 Cartwright, The Royal Slave, 99 
 Carvallo, Luis Alfonso de, 280, n., 
 
 286, n. 3 
 Casa con dos Puertas mala es de 
 
 guardar, 199 
 Casa (La) confusa, 71, n. 4 
 Casamiento (El) en la Muerte, 96, n. 
 Casamientos (Los) de Joseph, 177, 
 
 n., 307, n. 
 Casarse por defendor, 65 
 "Casas del Tesoro," theater in, in 
 Cascales, Francisco de, 227 
 Castigar por defender, 177 
 Castigo (El) en la Vanagloria, 195 
 Castigo (El) sin Fenganza, 163, n. 3 
 Castillo, Alonso del, 170-171 
 Castillo Solorzano, A. de, 173, n. 1 
 "Castradores," 120, 11. 
 Castro, Beatriz de, 147, n. 
 
 Castro, Francisco de, 185 
 
 Castro, D. Guillen de, 84, n. i, 119, 
 n. 1, 177, 180, 226, n. i, 34 1 
 
 Castro, Luis de, 150, n., 19S1 214 
 
 Castro, D. Pedro de, Archbishop of 
 Granada, 207, 211 
 
 Catalan, Juan, 63, 184, 223 
 
 Catherine, Princess, Duchess of Sa- 
 voy, 207 
 
 Cauallero (El) de Olmedo, dance, 
 70, n. 3 
 
 Cautela contra Cautela, 235 
 
 Cauteloso (Lo) de un Guante, 178 
 
 "Cazuela," the, 119, 128, 129, 130, 
 332, 337-338 
 
 Cebrian, Pedro, 194, 221 
 
 Celestina, tr. by Mabbe, 121, n. 2, 
 129, n. 2 
 
 Celos (Los) en el Caballo, 234, 236 
 
 Celos engendran Amor, 236 
 
 Centino, Alonso de, 12 
 
 Cerco (El) de Cordoba, 195 
 
 Cerezo de Guevara, Pedro, 147, 223 
 
 Cervantes, Miguel de, La Galatea, 
 13 ; his account of Lope de Rue da, 
 16-18; his plays Los Tratos de 
 Argel, La Destruycion de Numan- 
 cia, La Bat all a naual, 18, 20; his 
 Numancia, 21 ; El Retablo de las 
 Marairillas, 34, n. 1 ; Don Quixote, 
 45, n. 2, 62 and n., 75, n. 3, 98, 
 2 95> n - 3> 3 I2- 3 I 3! on dancing, 
 66 ; La gran Sultana, 66, 84, n. 3, 
 106, n. ; La Cueiia de Salamanca, 
 70, n. 3 ; La ilustre Fregona, 72, n. ; 
 El rufian Biudo, 68, n. 3, 72, n., 74 ; 
 El gallardo Espanol, Si, n. 1, 92; 
 La Casa de los Zelos, ibid.; on 
 curtains in the theaters, ,84; El 
 Rufian dichoso, 94, 146; Pearo de 
 Urdemalas, 95, n. 1, 160, n. 1; 
 Viage del Parnaso, 116, n. 5; 159, 
 El Licenciado vidriera, 160; the 
 Colloquio de los Perros, 172-173 ; 
 entremeses, 289, n., 290, n. 
 
 Chacona, the, 72, 73 
 
 Chambers, "The Medieval Stage," 
 127, n. 
 
 Chapman, J., 179, n. 
 
 Charles V., 23. See also under 
 Pragmatica 
 
 Chavarria, Andres de, 149 
 
 Chorley, J. R., 230, n. 
 
 Churchmen oppose the theater, 207 ff ., 
 255-261 
 
 Cirot, G., 263, n. 1 
 
 Cisneros, Alonso de, 28, n. 2, 32 and 
 n- 3, 34. 35, 43. 82, n., 131, 142, 
 
INDEX 
 
 387 
 
 154, n., 165, 193, 200, 202, 203, 
 n. 1, 211, n. 3 
 Cisneros, Juana de, 60 
 Claramonte, Andres de, 54, 81, 147- 
 
 149, 170, 174, 2 1 6, 221 
 Clavijo y Fajardo, D. Jose, 106 
 Cleraencin, Diego, editor of Cer- 
 vantes, 63, n. 1, 68, n. 2, 75, n. 2, 
 80, n., 98, 184, n., 243, n., 272, n. 
 , Cobaleda, Pedro de, 223 
 "Cobradores," 64, n. 4 
 Coello, Antonio, 91, n. i, 232 
 "Cofradia (La) de la sagrada Pa- 
 
 sion," 26 ff., 40 
 "Cofradia (La) de nuestra Senora 
 de la Soledad y Nifios expositos," 
 27 ff . ; they erect their own thea- 
 ters in the Calle de la Cruz in 
 1579 and in the Calle del Prin- 
 cipe in 1582, 33; they buy a site 
 in the Calle del Principe, 35, 36; 
 build a corral, description of, 39- 
 
 41 
 Coleman, Mrs. 139 
 Collaboration of dramatists, 180 
 Collier, J. Payne, 27, n. 1, 28, n. 1, 
 34. n- 5. 37, 39, n. 1, 43, n. 1, 
 44, n. 3, 70, n. 1, 99, no, n. 1, 
 132, n. 2, 255 
 Colloquio de los Perros, 172-173 
 Colloquio de Timbria, Colloquio de 
 
 Camila, 281 
 Comedia del Molino, 91, n. 1 
 Comedias, the term comedia defined, 
 274-275; the various kinds of 
 comedias, 275-277; the staging 
 of, 76-103; Rojas, "Loa de la 
 Comedia," 78-81; comedias de 
 santos, 80, 144, 275 ; comedias 
 de capa y espada, or comedias de 
 ingenio, 85,275-276; comedias de 
 teatro (de ruido or de cuerpo), 
 80, 86, 88, 275, 276; comedias de 
 apariencias , 109 ; comedias a no- 
 licia, comedias a fantasia, 275; 
 the price of a comedia, 177-178 ; 
 sums paid for performing a come- 
 dia, 194-197; comedias canceled 
 by order of the King, 198, 243 ; 
 opposition to the comedia, 207 ff . ; 
 no artisans permitted to visit the 
 comedia on work-days, 215, n.; 
 decrees regulating comedias, 
 208 ff.; decree of 1598, 209-210; 
 decree of 1600, 211-213; decree 
 of 1603, 215-216; decree of 1608, 
 216-220; decree of 1615, 220- 
 223 ; the comedia no longer flour- 
 
 ishing, 224; other measures en- 
 acted concerning comedias, 225, 
 n. ; comedias seldom acted in 
 some cities, 227 ; comedias repre- 
 sented before the King and 
 Queen, 230-246; death of Prince 
 Baltasar, the question of again 
 permitting comedias raised, 247 ; 
 conditions recommended, 247 ; 
 comedias again allowed to be 
 represented, 248; the petition of 
 1646-47 to reopen the corrales, 
 248-249; comedias resumed in 
 the King's palace, 249; to the 
 public, 250; comedias written by 
 a tailor of Toledo, 276, n. ; the 
 representation of a comedia, 277- 
 279 ; gratuitous representations, 
 ibid.; the licensing of comedias, 
 277 ; new comedias, 278, n. 1 ; 
 the Loa, 279-286; the first act 
 followed by an entremes, 286; 
 Lope de Vega on, 287-288; con- 
 temporary accounts of the repre- 
 sentation of comedias, 322 ft.; 
 decline of the comedia, 341 
 Comedias escogidas, Vol. I, 279, 
 Vol. XII, 88, n., Vol. XXIX, 
 181 
 Comedie Franchise, 101 
 Cornelia, his Cristobal Colon, 97 
 Comendadores (Los) de Cordoba, 
 92, 133, 156 
 
 Commedia(La)dell' arte," 29, n. 1, 
 3°, 44, 45 
 Como se enganan los Ojos, 234, 237 
 Companies of players, 145; number 
 in a company, 145 ; the company 
 of Moliere in 1658, 145, n. 3; 
 licensed in Spain, 146; companias 
 reales or de titulo, companias de 
 la legua, 146, 225 ; companias de 
 parte, 146-149; various smaller 
 companies as described by Rojas, 
 150-154; the compania, 153-154; 
 the traveling of companies, 154- 
 158; companies on the decline, 
 197-198; number of companies in 
 Spain, 225. See also under De- 
 crees 
 "Compania (La) espanola," 149, n. 3, 
 
 195 
 Conde (El) Alarcos, 195 
 Conde (El) de Sex, 91, n. 1 
 Conde (El) loco, of Morales, 79, n. x 
 Conde (El) Lucanor, 244, n. 
 Condesa (La) Matilda, 196 
 "Confidenti, I," 45, 46 
 
388 
 
 INDEX 
 
 "Confidentos italianos, Los," 142 
 and n. 2 
 
 "Conformes, Los," 129, n. ( 149, 196 
 
 Confusion (La) de un Jardin, 123, n. 
 
 Conquista (La) de Oran, 330, n. 
 
 Conquista (La) de Toledo, 180 
 
 Constancia (La) de Arcelina, 49 
 
 "Contra los Juegos piiblicos," 71, 
 n. 4, 293, 294, 298, n. 
 
 Contreras, D. Antonio de, 245 
 
 Coquette (La) ou le Favori, 65, n. 1 
 
 Cordoba, theater in, 192 
 
 Cordoba, Fray Gaspar de, an, 212, 
 n. 1, 213 
 
 Cordoba, Maria de (Amarilis), 185, 
 186, 189, 268 and n. 3, 271, n. 
 
 Corneille, Examen de Melite, 100; 
 Nicomede, 145, n. 3 
 
 Corpus Christi, festival of, insti- 
 tuted in 1264, 4; early celebra- 
 tions at Seville, 4; in 1538, 21 ; in 
 1563, 23 ; in 1570, 23-24, 48, n. 1 ; 
 dances at, 71-75 
 
 Corrales: — The corral es of Madrid : 
 the corral in the Calle del Sol, 
 the Corral of Isabel Pacheco, the 
 Corral of Burguillos, 27, 28; the 
 Corral de Puente, 28, n. 2, 30-33, 
 n. 4 and 5, 34; representations in, 
 as late as 1584, 34, 43, in; the 
 Corral de la Pacheca, 28, n. 2, 
 29; description of, 29-30, 31-33 
 and n. 4; the favorite playhouse, 
 35; the Corral del Principe, 30, 
 32, n. 3; building of, 36, 39-41, 
 42, n. 1, 43, 44, in; the Corral 
 de la Cruz, 30, n. 2; building of, 
 in 1579, 33 ff. ; first representation 
 in, 33; Ganassa appears in, 35, 
 41, 43 ; the Cruz and Principe the 
 only corrales after 1587, 43, in; 
 changes in 1631, 112, n.; the Co- 
 rral de Valdivieso, 31 ; represen- 
 tations in the corrales, when, 33 ; 
 representations suspended in 1581, 
 35 ; description of the corrales, 
 41-43 ; closed on account of the 
 death of Philip III., 54, 229; 
 music in, 62 ff. ; performances in, 
 when, in, 112; the price of seats, 
 113-115; two fees paid, 116; au- 
 diences in, 117; women visit the 
 corrales, 1 18-120; men enter 
 without paying, 124; ruffianism 
 in, 125-129; deadheads, 126; 
 closed during the summer, 133 ; 
 the rental of, 204; the corrales 
 reopened in 1621, 229; seats in 
 
 the corrales, 134-13* • c ' os * d on 
 account of the death of Queen 
 Isabel, 246; on account of the 
 death of Prince Baltasar, 247; 
 of Philip IV., 250; on account of 
 the pest in 1682, 251; the co- 
 rrales of Seville: the Corral de 
 D. Juan, 29, n. t, 47> 4-8, "3, 
 131; the Corral de San Pablo, 
 47, n. 2; the Coliseo del Duque 
 de Medina Sidonia, 47, n. 2; 
 the Corral de las Atarazanas, 
 47, 48, 49, 50; the Corral de 
 la Alcoba, 47, 48, 50; rent of, 
 in 1585, 205; San Pedro, 47, 51; 
 the Huerta de D a Elvira, 47, 49, 
 52; rental of, 53, 54; torn down, 
 59, 117, 125; the Coliseo, 48, 50; 
 construction of, 51-52; rental of, 
 53; destroyed by fire, 54; rebuilt, 
 54i 59> statistics concerning, 55- 
 57; again destroyed by fire, 60; 
 rebuilt, 61 ; La Monteria, 48, 57- 
 59; cost of, 59; rental of, 59, 60; 
 destroyed by fire, 61, 65, 97, n. 2, 
 125, 126, 128 ; the price of admis- 
 sion to the corrales, 115-116 and 
 n. 5, 117, 11.; men enter without 
 paying, 124-126; ruffianism, 128 
 and n., 129; plays viewed from 
 the housetops, 130; corrales closed 
 during summer, 133 ; visited by 
 players from Madrid, 192; the 
 number of representations in the D" 
 Elvira and the Coliseo from 1611 
 to 1 614, 203 ; rent of the Coliseo 
 in 1611, 205; the corrales closed 
 in 1646, 248; representations 
 again begun in the Coliseo in 
 1648, 248. Corrales in the Span- 
 ish colonies, 129, n. 
 
 Correa, actor, 19 
 
 Cortes (Las) de la Muerte, 312-313 
 
 Cortes, N. A., 10, n. i, n, 61, n. 2 
 
 "Cortesi, I," 44, n. 1 
 
 Cortinas, D a Leonor, mother of Cer- 
 vantes, 34 
 
 Co stanza, La, 32, n. 3 
 
 Coster, A., 49, n. 3 
 
 Costumes on the Spanish stage, 104- 
 105, 106 ; on the French stage, 105 ; 
 anachronisms in plays, 105 ; cos- 
 tume an indication of rank, 105, 
 n. 2; magnificence of costumes, 
 106-107 i great expense of, 107, 
 n. 3, 108; pawning of, no 
 
 Cotarelo y Mori, E., 10, n. 1, 11, 13, 
 14, n. 1, 16, n. 1, 71, n. 3, 73, 85, 
 
INDEX 
 
 389 
 
 n. 1, 106, 112, n. 1, 115, n - I < J 43> 
 163, n. 3, 193, 212, n. 1, 213, n-, 
 214, n., 216, n., 220, n. 1, 223, n., 
 226, n., 227, u., 256, u. 1, 251, n., 
 255, 256, 257-262, 290, n. 1, 295, 
 n. 3, 316 
 Council of Aranda, the, 253 
 Court performances, when, 11 1, n. 2, 
 
 230-246 
 Crawford, J. P. W., 23, n. 3, 290, n. 1 
 Creizenach, W., 21, 22, n., 115, n., 
 
 138, n. 2, 161, n., 277, n. 1 
 Crespi de Borja, 227 
 Croce, B., 33, n. 2 
 
 "Cronica de los hechos del Condes- 
 table Miguel Lucas de Iranzo," 
 141 
 Cruz, Fray Jeronimo de la, 264 
 Cruz, Ramon de la, 295 
 Cruzada Villaamil, Sr., 237 
 Cuebas, Francisco de las, 23, n. 3 
 Cueua (La) de Salamanca (Cer- 
 vantes), 70, n. 3 
 Cueva (La) de Salamanca (Alar- 
 con), 93, n. 3 
 Cueva, Juan de la, 13, 49 
 Cumplir con su Obligation, 122 
 Cunningham, F., 76 
 
 Dama (La) boba, 176, 268 
 Dama (La) Corregidor, 197 
 Dancers, Spanish, famous among 
 
 the Romans, 66 and n. 2; dances 
 
 at Corpus, 67-69 
 Dances, 71-75. See also under 
 
 Bayles 
 D'Ancona, Alessandro, 22, 44, n. 3 
 
 a °d 4. 45. 4«> n. h H°> "• 3, 142, 
 n. 2, 256, n. 2 
 "Danza de cascabel," 68 and n. 2 
 "Danza de espadas," 69, n. 2 
 Danza de la Muerte by Pedraza, 6, 
 7, n. 1 
 
 Danzas habladas," 75 
 Dar la Vida por su Dama, 232 
 Davenant's Siege of Rhodes, 139, 
 
 178 
 De Cosario a Cosario, 91, n. 1 
 "De Spectaculis," 262, 263, n. 
 Decrees regulating the theaters, 
 207; rescript of 1598, 207-210; 
 decree of 1600, 211-213; decree 
 of 1603, 215-216; decree of 1608, 
 216-220; decree of 1615, 220- 
 223 ; other measures enacted re- 
 specting the theaters, 225 ; decree 
 of 1615 a dead letter, 245 ; decree 
 of 1641, 245; decree of 1646-47, 
 
 249 and n. ; decree of 1653, 250 
 and n. 4; decree of 1665, 251 
 
 Degollado, El, 49 
 
 "Degollado," the, a fashion, 272, 
 n. 2 
 
 Dekker, Thomas, 64, n. 4, 178 and 
 n. 3 
 
 Delpino's Spanish Dictionary, 67, 
 n- 3, 75, n. 3 
 
 Desden (El) con el Desden, 123 
 
 Desdichado (El) en fingir, 84, n. 2 
 
 Despois, £., 66, n. 
 
 Despreciada (La) Querida, 234, 236 
 
 "Dia (El) de Fiesta por la Tarde," 
 334-338 
 
 Diablo (El) mudo, 202 
 
 "Dialogos de la Agricultura," 260 
 
 "Dialogos de las Comedias," 263 
 
 Diaz, Alonso, 79, 80 
 
 Diaz, Pedro, 79, 80 
 
 "Diccionario de Autoridades," 73, 
 n., 291, n. 4 
 
 Diez, Gaspar, 12 
 
 Dios hace Reyes, 229 
 
 Docteur (Le) amoureux, 145, n. 3 
 
 Doctor (El) Carlino, 124 
 
 Don Sancho el Malo, 236 
 
 Dona Ana, Queen, death of, 35 
 
 Dona Beatrix de Siliia, 85, n. i 
 
 Doors at back of stage, 85, n. 2, 
 and see under Staging 
 
 Dos Amantes (Los) del Cielo, 90 
 
 Dramatists, difficulties of, with 
 actors, 173-174; with booksell- 
 ers, 174; with literary pirates, 
 175-176; honorarium received 
 by them, 177-178; by English 
 dramatists, 178-180; collabora- 
 tion of, 180; morality of plays, 
 266, n. 2; sums received for an 
 auto, 306-307 
 
 Drayton, Michael, 178, n. 3 
 
 Dressing-room. See Vestuario 
 
 Dueno (El) de las Estrellas, 89, n. 
 
 Eliche, Marquis of, 198, 243, n. 
 Elizabethan Age, number of plays, 
 
 ix; morality of plays, 120 
 Embustes (Los) de Fabia, 87 and 
 
 n. 1 
 Encanto (El) sin Encanto, 92 and 
 
 n. 3 
 Encantos (Los) de Merlin, 79, n. 1 
 Enciso, Bartolome de, 307 
 Enciso, Diego Ximenez de, 276, n. 2 
 English actors in Germany, 114,11.; 
 
 trial performances, 277, n. 1 
 English court plays, 76-78 
 
39° 
 
 INDEX 
 
 English theaters, actors, etc. See 
 
 under London 
 Enredos (Los) de Benetillo, 132 
 Entr ernes de los Pare ceres, 119, n. 2 
 Entremeses, 69; definition of, 286; 
 entremesos in Valencia, 287 ; their 
 origin, 287 ; entremes de las Es- 
 teras, 287, n. 2; entremes de 
 Sebastian de Horozco, 287, n. 2; 
 the entremeses in Lope's Fiestas 
 del Santissimo Sacramento, 288; 
 in his Comedias, 288, n. 4; en- 
 tremeses cantados, 290; number 
 of entremeses to a comedia, 290 
 and n. 
 Enzina, Juan de la, 3, n., 13, n. 3, 
 
 256, n. 2 
 Escamilla, Manuela de, 198 
 Escamilla, Maria de, 198 
 Escarraman, the, 72, 73 
 Esclavo (El) del Demonio, 61 
 Escobedo, Juan de, 204 
 Escolastica (La) zelosa, 91, n. 1 
 "Escotado," a fashion, 247, n. 2 
 Escuelas (Las) de Athenas, 170-171 
 "Espana Sagrada," 127, n. 
 Espanola (La) de Florencia, 88 
 
 and n. 
 Espeyronniere, Antoine de 1', 138, 
 
 n. 2, 161, n. 
 Espinel, Vicente, 176, u. 1 
 Espinosa, Ana de, 127, 164 
 Espinosa, Cardinal, 26 
 Espinosa, Gabriel de, 223 
 Espinosa, Juan Bautista, 223 
 Espinosa, Juana de, 249, u. 2 
 Esquilache, Prince of, 240 
 Esquivel, Juan de, 68, n. 2 
 Estebanez, Alonso and Juan, 204 
 Estoile, Pierre de 1', Memoires, 340, 
 
 n. 1 
 Examen (El) de Maridos, 94, u. i 
 
 Fdckeux (Les), 65, n. 1 
 
 Fairet or Ferre, Marie, 138 and n., 
 
 161, n. 
 Fajardo, Ana, 187 
 "Farandula," the, 153 
 Farsas sacramentales, 8, n. 
 Favor (El) agradecido, 94, n. 1 
 Fe (La) pagada, 73, 83, n., 125, n. 
 Fi (La) rompida, 91, n., 92 
 Febvre, Mathieu le, called Laporte, 
 
 139 
 Fernandez, Lucas, 13, n. 3 
 Fernandez de Cabredo, Tomas, 184, 
 
 185, 187, 196, 201, 216, 221, 242, 
 
 272, 285, 317 
 
 Fernandez de Guardo, Alonso, 185 
 
 Fernandez Guerra, Luis, 81, m, 
 n. 3, 227, n., 229, n. 1 
 
 Ferrer, Padre Juan, on the Cha- 
 cona, 73 
 
 Festivals given by Philip IV., 233- 
 246 
 
 Fete (La) de I'Amour et de Bac- 
 chus, 241, n. 1 
 
 "Fiesta de los Carros," 9, 298 
 
 "Fiestas del Santissimo Sacra- 
 mento," 288, 289, 11., 290, n. 
 
 Figueroa, Roque de, n8, 120; ac- 
 count of, 163, 172 and n., 186, 
 190, 200, n., 223, 250, 286, 301, 11. 
 
 Fingida (La) Arcadia, 84, n. 2 
 
 Fingir y Amar, 123, n. 
 
 Fischmann, II., 66, n., 146, n. 
 
 Fitzmaurice-Kelly, J., 7 and n. i, 
 14, 48, n. i, 98, 141 
 
 Flaminia, Italian actress, 140 
 
 Fleay, E. G., 27, n. 1, 34, n. 5, 144, 
 n. 2, 255, n. 2 
 
 Fletcher, John, 38 
 
 Floridor, Josias, 139, 11. 1 
 
 Fontana, Julio Cesare, 238 and n. 1 
 
 Foulche-Delbosc, R., 328, n. 
 
 Francesquina, La (Silvia Ron- 
 cagli), 46 
 
 Francisca Maria, 147 
 
 French players in London, 139, n. x 
 
 French theater, the stage setting, 
 99—101 ; women on the stage, 138, 
 139 and n. ; actors, 160, n. 2, 254 
 
 Fuensanta (La) de Cordoba, 190 
 
 Fuente, Tomas de la, 141 
 
 Fuerca (La) del Interes, 83, n. 
 
 Fuerzas (Las) de Sanson, 308 
 
 Furness, Horace Howard, 74, u. 2 
 
 Galan (El) de La Membrilla, 176 
 Galan (El) Fantasma, 118, n. 4 
 "Gallarda, La," a dance, 74, u. 2 
 Gallardo (El) Espanol, 92 
 Gallardo, Bartolome Jose, 108, n., 
 
 245, n. 4, 263, n. 1 
 "Gallinero, El," 239, n. 2 
 Galvez, Isabel de, 198 
 Galvez, Jeronimo, 34, 35, 82, 11. 
 Ganar Amigos, 234 
 Ganassa, Alberto Nazeli de, 28, 
 n. 2, 29 and n., 30, 31, 32, 35 and 
 n. 1, 43-44, 48, 131, 141, 204 
 "Gangarilla," the, 152 
 Garcia, Alonso, 147 
 Garcia, Francisco (Pupilo), 198, 223 
 Garcia de Toledo, Francisco, 150 
 "Garduna (La) de Sevilla," 173, n. 
 
INDEX 
 
 39i 
 
 "Garnacha," the, 152 
 
 Garrick, David, 106 
 
 Gasque, Juan, 147 
 
 Gayangos, D. Pascual de, 16, n. 1, 
 
 68, n. 2, in, n. 1, 231, n., 266, n. 1, 
 
 276, n. 2, 323 
 "Gelosi, I," Italian company headed 
 
 by Ganassa, 29, n. 1 
 Gelves, Counts of, 49 and n. 
 Germany, women on the stage, 140 
 "Gigantones," 298 
 Gloria (La) de Niquea, 238 and n. 
 Gongora, D. Luis de, 64, n. 1 
 Gonzalez, Bernarda, 184, u. 
 Gonzalez, Gabriel, 204 
 Gonzalez, Jusephe, 183 
 Gonzalez, Matias, 204 
 Gonzalez, Sebastian, 149, 193, 223 
 Gonzalez Carpio, D a Juana, 41, 205 
 Gonzalez de Salas, J. A., 69, n. 3, 
 
 98, n. 2, 120, n. 1 
 Gonzalez Pedroso, E., 5, u., 7, n., 
 
 311 
 Gradas (Las) de San Felipe, 272, n. 
 Graf, Arturo, 256, n. 2 
 Gramont, Le Marechal de, 328, 329 
 "Gran Memoria," 175 
 Gran Sultana(La) , 66, n. 2, 84, n. 3 
 Granada, theater in, 191, n. 
 Granados, Antonio, 101, n. 3, 155, 
 
 183, 190, 215, 221 
 Granados, Juan, 32, 34, 35, 107, n., 
 
 202 
 Graxales, Juan de, 185 
 Greg, W. W., ix, 27, n. 1, 14, n. 3, 
 
 34, n. s, no, n. 1, 178, n. 3, 189, 
 
 n. 2, 277, n. i 
 "Guardainfantes," 247 
 Guevara, Luisa de, 64, n. 1 
 Guevara, Mariana de, 184, 185 
 "Guzman de Alfarache," 154, n. 
 Guzman, Getino de, 34 
 
 Halliwell-Phillipps, J. O., 27, n. 1 
 Hardy, Alexandre, 99, 170 
 Hartzenbusch, J. E., 93, 11. 3, 94, n., 
 
 134, n. 2, 180, n. 2, 228, n., 277, 
 
 n. 2, 294 
 Haywood, Thomas, A Woman 
 
 Killed •with Kindness, 179, n. 
 Hazanas (Las) del Marques de Ca- 
 
 nete, 236 
 Ilenslowe, Philip, 34, u. 5, 170 
 Henslowe's Diary, ix, 27, n. i, 34, 
 
 n. 5, 64, no, n. 1, 178, n. 3, 189, 
 
 n., 277, n. 1 
 Herbias, Jacinta de, 127, 164, 188 
 Herbias, Mariana de, 184 
 
 Heredia, Alonso de, 116, n. 5, 200, 
 
 216, 221, 231, 304, 309, 317 
 Heredia, Tomas de, 190, n. 2 
 Hermano (El) Francisco, 196 
 Hermosa (La) Alfreda, 177 
 "Hermosura (La) de Angelica," 233 
 Herrera, D. Fernando de, 49, n. 3 
 Herrera, Jacinto de, 180 
 Herrera, Maria de, 150 
 Herrera, Martin de, 13, n. 3 
 Herrera, Melchor de, 10, n. 4 
 Herrera, D. Rodrigo de, 42, u. 1 
 Herrera, D. Rodrigo de, dramatist, 
 
 177 
 Hija (La) del Aire, 237 
 Hi jo (El) de Reduan, 106, n. 
 Hijo (El) prodigo, 10 
 Hinard, Damas, 87, n. 1 
 "Hispania Illustrata," 108, n. 
 History of Felix and Philomena, 77 
 History of Sarpedon, 77 
 Horn (V) enamorat y la Fembra 
 
 satisfeta, x 
 Honorarium received by drama- 
 tists, 177-178 
 Honra (La) kurtada, 196 
 Horozco, Sebastian de, 8, n., 287, n. 2 
 Horses upon the stage, 79, 81 
 Hotel de Bourgogne, 99, 101 ; 
 women visit, 119, n. 3; rabble at, 
 121, n. 
 Hughes, Margaret, actress, 140, n. 
 Hume, Martin, 164, n. 1, 168, n., 
 
 238, n. 1 
 Hurtado de la Camara, Lorenzo, 
 
 no, 117, 223, 246, 286 
 Hurtado y Cisneros, D. Juan, 32, n.3 
 
 Imperial (La) de Oton, 93, n. 3 
 
 Infante (El) de Aragon, 234 
 
 Inocente (La) Sangre, 83 
 
 "Introito," the, 281 
 
 Ir y quedarse, 225 
 
 Isabel of Bourbon, first wife of 
 
 Philip IV., 237, 238, n. ; her death, 
 
 246 
 Isabel, Princess of Portugal, 23 
 Italian actresses in Madrid, 142, 
 
 143 
 Italian comedies in Spain, 21, 22 ; 
 
 comedy of Ariosto represented 
 
 at Valladolid, ibid. 
 Italian players in Spain, 30, n. 2, 
 
 44-45 ; in the Corral del Principe, 
 
 143. See also under Confident, 
 
 Cortesi, Ganassa, Gelosi, and 
 
 Muzio 
 "Italianos (Los) nuevos," 44 
 
392 
 
 INDEX 
 
 Jdcaras, 126, n. 2, 291-293, 298, n. 
 Jesus Maria, Fray Jose de, 262 
 Jimenez, Jusepe, 107 
 Jimenez de Valenzuela, Pedro, 195, 
 
 214 
 Job, auto, zoo 
 John of Austria, Don, 164 
 Jones, Inigo, 99 
 "Jornada, 286 and n. 
 "Journey into Spain," 324 
 Jovellanos, Melchor de, xi 
 Judit (La) Espahola, 236, n. 
 "Juegos de Escarnios," 252 
 Juicio (El) final, 320 
 Juvenal on Spanish dancers, 66, n. 2 
 
 Labrador (El) venturoso, 234, 235 
 Lamarca, Luis, x-xiii, 117, n., 193, 
 
 287 
 Lanini, Pedro Francisco, 70, n. 3, 
 
 126, n., 290, n. 1 
 Lara, Salvador, 65 
 Laura perseguida, 278, u. 
 "Laurel de Apolo," 241, n. 
 Lazarillo, 198 
 Leal (El) Criado, 277 
 Lee, Sydney, 38, 139 
 Lego (El) del Carmen, 196 
 Lemos, Conde de, 71, n. 4, 114 
 Leon, musician, 63 
 Leon, Cristobal de, 157, 201, 223 
 Leon, Melchor de, 107, 214, 215 
 Leon Marchante, D. Manuel de, 
 
 295 and n. 3, 321 
 Leon Pinelo, A., 69, n. 2, 226, n. 1, 
 
 243, n. 
 Leoni, Leon, of Arezzo, 22 
 Lerma, Duke of, 101, n. 3, 102, 212, 
 
 n. 1 
 Liar's Walk, 271, n. 2 
 Libertad (La) de Espana par Ber- 
 nardo del Carpio, 49 
 Libertad (La) de Roma por Mucio 
 
 Scevola, 49 
 "Licenciado (El) vidriera," 160 
 Licensing of comedias, 277 
 Limos, Juan, 141 
 Linares, Pedro de, 223 
 Lisbon visited by players from 
 
 Madrid, 194 
 Literary pirates, 175-176 
 Llegar en Ocasion, 105, n. 2 
 Llorente, Pedro, 52, 53, 184, 216, 
 
 221, 258 
 Lo que puede la Traicion, 235 
 Lo que son Mugeres, 123, n. 
 Loas, 279-286; the "Loa de la 
 
 Comedia" of Rojas, 78-81; va- 
 
 rious kinds of loas, 279; Cara- 
 muel on, 279, n. ; Luys Alfonso 
 de Carvallo on, 280, n. ; Lopez 
 Pinciano on, 280, n. ; the loas 
 of Lope de Vega, 28i,_ n.; the 
 loas of Agustin de Rojas, 281- 
 284; the loas of Quinones de 
 Benavente, 284-286; the loa de 
 Escarraman, 298, n. 
 Loaysa, Garcia de, 207, n. 
 Loaysa, Inigo de, 134, and n. 2 
 London theaters, their foundation, 
 
 27, n. 1 ; contributed to the poor 
 of the hospitals, 27, n. 1 ; repre- 
 sentations in inn-yards till 1576, 
 
 28, n. 1, 30; the Theatre, the 
 Curtain, the Rose, 34, n. 5; the 
 Globe, 34, n. 5, 36; Blactfriars, 
 ibid.; Malone on, 43, n. 1 ; music 
 in, 62, n. 2, 64; gallants on the 
 stage, 64 and n. 4, 65; Wallace 
 on, ibid.; at Blachfriars, the 
 Cockpit, Salisbury Court, ibid.; 
 the "jig," 70, n. 1; traverses, 84; 
 the price of admission, 1 14, n. 1 ; 
 women visit, 119, n. 1; plays on 
 Sunday forbidden, 132, u. ; 
 French women on the stage, 139 
 and 11. ; women appear on stage, 
 139-140; only two theaters in 
 London, 144, n. 2; actors take 
 several parts, 146; literary pi- 
 rates, 176, n. ; sums received by 
 dramatists, 178-180; salaries of 
 actors, 188 and n. 3 ; London 
 visited by a Spanish company, 
 
 •39, n- i,_ 34° 
 
 Lopez, Adrian, 237 
 
 Lopez, Francisca, 60 
 
 Lopez, Francisco, 223 
 
 Lopez, Maria, 185 
 
 Lopez, Simon, 226, n. 1, 265, n. 2 
 
 Lopez, Vicenta, 190 
 
 Lopez de Ayala, Pero, 50 and n. 
 
 Lopez de Enciso, Bartolome( ?), 240 
 
 Lopez de Sustaete, Luis, 128, 157, 
 202, 223, 246 
 
 Lopez de Sustaya, Jeronimo, 190, 
 214 
 
 Lopez de Yanguas, Hernan, 7, n. 1 
 
 Lopez Pinciano, Alonso, on the 
 Zarabanda, 71, n. 1 ; on staging 
 plays, 81, n. 4; on the loa, 280, 
 n. ; on Spanish comedias, 333-334 
 
 Lotheissen, F., 139, n. 1 
 
 Lotti, Cosme, 241 and n., 242 
 
 Louis XIV., 170, n. 
 
 I. u den a, Fernando de, 180 
 
INDEX 
 
 393 
 
 Lulli, Jean Baptiste, 241, n. 1 
 Luna, D. Alvaro de, 287 and n. 3 
 Luna (La) Africana, 180 
 Luxan, Micaela de, 268 
 Luxan de Sayavedra, Mateo, 154, n. 
 
 Mabbe, James, 121, n. 2, 129, n. 2 
 Mac-Carthy, D. F., 242, n. 1 
 Maccoll, N., 72, n., 160, u. 1, 173, 
 
 n. i 
 Machinery on the stage; see under 
 
 Staging 
 Madrid as a theatrical center, x; 
 
 the corrales of Madrid, 26-36. 
 
 See also under Corrales 
 Madrid, Francisco de, 13 
 Maestro (El) de Danzar (Lope), 
 
 66, n. 4; de Calderon, 74, n. 2 
 Magdalena (La), 319 
 Malaguilla, Juan de, 223 
 Malara, Juan de, 24 
 Malcasados (Los) de Valencia, 119, 
 
 n. 1 
 Malherbe, Francois, 340, n. 
 Malone, Edward, 43, n. 1, 62, n. 2, 
 
 64, in, n. 2, 114, n. 1, 119, n. 1, 
 
 134. n- 3> '39. n. 1, 140, n., 176, n., 
 
 r 7*i I 79- I *° > '88, n. 3 
 Maluenda, Jacinto de, xii, 250, n. 2 
 Manganilla (La) de Melilla, 94, n. 
 "Mansions" on the French stage, 
 
 100 
 Mantzius, Karl, 45, n. 1, 137, 138, 
 
 139, n. 1, 140 
 Manuel de Castilla, Pedro, 187, 190, 
 
 n. 2, 223 
 Manzanos, theatrical manager, 1 54, n. 
 Maqueda, Duke of, 239 
 Maravillas (Las) de Babilonia, 177 
 Margarita of Austria, wife of 
 
 Philip III., 211; plays acted in 
 
 presence of, 230-231; death of, 
 
 220, 250 
 Maria Manuela, 193 
 Maria Teresa, daughter of Philip 
 
 IV., 170, n. 
 Mariana, wife of Lope de Rueda, 
 
 11, 12, 141 
 Mariana, Juan de, on the Zara- 
 
 banda, 71, n. 4, 144; opposes the 
 
 theater, 262-263, 2 ^4> n -; "Contra 
 
 los Juegos publicos," 293-294, 
 
 397, n. 1 
 Mariana of Austria, 156, 250, 251 
 Marido (El) de su Hermana, 235 
 Marigraviela (Maria Gabriela), 
 
 63, H7 
 Mariscal (El) de Biron, 186 
 
 Marmot (El) de Felisardo, 84, n. 1 
 Marques de la Fuensanta del Valle, 
 
 233 
 Marquesa (La) Saluda, llamada 
 
 Griselda, 18, n. 1 
 Marston's Sophonisba, 64; Antonio 
 
 and Mellida, 146 
 Marti y Monso, Estudios," 296, n. 1 
 Martial on Spanish dancers, 66, n. 2 
 Martinazos, theatrical manager, 168 
 Martinelli, Angela, 45 and n. 3, 46, 
 
 143 
 Martinelli, Drusiano, 44 and n. 1, 
 
 45 
 Martinelli, Tristano, 45, n. 3 
 Martinez, Francisco, musician, 63 
 Martinez, Juan, 64, n. 1, 177; autor 
 
 de comedias, 223 
 Martinez de Asensio, Pedro, 125 
 Martir (El) de Madrid (Mescua), 
 
 235 
 Martires (Los) del Japan, 134, n. t, 
 
 195 
 Mas (La) constante Muger, 123, n. 
 Mas (El) impropio Verdugo, 123, 
 
 234 
 Mas (La) injusta Venganza, 123, 
 
 234 
 Mas merece quien mas ama, 235 
 Masco, Domingo, x 
 Massinger, Philip, 38 
 Matadora (La), dance, 70, n. 3 
 Mayor (El) Encanto Amor, 242 
 Medina de las Torres, Duke of, 
 
 243, n. 
 Medinaceli, Duke of, 11 
 Mejor (El) Hues fed de Espana, 320 
 Mejor (El) Maestro el Tiempo, 
 
 105, n. 2 
 Mejor (El) Representante, San 
 
 Gines, 181 
 Memorial of Philip II. concerning 
 
 the theaters, 208-210 
 "Memorilla," 175 
 Mendez de Carrion. D. Luis, 239 
 Mendoza, Fr. Alonso de, 144 
 Mendoza, D. Antonio de, 235, 240 
 Mendoza, Francisco de, 147 
 Menendez y Pelayo, M., 13, n. 3, 14 
 
 and n. 1, 15, 19, n. 3, 171, n., 
 
 289, n., 297, n. 
 Mentidero de los Representantes, 
 
 271, n. 2 
 Mercader (El) Amante, 83, n. 1 
 Merimee, E., 293, n. 2 
 Mescua, Mira de, 61, 180, 186, 226, 
 
 n- 1, 323. 34i 
 Meson (El) del Alma, 310, n. 
 
394 
 
 INDEX 
 
 Mesonero Romanes, R. de, 339, n. 1, 
 
 272, n. » 
 
 "Migaxas del Ingenio," 70, n. 3, 
 
 126, n., 272, n., 290, n. 1 
 Milagro (El) por los Celos, 186 
 Milagrosa (La) Eleccion de Pio V., 
 
 236 
 Milan, Da Leonor de, 49, n. 3 
 Minsheu's "Spanish Dictionary," 63, 
 
 n. 1, 108, n., 189, n. 1 
 Misterios (Los) de la Misa, 320 
 "Modern Language Notes," 290, n. 1 
 "Modern Language Review," 237, 
 
 n. 1 
 Moeller, Frau, actress, 141 
 "Mogiganga (La) del Gusto,'' 295, 
 
 n. 3 
 Mogigangas, 295-296 
 Moland, "Moliere et la Comedie 
 
 italienne," 46, n. 3 
 Moliere, musicians in his troupe, 62, 
 
 n. 2 ; Les Fdcheux, 65, n. 1 ; La 
 
 Coquette ou le Favori, 65, n. 1 ; 
 
 performed at tennis courts, ioi ; 
 
 his company in 1658, 145, n. 3, 
 
 170 and n. 1 ; refused burial by 
 
 the church, 256 
 Molina, Luis de, 141 
 Molina, Miguel de, 60 
 Molina, Tirso de, ix, 81, n. 1, 84, 
 
 n. 2, 85, n. 1, 90, 226, n. 1, 266, 
 
 n. 2, 286, n. 3, 341 
 Monreal, Julio, 66, n. 4, 74, u. 2, 
 
 240, n. 4, 311, n. 3 
 Monserrate, Diego de, 150 
 Montalvan, Juan Perez de, 122, 174, 
 
 n. 2, 176, n., 186, 226, n. 1, 265, 
 
 n. 2, 341 
 Montanesa (La), 307 
 Montemayor, Sebastian de, 106, 142, 
 
 n. 1 
 Montesinos, Maria de, 147 
 Montiel, Pedro de, 12 
 Monzon, Cortes of, xii 
 Monzon, Luis de, 149, 204 
 Morales, author of El Conde loco, 
 
 79. n. 1 
 Morales, Maria de, 184 
 Morales, Mariana de, 308 
 Morales, Segundo de, 223 
 Morales Medrano, Juan de, ro8, n., 
 
 account of, 162-163, r 92, 196, 200, 
 
 214, 215, 221, 231, 317, 323 
 Morel-Fatio, A., 80, 274 
 Moreto, Agustin, 122, 123, 226, n. 1, 
 
 341 
 Morf, H., 255, n. 
 Morica (La) garrida, 149, 196 
 
 Morisco, his account of a play, 323 
 
 Mosqueteros, 30, 113; fee they paid, 
 117, 118, 119, 120; 'are the judges 
 of plays, 121 ; generally paid, 
 126, n., 278 
 
 Motteville, Madame de, 329 
 
 Much Ado about Nothing, 74, n. 2 
 
 Mudarra, Francisco, 223 
 
 Muerte (La) de Ay ax Telamon 
 sobre las Armas de Aquiles, 49 
 
 Muerte (La) del Rey don Sancho y 
 Reto de Zamora por D. Diego 
 Ordonez, 49 
 
 Muertos (Los) vivos, 173 
 
 Muestra (La) de los Carros, 290, n. 
 
 Munday, Anthony, 178, n. 3 
 
 Muniz, Juan Bautista, 107 
 
 Munoz, Ana, 81 
 
 Munoz, Francisco, 116, n. 5 
 
 Music in the corrales, 62-64, <>7> 
 132; music on the English stage, 
 64; musicians in the French thea- 
 ters, 62, n. 2, 278-279 
 
 Muzio, Italian player in Spain, 21, 
 29, n. 1 
 
 Nabarro, Pedro, actor and play- 
 wright, 18, n. 1, 62 and n. 
 Naples, comedias in, 33 
 Nasarre, Bias, 16, n. 1 
 Naufragio (El) de Jonas, 308 
 Navalcarmelo (Naval y Abigail), 
 
 10 and n. 3 
 Navarro Oliver, Juan, 139, n. 1, 341 
 Nave (El) del Mercader, 311, n. 3 
 Naxera, Andres de, 195 
 Nichols, "Progress of James I.," 
 
 331, n. 
 Nicolas, Catalina de, 157 
 Nicomede, of Corneille, 145, n. 3 
 Nihez (La) de Crista, 177, n., 307, n. 
 Nino (El) del Senado, 236 
 No Amar la mayor Fineza, 199 
 No hay Dicha ni Desdicha hasta la 
 
 Muerte, 186 
 Noche (La) de San Juan, 240 
 "Norte de la Poesia Espanola," Va- 
 lencia, 1616, 73, n., 83 
 Nunca mucho costo poco, 199 
 Nunez, Esteban, 248 
 Nunez, Gabriel, 132, 156, 195, 215 
 "Naque," the, 151 
 
 Obediencia (La) laureda, 93, n. 3 
 
 "Obispillo, El," 127 
 
 Obras son A mores, 53 
 
 Ocasion (La) perdida, 93, 95, n. 2 
 
 Ofender con las Finezas, 245 
 
INDEX 
 
 395 
 
 Olivares, Count-Duke of, 239, 240, 
 
 343, "• 
 Olivares, Countess of, 239, 241 
 Olivares, Maria de, 186 
 Olivera, Casa de la (1584-161S), xii 
 Olivera, Teatro de la, xii, xiii; 
 
 price of admission to, 117, n. ; 
 
 representations in, 278, n. 2 
 Olmedo, Alonso de, account of, 161- 
 
 162, 223, 234, 292, 294 
 Olmedo, Jeronima de, 139, n. 1, 340 
 Opposition to the theater, 207 ff. 
 Ordish, T. F., 34, n. 5 
 Organos (Los), entremes, 290, n., 
 
 295, n. 2 
 Ormsby, John, 313 
 Ornero, Jeronima de, 162 
 Ortegon, Pedro de, 126, n. 2 
 Ortiz, Ana, 258 
 
 Ortiz, Francisco, actor, 183, 223 
 Ortiz, Francisco, author, 258 
 Ortiz, Santiago, 225, n. 2 , 
 
 Ortiz de Guzman, D. Juan, 48, n. 3 
 Ortiz de Villazan, Cristobal, 57, n. 1, 
 
 63, 194, 223, 233, n. 2, 258 
 Ortiz de Zufiiga, Anales de Sevilla, 
 
 23 
 Osorio, Diego, 187, 197, 202, 244, 
 
 11. 2, 318 
 Osorio, Eugenia, 107 
 Osorio, Francisco, 31, 193 
 Osorio, Magdalena, no 
 Osorio, Rodrigo, no, 193 
 Ostos, Juan de, 150 
 Oviedo, Cosme de, 133, 151 
 
 Pacheco, D. Juan, 273 
 
 Paez de Sotomayor, Pedro, 142, 143, 
 258 
 
 Paniagua, Alonso de, 214 
 
 Pantoja, "Sobre Comedias," 226, n. 
 
 Parecido (El) en la Corte, 123, a. 
 
 Paris and Vienna, 76 
 
 "Particulares." See Private repre- 
 sentations 
 
 Pastrana, Juan de, 68, n. 2 
 
 Paz, Alonso de la, 197 
 
 Paz, Gregorio de, 211 and n. 1 
 
 Paz (La) universal, auto (El Lirio 
 y la Azucena), 202 
 
 Paz y Melia, A., 134, n. 1, 150, n. 2, 
 161, n., 171, n., 180, n. 3, 234-236, 
 250, n. 2 
 
 Pedraza, Juan de, 6, 7, n. 1 
 
 Pedraza, "Historia ecclesiasfica de 
 Granada," 191, n. 
 
 Pedro de Urdemalas, 95, n. 1 
 
 Pellicer, Casiano, 15, 21, n. 2, 26, 
 
 27, 28, 29, 30, 32, n. 3, 34, 36, n. i, 
 40, 41, 42, n. 1, 43, 54, n. 3, 
 70, 72, n., 74, 113, 135, 137, n. 1, 
 143, 202, 203, n. 1, 204, 205, 212, 
 213, 224, 229, 240, 242, n. i, 
 243, n., 246, 11. 2 and 3, 247, n. 2, 
 248, 250, n. 1, 251, n. 1, 264, n., 
 291, 330, n. 
 
 Pellicer, Juan Antonio, 68, n. 3, 70, 
 n. 3, 225 and n. 2 
 
 Penalosa, Juan de, 199, 223 
 
 Peralta, Catalina de, 185 
 
 Perdida (La) de Espana, 234 
 
 Perdida (La) del Rey D. Sebastian, 
 235 
 
 Peregrino (El), auto, 311 
 
 "Peregrino (El) en su Patria," 87, 
 174-175, 2n, n. 3 
 
 Perez, Dr. Antonio, 209, n. 
 
 Perez, Cosme, 187, 268 
 
 Perez, Fernando, 147 
 
 Perez de Guzman, D. Alvar, 50 
 
 Perez Pastor, Cristobal, 10, n. 4, 28, 
 n. 2, 30, n. 2, 31, 32, n. 1, 33, n. 5, 
 34, n. 1 and 2, 35, n. 1 and 2, 36, 
 n. 2, 37, n. 2, 44, n. 2, 46, 54, n. 1, 
 63, n. 1, 64, n. 1, 67, 68, n. 2, 74, 
 75, 101, n. 3, 107, 108, 109, no, 
 113, 116, n., 129, n. 2, 132, 
 133, n. 1, 134, n. 3, 135, 141, 142, 
 145, u . 2, I47-H9, 150, n. 1, 155, 
 156, 162, 163, n. 3, 165, n., 171, 
 177, n., 178, 182-188, 190, 192, 
 193-196, 197, 198, 199, 200, 201- 
 205, 208, 209, n., 211, n., 215, 224, 
 229, n. 2, 230, n., 231, 237, n., 241, 
 n. 1, 243, n., 244, "n., 245, n., 247, 
 248, 258, 259, 267, n., 290, n. 2, 
 295, 298, n. 2 and 3, 302-305, 306, 
 307-308, 11., 309, 310, 311, 313, 
 317, 318, 319, 321 
 
 Performance, amount paid for, 194- 
 197; receipts of, 202-205. See 
 also under Representations 
 
 Peribanez y el Comendador de 
 Ocana, 91, n. 1 
 
 Pernia, Pedro de, 172 and n. 
 
 Perra (La) Mora, dance, 70, n. 3, 
 72, n. 2, 74 
 
 Pesame (El), dance, 72, n. 2 
 
 Petition of 1646-47 to reopen the 
 corrales, 249 
 
 Philip the Second, 33, 230 
 
 Philip the Third, fond of dancing, 
 66; erects a theater in the Casas 
 del Tesoro, in, 230; permits 
 comedias to be represented, 211; 
 betrothed, ibid.; autos represented 
 
396 
 
 INDEX 
 
 before, 231; in the Escurial, 309; 
 death of, 54, 229 
 
 Philip the Fourth, fondness for 
 dancing, 68, n. 2; builds a thea- 
 ter, in, n. 1, 156, 164; interferes 
 with representations at the thea- 
 ters, 197-198,1243 ; accession to 
 the throne, 231; patron of art 
 and the drama, 232; appears on 
 the stage, 232-233 ; neglects the 
 greatest poets, 232, n., 237 ; large 
 suras expended for entertain- 
 ments, 243, n. ; visits the co- 
 rrales incognito, 244, 269, 273 ; 
 death of, 250 
 
 Phillyda and Choryn, 78 
 
 "Philosophia Antigua" of Lopez 
 Pinciano, 71, n. 1 ; on staging 
 plays, 81, n. 4; on the loa, 280, 
 n. ; on audiences, 333-334 
 
 Pineda, Fr. Juan de, 143, n. 3, 
 2 
 
 Pinedo, Baltasar, 102, 107, 109, n., 
 131, 202, 214, 215, 304 
 
 Placida y Fictoriano, 256, n. 2 
 
 Playbills. See Posters 
 
 Pobreza no es Vileza, 96, n. 
 
 Pobrezas (Las) de Reynaldos, 84, 
 n. 1, 236 
 
 Poder (El) en el Discreto, 165, n. 
 
 Poderosa es la Ocasion, 234 
 
 Pope, A., couplet on Shakespeare, 
 
 39 
 
 Porres, Gaspar de, 80, 108 and u., 
 131, 170-171, 182, 183, 192, 193, 
 196, 200, 214, 215, 231, 290, n. 2, 
 299, 300, 301 and n., 309, 317 
 
 Posters, theatrical, 112, 133-134; 
 in England, 134, n. 3 
 
 Poyo, Salucio or Salustio del, 174, 
 196, 278, n. 2, 308 
 
 Prado, Antonio de, 60, 162, 197, 
 
 223. 243. 3". 3'8 
 
 Prado, Sebastian de, 170, n., 249, 
 n. 2, 340 
 
 Pragmatica de Carlos V., 19 and n., 
 20, 25 
 
 Premio (El) de la Hermosura, 233 
 
 Primer (El) Faxardo, 81 
 
 Principe (El) ignorante, 235 
 
 Principe (El) perfecto, 176 
 
 Private representations = particula- 
 res, 101 ; before the King, 229, 
 230-246; in 1622, 233-237 
 
 Propaladia, editions of, 15 
 
 Prospera Fortuna (La) de Rui Lo- 
 pez de A<valos, 196 
 
 Prueba(La)de los Amigos, 90, n. 2 
 
 Pruebas (Las) de la Leal tad, 236 
 Psiquis y Cupido, 243, n. 
 Pucelle (La) d'Orleans, 101 
 Puente (La) de Mantible, 186, 297, n. 
 Puente (La) del Mundo, 297, n. 
 Purpura (La) de la Rosa, 241, u. 
 
 "Quarterly Review, The," 91, n. 2 
 
 Quevedo, D. Francisco de, 172, u., 
 278, n. 1, 240, 297, n. 1 
 
 Quien hallard Muger fuerte, 311 
 
 Quien mas miente medra mas, 240 
 
 Quien no se aventura, 235 
 
 Quinault, Philippe, 241, n. 
 
 Quinta (La) de Florencia, 83, n., 
 91, n. 1, 95, n. 3 
 
 Quinones, Luis de, musician, 63, 184 
 
 Quinones, Maria de, 187 
 
 Quinones de Benavente, Luis, 118, 
 11. 1 and 2, 119, n. 2, 120, 127, n., 
 172, n. 1, 190, 279, 284-286, 288, 
 289, 290, 291, 292, 298, n. 4 
 
 Quiros, Bartolome Lopez de, 192, 
 193 
 
 Rafaela Angela, wife of Lope de 
 Rueda, n, 12 
 
 Ramirez, Cristobal, 216 
 
 Ramirez, Miguel, 151, 165,183,214, 
 299 
 
 Ramos, Antonio, 216 
 
 Rasi, "I Comici Italiani," 45, n. 3, 
 140, n. 3, 269, n. 2 
 
 Real, the value of, 108, a. 
 
 Receipts of a theatrical perform- 
 ance, 202-205 
 
 Registre de La Grange, 62, n. 2, 65, 
 n. 1, 146, 11., 170, n. 1 
 
 Reina (La) D a Juana de Napoles, 
 94, n. 
 
 Reinoso, Luisa de, 147 
 
 Remirez de Arellano, Luis, 175-176 
 
 Rennert, H. A., "Life of Lope de 
 Vega," 38, n. 1, et passim; "The 
 Staging of Lope's Comedias," 40, 
 n. 2, 84, n. 2, et passim; "Notes 
 on the Chronology of the Spanish 
 Drama," 237, n. 
 
 Representations in the corra/w, when 
 permitted, 1 30-133 ; corrales closed 
 from Ash Wednesday till Easter, 
 131; no performances on Sat- 
 urday, 131 (see Appendix A) ; 
 always given on Sunday, 132; 
 public representations, 132; op- 
 position of the clergy to, 143- 
 145 ; sums paid for a repre- 
 sentation, 194-197; receipts of a 
 
INDEX 
 
 397 
 
 representation, 202-205 > gratu- 
 itous representations, 277; when 
 representations took place, 278; 
 account of a representation, 278 
 ff.; descriptions of eye-witnesses, 
 323 ff. See also under Comedias 
 
 Restori, Antonio, 70, 368 
 
 "Revista de Archivos," 108, n., 249, 
 n. 1 
 
 "Revue Hispanique," 18, n. 1, 40, 
 n. 2, 84, n. 2, 328, n. 2 
 
 Rey (El) Angel (El Rey Angel de 
 Sicilia), 234 
 
 Rey (El) Bamba, 83, n., 91, n. 
 
 Reyes, Baltasara de los, 183, 279, n. 
 
 Reyes, Gaspar de los, 195, 214 
 
 Reyes, Mariana de los, 187 
 
 Reynolds, G. F., 76, n. 
 
 Ribadeneira, Pedro de, 260-261 
 
 Richter, Frau, actress, 141 
 
 Rigal, E., 100, 115, n., 119, n. 1 and 3, 
 121 and n., 139, 277, n. 1, 340, n. 
 
 Rios, Nicolas de los, 101, n. 3, 145, 
 151, 154, 215, 230, 259, 290, n. 2, 
 299 
 
 Riquelme, Alonso, 63 ; imprisoned 
 for debt, no, 155, 156, 172, 184, 
 192, 194, 200, 214, 216, 221, 231, 
 323 
 
 Riquelme, Jacinto, 109 
 
 Riquelme, Maria de, 163 and n. 3, 
 269 and n. 2 
 
 Rivas, Juan de, 32, 33 
 
 Robles, Bartolome de, 185, 301, n. 
 
 Robles, Luisa de, 1 61-162 
 
 Roca Paula, actress, 141 
 
 Rodamonte Aragones, 234 
 
 Rodriguez, Alonso, of Seville, 32, 
 
 35. 49 
 Rodriguez, Alonso, "El Toledano, 
 
 10, n. 4, 32 
 Rodriguez, Isabel, 190 
 Rodriguez, Fr. Manuel, 257 
 Rodriguez, Mariana, 150 
 Rodriguez, Pedro, 195, 214 
 Rodriguez Marin, Francisco, 71, 
 
 n. 1 
 Rodriguez Tirado, Jose, 68, n. 2 
 Rodriguez Villa, A., 273, n. 1 and 2 
 Rojas, Diego de, 195, 214 
 Rojas, Francisco de, 122, 123, 226, 
 
 n. 1, 241, n., 276, n. 2, 341 
 Rojas, Tomas de, 186 
 Rojas Villandrando, Agustin de, 3 ; 
 his "Loa en Alabanza de la 
 Comedia," 3, 13, 15, 32, 11. 2, 62, 
 78-81, 132, n. 2, 133, n. 6, 141, 
 n. 4, 144, 282; his life, 150; the 
 
 "Viage entretenido," description 
 of the various companies of play- 
 ers, 150-154; his El natural des- 
 dichado, 150, n. 2, 159-160, 165; 
 anecdotes related by, 165-169, 
 182, 183, 189; his Loas, 279, 281- 
 284 
 
 "Romancero General" (1604), 167, 
 294, 11. 1 
 
 Romera (La) de Santiago, 236 
 
 Romero, Bartolome, 107, 155, 186, 
 194, 201, 223, 241, n., 291, 292, 
 301, 11. 
 
 Romero, Mariana, 272, n. 
 
 Roncagli, Silvia ("la Frances- 
 quina"), 46, 143 and n. 2 
 
 Ropilla, 168 
 
 Rosa, Pedro de la, 107, 109, 156, 
 157, 170, n., 187, 194, 196, 201, 
 223, 242, 244, n. 2, 296, n. 1, 340 
 
 Rosario (El), of Pedro Diaz, 79, 80 
 
 Rosell, Cayetano. See Quinones de 
 Benavente 
 
 Rosenberg, M., 88, u. 
 
 Rosete, D. Pedro, 276, n. 2 
 
 Rouanet, L., 7, n. 2, 10, n. 3, 65, n. 1, 
 287, n. 2, 290, n., 294, n. 4, 295, 
 n. 3, 340, n. 4 
 
 Rueda, Antonio de, 64, 65, 131, 157, 
 187, 188, 190, n. 2, 194, 201, 223, 
 285, 294 
 
 Rueda, Lope de, 3, 9-13 ; earliest 
 autor de comedias, 9 ; represents 
 in Benavente, 10; at Seville, 10; 
 marries Mariana, a Valencian 
 woman, n; her suit against the 
 Duke of Medinaceli, n; Rafaela 
 Anxela, wife of Rueda, and their 
 daughter Juana Luisa, n; his 
 company, 12; died at Cordoba, 
 13 ; his historical importance, 14 ; 
 Cervantes's account of him, 16- 
 18, 20, 24, 25, 29, 62, 141, 170; 
 "introitos," 281, 287, 288, n. 1 
 
 Rueda (La) de la Fortuna, 323 
 
 Ruffianism in the theaters, 125-130 
 
 Rufian (El) dichoso, 94 
 
 Rufo, Juan, 18, n. 2, 20 
 
 Ruiz, Miguel, 183 
 
 Rye, W. B., 331, n. 
 
 Saavedra, Rodrigo de, 299 
 
 Saco (El) de Roma y Muerte de 
 
 Borbon, 49 
 Sacro (El) Parnaso, 311 
 Sainetes, 293-295 
 Saladino (El), 278, n. 2 
 Salazar de Mendoza, D. Pedro, 50 
 
398 
 
 INDEX 
 
 Salcedo, Francisco, 31, 32, 33, n. 5, 
 
 35 
 Salcedo, Lucia de, 184 
 Salcedo, Mateo de, 47, u. 2 
 Saldana, Pedro de, 30, n. 2, 32, 35, 
 
 43,49.131 . , 
 
 Salinas, Pedro Garcia de, 185 
 Saloraona, Angela, Italian actress, 
 
 4 6 > H3 
 San Antonio, of Alonso Diaz, 79, 80 
 
 San Bruno, 235 
 
 San Carlos, 171, n. 
 
 San Cristobal, 128 
 
 San Hermenegildo, 23, 24 
 
 San Isidro, Labrador de Madrid, 
 95, n. 4 
 
 San Onofre, 6 el Rey de los De- 
 siertos, 54 
 
 San Reymundo, 190 
 
 Sancha, D. Justo de, 313, n. 
 
 Sanchez, Jeronimo, 223 
 
 Sanchez, Miguel, "El Divino," 79, 
 n. 1, 81 
 
 Sanchez-Arjona, J., 4-9, n, 23, 24, 
 29, n. 1, 32, n. 2, 47, 48-61, 63, 
 65, 66, 67, 68, 71, 80, 109, 115- 
 116, 125, 126, 127, 128, 129, 130, 
 133, 134, n. 2, 150, n. 1, 161, 164, 
 165, n., 170, n., 192, 203-205, 226, 
 n., 229, n. 3, 246, n. 5, 248 and 
 n. 2, 293, n. 2, 295, u. 2, 304, n. 2, 
 305, n. 3, 306, 308, n., 309, 310, 
 
 313, 3i5, 321 
 Sanchez Baquero, Pedro, 187 
 Sanchez de Vargas, Hernan, 57, n., 
 64, n. 1, 108, 156, 157, 172, i77, 
 185, 186, 187, 193, 195, 196, 199, 
 201, 216, 221, 229, 304 
 Sancho Rayon, D. Jose, 233 
 Sandoval, "Historia de Carlos V.," 
 
 23, n. 1 
 Santa Catalina, auto, 200 
 Santa Maria Egipciaca, 197, 265, 
 
 11. 2, 320 
 Santa Maria Magdalena, 250 
 Santoyo, Antonio de, 129, 11. ■*. 
 Sarmiento, Pablo, 165, n. 
 Scenery. See Staging 
 Schack, Adolf Friedrich von, 4, n. 1, 
 5, n. i, 16, n. 1, 19, 23 and n., 26, 28, 
 33, 41-43,78, 81, 82, 85, 86, 88, 90, 
 104, 145, n. 2, 191, n., 207, n., 215, 
 n. 2, 221, n., 226, n. 1, 228, n., 230, 
 233, 241, n., 243, n., 250, n. 3 and 
 4, 254, n. 1, 268, n., 269, n., 271, 
 n. 2, 274, 276, 279, n. 1, 280, n. 1, 
 286, n. 3, 288, n. 2, 294, n. 4, 298, 
 n. 5, 311, n. 3 
 
 Scherillo, M., 29, n. 1, 44, n. 4 
 Schmidt, F. W. V., 92, n. 3 
 Schwering, J., 339, n. 
 Seats in the corrales, 134-13° 
 "Seguidilla," 279 
 Selva (La) de Amor, 236 
 Selva (La) sin Amor, 241 and n. 
 Semiramis (La) of Virues, 79, n. 1 
 Sepulveda, Ricardo de, 27, n. 2, 42, 
 n. 1, 223, n., 246, n. 1, 270, n. 1, 
 272, n. 
 Serna y Haro, Juan de la, 204 
 Serrana (La) de la Vera, 81 
 Servir con mala Estrella, 106, n. 
 Sessa, Duke of, 36, 172, 220 
 Shakespeare, 34, n. 5 ; Henry V., 
 Romeo and Juliet, 34, n. 5, 37; 
 compared with Lope de Vega, 
 36-39; Hamlet, Venus and 
 Adonis, Lucrece, 37 ; The Tem- 
 pest, 38; Much Ado About Noth- 
 ing, 74, n. 2; anachronisms in his 
 plays, 105, n. ; proprietor of 
 ■wardrobe at Blackfriars, 110,170, 
 
 .178 
 
 Siete (Los) Infantes de Lara, 49 
 
 Sigura, Juan de, 182 
 
 Simon, Manuel, 162 
 
 Sin Honra no ay Amistad, 124, n. 
 
 Sin Secreio no ay Amor, 174, n. 2 
 
 Sol (El) parado, 81 
 
 Solano, Agustin, 141, 151, 166-169, 
 182, 189 
 
 Solano, Francisco, 223 
 
 Solis, Antonio de, 124, 243, n. 
 
 Sommi, Leone de, 140 and n. 
 
 "Sonajas," 67, n. 3 
 
 Sotomayor, Francisco de, 190 
 
 Soulie, E., 170, n., 189, n. 
 
 Southampton, Earl of, 36 
 
 Spanish money, value of, 108, n. 
 
 Spectators on the stage, 64, 65 ; in 
 La Monteria, 65 ; spectators enter 
 without paying, 125-129; view 
 plays from housetops, 130. For 
 English stage, see under London 
 
 St. John's eve, 242, 243 
 
 Stage, the, opposed by the church, 
 252-266; defended by churchmen, 
 259-260 
 
 Staging of comedias, 76-103 ; no 
 outer curtain, 82, 83; curtain at rear 
 of stage, 84, 86 ; windows, balconies, 
 walls, towers, etc., 85 ; doors on 
 the stage, 85 and n.; trees repre- 
 sented on the stage, 85' and n.; 
 doors at back of stage, 85, n. 2; 
 change of scene indicated by 
 
INDEX 
 
 399 
 
 vacant stage, 86, 87; by entering 
 and leaving by a different door, 
 88 ; simultaneous scenery, 89 ; 
 change indicated by drawing a 
 curtain aside, 90; place of action 
 mentioned in the dialogue, 91 ; 
 vagueness of localization, 91 ; 
 scene indicated by costume, 91, 
 92 ; balconies, 93 ; corrector of 
 the theater, 93 ; garden and trees 
 on the stage, 95 ; painted canvas, 
 95 ; importance of chronology, 
 96; changes in Lope's long 
 career, 96-98; machinery and 
 the stage carpenter, ibid.; basti- 
 dores, 97 and n. z; apariencias 
 and tramoyas, 97-99 ; Cervantes's 
 remarks, 98; "appearances," 98- 
 99; construction of the Spanish 
 stage, 99 ; the stage setting of the 
 French theater, 99-100; the stage 
 of the mysteries, 100; Corneille 
 objects to it, 100; complaints of 
 d'Aubignac, 100; the stage at the 
 Hotel de Bourgogne, 101 ; pov- 
 erty of scenic effects on the Span- 
 ish stage, 101-102; private repre- 
 sentations, 102-103 
 
 Stiefel, A. L., 7, n. 1, 10, n. 1, 21, 
 n. 2, 22, n. 1, 29, n. 1 
 
 Storie of Pompey, A., 77 
 
 Suarez de Figueroa, Cristobal, 80, 
 120, n. 1, 175-176, 268, 275 and 
 n., 285 
 
 Sufrir mas por querer mas, 186, 245 
 
 Tamayo de Vargas, T., 32, n. 3 
 
 "Tamboril," the, 67, n. 3 
 
 Tapia, Juan de, 214 
 
 "Tarasca," the, 298 
 
 Tardia, Maria, 271, n. 
 
 Tejada, Juan de, 216, 220 
 
 Theater, decline of, 197; opposition 
 to, 207 ff. See under Co media 
 and Corrales 
 
 Theatrical life in Spain, anecdotes 
 concerning, 154, n. 
 
 Theatrical posters, 112, 133-134 
 
 Thomas, Hubertus, of Luttich, 23, 
 n. 1 
 
 Ticket scalpers, 116 
 
 Ticknor, George, 9, 14, 16, n. ±, 66, 
 68, n. 2, 71, n. 4, 104, 117, 118, 
 124, 226, 240, 241, 243, n., 252, 
 n. 1, 226, n. 1, 269, 287, n. 3, 288, 
 n. 1, 291, n. 2, 297, 298, n. 5 
 
 Timoneda, Juan de, 14, n., 288, n. 1 
 
 "Tonadilla," 293 
 
 Torneos (Los) de Aragon, 94, n. 1 
 Torre, Gabriel de la, 204, 214, 304, 
 
 317 
 Torres, Francisca de, 155 
 Torres Naharro, Bartolome de, 3, 
 
 13, 14; his Propaladia, 15-16, 19, 
 
 n. 3, 21, 22, 275 and n. ; introitos, 
 
 281, 286, n. 3 
 Tragedia (La) por los Celos, 84, 
 
 n. 1 
 Tragicomedia (La) de Lysandro y 
 
 Roselia, 68, n. 3 
 "Tramoyas," 80, 97, 98 
 Trances de Amor, 235 
 Transformaciones de Amor, 244 
 Trato (El) de la Aldea, 190 
 Traveling of theatrical companies, 
 
 154-158 
 Traverses'' of the Elizabethan 
 
 theatce, 84 
 Tres (Los) mayores Prodigios, 242 
 Turdion, the, a dance, 74, n. 2 
 Turia, Ricardo de (D. Pedro Juan 
 
 de Rejaule y Toledo), 30, 31, 
 
 n. 1, 45, n. 2; La Fe pagada 
 
 (Chacona), 73, 83, n., 84, n. 1 
 
 and 2, 94, n., 125, n. ; on comedias, 
 
 274, n. 
 Tutor (El), 49 
 
 Urson y Valentin, 106, n. 
 
 Vaca, Gabriel, 195, 214 
 
 Vaca, Jusepa, 268, 307 
 
 Vaca de Castro, D. Pedro, 258 
 
 Valcazar, Jeronima de, 185 
 
 Valdes, Pedro de, 52, 157, 177, 184, 
 194, 201, 216, 221, 229, 234, 236, 
 305 
 
 Valdivieso, Josef de, 311 
 
 Valencia, its importance as a dra- 
 matic center, x; origin of its thea- 
 ters, x-xiii; school of dramatists, 
 ibid, and 191-192; actors from 
 Madrid visit, 193-194, 199; re- 
 opening of theaters in, 249 
 
 Valenciano, Juan Bautista, 54, 165, 
 n., 186, 223, 229 
 
 Valenciano, Juan Jeronimo, 54, 115, 
 165, n. 
 
 Valiente (El) Lucidoro, 234 
 
 Vallejo, Diego de, 53, 63 
 
 Vallejo, Jeronimo, 202 
 
 Vallejo, Manuel Alvarez, 128, 133, 
 162, 163, 186, 199, 201, 223, 240, 
 245 
 
 Vargas, Andres de, 154-155 
 
400 
 
 INDEX 
 
 Vargas, Juan de, 149, 196 
 
 Varona (La) Castellana, 81 
 
 Vazquez, Antonio(?), 41 
 
 Vazquez, Gaspar, 32, n. 3 
 
 Vazquez, Juan (El Polio), 155, 223 
 
 Vazquez, Juana, 141 
 
 Vazquez, Miguel, 141 
 
 Vazquez, Sebastiana, 147 
 
 Vega, musician, 63 
 
 Vega, Fr. Alonso de, 257 
 
 Vega, Alonso de la, Comedias, 15, 
 n. 1, 170, 11. 2 
 
 Vega, Alonso de la, 69 
 
 Vega, Andres de la, 109, 171, n., 
 177, 185, 187, 200, n., 223, 245, 
 n. 2, 301, n. 
 
 Vega, Francisco de la, 12 
 
 Vega, Gabriel Laso de la, 294, n. 1 
 
 Vega Carpio, Lope de, ix; his resi- 
 dence in Valencia, x, 3, 9, 13, 16, 
 361 37. 38, 39! compared with 
 Shakespeare, ibid.; receives 100 
 ducats for his Vellocino dorado, 
 37, 11. 2; Comedias, Part IX, 38; 
 Comedias, Part XI, 38, d. 2, 40, 
 n. 2; visits the plays of the Ital- 
 ians, 44, 45, 53, 63, 66, n. 4, 70, 
 11. 3 ; La Dorotea, 74, n. 2, 174, 
 78, 79, n. 1, 80, 81, 82, 83, 84; 
 La Filomena, 84, n. 2, 87, 90, 91, 
 92. 93, 94. 95. n. 2, 3, 4, 5 ; Pro- 
 logo to Part XI (1618), 96; to 
 Part XVI (1623), 96, 97; Pro- 
 logo to Part XIX (1623), 98; 
 Epistola a Pablo Bonnet, 98, n. 1 ; 
 Arte nuevo de hacer Comedias, 
 105, 107; Loas to Part I, 112, 
 u. 2; on the "vulgo," 117, 122, 
 146, 156; El Castigo sin Ven- 
 ganza, 163, n. 3, 165, n., 170, 172, 
 173; Prologo to Part XVII, 174, 
 n. 1 ; El Peregrino en su Patria, 
 87, I74-I7S. 211, n. 3; Prologo to 
 Part XIII, 175; on the stealing 
 of his plays, 175-176; honora- 
 rium received, 177,186; in Valen- 
 cia, 191-192, 196, 199, 211; letter 
 of October 6, 1611, 220, 226, 229, 
 232, n., 233; Vega del Parnaso, 
 240; Sel<va sin Amor, 241 and n. ; 
 elegy _ on Villayzan, 245; his 
 comedias prohibited, 247, 260; 
 actors praised by Lope, 267; his 
 house in the players' quarter, 
 272, n., 277; his loas, 281, n. ; 
 never uses the term "Jornada," 
 386, n. 3 ; on entremeses, 287; the 
 entr ernes es in Lope's comedias, 
 
 288, n. 4; he writes the four 
 autos of 1608, 307 and u., 323, 
 
 338. 339. 34i 
 Velasco, Ana de, 106, 14 2 , n - ' 
 Velasco, Francisco de, 187 
 Velasco Inigo de, 134, n. 2 
 Velazquez, Alonso, 32, n. 2 
 Velazquez, Jeronimo, xii, 32, 35, 43, 
 
 71, 131, 182, 191, 193, 203, 298, 
 
 n- 3. 299, 317 
 
 Velez de Guevara, Francisco, 134, 
 223 
 
 Velez de Guevara, Luis, ix; Diablo 
 cojuelo, 71, n. 1, 272, n. ; El 
 Caballero del Sol, 102; writes 
 plays for Sanchez, 172, 180, 226, 
 n. 1, 250, n. 2, 330, n., 341 
 
 Vellocino (El) dorado, 37, n. 2 
 
 Velten, Johannes, 140 
 
 Vencedor (El) vencido en el Tor- 
 neo, 236 
 
 V engadora (La) de las Mugeres, 
 236 
 
 Venier, Marie, 139 
 
 Vera, Diego de, 48, 50 
 
 Vera Tassis, "Life of Calderon," 
 
 294 
 Verdugo, Francisca, 202 
 Vergara, Alonso de, 60 
 Vergara, Juan de, 193 
 Vergara, Luis de, 277 
 Vestuario = dressing-room, 40 and 
 
 n. 2, 92, 93 
 Vicente, Gil, 7, n. 1, 13, n. 3,48,11. 1 
 Victor! sign of approval, 121-124 
 Victorias (Las) del Marques de 
 
 Canete, 235 
 "Vida del gran Tacano," 172, n. 1, 
 
 278, n. 1 
 Vignali, Antonio, of Siena, 22 
 Villaizan y Garces, D. Jeronimo de, 
 
 186, 232, 244-245 
 Villalba, Alonso de, 216 
 Villalba, Juan de, 214 
 Villalba, Melchor de, 214, 304, 
 
 317 
 Villalobos, Juan Bautista de, 54 
 Villalon, El Bachiller, 19, 20 
 Villamediana, Count of, 238 and n. 
 Villanueva, Juan de, 185 
 Villanueva, Pedro de, 194 
 Villaviciosa, Sebastian de, 197 
 Villegas, Antonio de, 32, n. 3, 150, 
 
 214, 215, 231 
 Villegas, Diego de, 180 
 Villegas, Juan Bautista de, 149, 170, 
 
 174. 186. 196, 237. 245 
 Villena, Marquis of, 5 
 
INDEX 
 
 401 
 
 Vina (La) del Senor, 311, n. 3 
 Virues, Cristobal de, 79, n. 1, 286, 
 
 n. 3 
 Vitoria (La) del Marques de Santa 
 
 Cruz, 96, n. 
 Voltaire, 65, n. 1 
 
 Wales, Prince of, visits Spain, 330, u. 
 Wallace, C. W., 65, n. 
 Ward, A. W., 37, n. 1, 70, n. 1 
 Wolf, Ferdinand, x, 4, n. 2, 5, n. 1, 
 8, n., 18, n. 2, 251, n. 1 ; on e n- 
 tremeses, 287, n. 2, 294, n. 1 
 "Woman of Babylon, The," 298 
 Women in Spanish theaters, 118- 
 120; in English and French thea- 
 ters, 119, n. i, 2, 127; women on 
 the stage, 137-143; on the French 
 stage, 138-139; French women 
 on the London stage, 139 and n. ; 
 women on the Italian stage, 140; 
 in Germany, 140-141 ; women on 
 
 the Spanish stage, 141-143 ; 
 women in the ancient entremeses, 
 141 ; women licensed to act in 
 Madrid in 1587, 142; forbidden 
 to appear on the stage, 145 and 
 n., 207;. opposition to women on 
 the stage, 212-213 
 
 Yepes, Fray Diego de, 207, n., 210 
 
 Zabaleta, Juan de, 197, 199, 290, 
 
 n. 1 ; El Dia de Fiesta por la 
 
 Tarde, 334-338 
 Zamora, casa de comedias in, 192 
 Zarabanda, the, 70, 71, n. 4, 143, 
 
 298, n. 
 Zaragoza, reopening of theaters in, 
 
 249 
 Zarzuela, rehearsals in, 198 
 "Zeitschrift fur Romanische Philo- 
 
 logie," 10, n. i, 21, n. 2, 22, n. 1, 
 
 29, n. i 
 
ADDENDA ET CORRIGENDA 
 
 p. 7, n. i. On the Auto Sacramental (1520) of Lopez 
 de Yanguas, v. Cotarelo in Revista de Archivos 
 (1902), pp. 251, ff. 
 
 p. 13. Naharro is mentioned by Cueva in the third Epis- 
 tola of his Exemplar poetico: 
 
 "De fabula procede la comedia, 
 Y en ella es la inuencion licenciosa, 
 Cual vemos en Naharro y Heredia." 
 
 (Sedano, Parnaso Espanol, VIII, p. 66.) 
 
 p. 71, n. 2. La Casa confusa was represented by Pinedo's 
 company on October 16, 161 8, Baltasar Osorio and 
 Maria Flores also taking part. (Barrera, Catdlogo, 
 p. 210.) 
 
 p. 122, 1. 23. Lope de Rueda concludes his Colloquio de 
 Camila with the words : "Senores, perdonen, porque 
 aqui se da fin a nuestro Colloquio," and his Colloquio 
 de Tymbria with: "Sefiores, perdonen, que con bailar 
 se dio fin a nuestro Colloquio." His comedia Arme- 
 lina ends with a similar phrase, but the appeal to the 
 audience as "El ilustre Senado," I do not remember 
 to have seen in any dramatist before Lope de Vega. 
 
 p. 164, 1. 5. For Villahermoso read Vallehermoso. 
 
 p. 176, note, 1. 2. Strike out the words "years before," 
 as the Plaza universal was published in 161 5. 
 403 
 
4 o 4 ADDENDA ET CORRIGENDA 
 
 p. 177. To what is here said concerning the sums re- 
 ceived by a dramatist for a comedia we may add 
 that in 1634 eight hundred reals was paid for a 
 comedia by Montalvan, and nine hundred for a 
 comedia by Francisco de Rojas and Antonio Coello. 
 (Perez Pastor, Bibliografia Madrilena, III, pp. 452, 
 463.) 
 
 p. 232, n. To the playwrights mentioned may be added 
 Antonio Coello, Antonio Solis, Geronimo de Cuellar, 
 and Luis Velez de Guevara, who writes in 1633 that 
 he is unable to leave his house for want of a garment 
 to cover him. ( Perez Pastor, Bibliografia Madrilena, 
 III, p. 512.) 
 
 p. 238, n. 1. The episode related by Hume, it may be 
 remarked, was related by Francois van Aerssen, 
 Voyage d'Espagne, Cologne, 1666, pp. 47-49, and 
 repeated by Madame d'Aulnoy, who gives the 
 Countess of Lemos as authority for her story. 
 {Relation du Voyage d'Espagne, La Haye, 1693, 
 Vol. II, p. 20.) It is, of course, indignantly rejected 
 by Barrera, Catdlogo, p. 483. It may not be amiss 
 to add the following, concerning the comedia, also 
 from Madame d'Aulnoy: "Autrefois, continua-t-il 
 [D. Agustin Pacheco], les personnes vertueuses ne 
 se pouvoient resoudre d'aller a la Comedie; on n'y 
 voyait que des actions opposees a la modestie ; on y 
 entendoit des discours qui blessoient la liberte, les 
 Acteurs faisoient honte aux gens de bien; on y flatoit 
 le vice, on y condamnoit la Vertu; les combats en- 
 sanglantoient la Scene ; le plus foible etoit toujours 
 opprime par le plus fort, & l'usage autorisoit le 
 crime: Mais depuis que Lopes (sic) de Vega a 
 travaille avec succez a reformer le Theatre Espagnol, 
 il ne s'y passe plus rien de contraire aux bonnes 
 
ADDENDA ET CORRIGENDA 405 
 
 mceurs; & le Confident, le Valet, ou le Villageois, 
 gardant leur simplicite naturelle, & la rendant agre- 
 able par un enjoiiement naif trouvent le secret de 
 guerir nos Princes, & meme nos Rois, de la maladie 
 de ne point entendre les veritez ou leurs defauts 
 peuvent avoir part. C'est lui qui prescrivit des regies 
 a ses eleves, & qui leur enseigna de faire des Come- 
 dies en trois Jornadas, qui veut dire en trois Actes. 
 Nous avons vu depuis briller les Montalvanes, Men- 
 dozas, Rojas, Alarcones, Velez, Mira de Mescuas, 
 Coellos, Villaizanes; mais enfin Don Pedro Calderon 
 excella dans le serieux, & dans le comique, & il passa 
 tous ceux qui l'avoient precede." (Relation du 
 Voyage d'Espagne, II, p. 98.) 
 
 p. 266. Among the early defenders of the comedia An- 
 dres Rey de Artieda might have been mentioned. 
 
 p. 339. In 1620 Sancho de Paz, autor de comedias, ob- 
 tained a privilege from Cardinal Borgia to form a 
 company of Spanish players in Naples; "and nobody 
 else nor any other company may represent in Naples 
 except he." (Croce, / Teatri di Napoli, p. 91.) In 
 1 62 1 Francisco de Leon obtained a similar privilege, 
 and in 1620 and 1621 Sancho de Paz and Francisco 
 de Leon represented in the Teatro del Fiorentini. 
 (Ibid., p. 92.) In 1630 and 1631 Francisco Malhelo 
 and Gregorio Laredo had companies in Naples. 
 
 The Biblioteca Nacional also contains a MS. of Lope de 
 Vega's Quien todo lo quiere, undated, new No. 16798. 
 Paz y Melia, Catdlogo, No. 2810, with the follow- 
 ing cast : 
 
 don Ju n P° M e [Pedro Manuel de Castilla] 
 
 don fernando [Antonio de] Rueda 
 
 d. p° leon. i.e. Don Pedro [Diego de] Leon 
 
4 o6 ADDENDA ET CORRIGENDA 
 
 fabio 
 
 bernal osorio [Diego Osorio de Velasco] 
 
 octabia bisenta [Vicenta ?] 
 
 julia Catalina [de Acosta] 
 
 Ines Ant" [Antonia Infante] 
 
 D a Ana Jasinta [Jacinta de Herbias y Flores] 
 
 Leonarda 
 
 This is the company of Antonio de Rueda, about 
 1639-40. 
 
 The following cast of an entremes of the sixteenth century 
 I owe to the kindness of Dr. Crawford. It is entitled 
 Entremes de un Hijo que negodsuPadre, manuscript 
 of two leaves in folio in the Biblioteca Nacional, 
 in a hand of the sixteenth century. 
 
 Padre del licenciado Gaspar de huerta 
 
 licenciado Christoual de castro 
 
 muger michael 
 
 amo al° robleno 
 
 villano torres 
 
 There is nothing in the manuscript to indicate the 
 date of representation. The above cast is interest- 
 ing, however, from the fact that the role of the 
 woman {muger) is played by a man (michael), 
 which is an evidence of the early representation of 
 this entremes. 
 
LIST OF 
 
 SPANISH ACTORS AND 
 ACTRESSES 
 
 1560-1680 
 
SPANISH ACTORS AND ACTRESSES 
 
 BETWEEN 1560 AND 1680 
 
 Our knowledge of Spanish players is due chiefly to the investiga- 
 tions of D. Cristobal Perez Pastor. Of his publications the fol- 
 lowing have been consulted: Nuevos Datos acerca del Histrionismo 
 espanol en los Siglos XVI y XVII, Madrid, 1901 ; Proceso de Lope 
 de Vega por Libelos contra unos Comicos, Madrid, 1901, published 
 in conjunction with A. Tomillo, and the Datos desconocidos para 
 la Vida de Lope de Vega, in the same volume; Documentos para la 
 Biografia de D. Pedro Calderon de la Barca, Tome I, Madrid, 
 1905, and the same author's articles in the Bulletin Hispanique 
 for 1906-08. 1 The following works have also furnished valuable 
 
 'This is a fitting place to say a few words concerning the career of 
 this distinguished and unwearying scholar, whose recent death has de- 
 prived Spanish letters of one of its most successful investigators. D. 
 Cristobal Perez Pastor was born at Tobarra (Province of Murcia), of a 
 family of peasants. Intended for the priesthood, he began his career with 
 the study of theology, then turned to the sciences, receiving the degree of 
 Doctor of Science, and finally devoted himself entirely to the pursuit of 
 literature. Appointed to the chair of Bibliography in the "Escuela de 
 Diplomatica," he did not find his post to his liking and resigned, to 
 apply himself henceforth to those vast bibliographical labors which have 
 made his name eminent. He published in rapid succession, besides the 
 above-mentioned works: La Imprenta en Toledo, La Imprenta en Medina 
 del Campo, Documentos Ceriiantinos, two volumes (this work and the 
 Calderon Documentos he left unfinished), and his great work Bibliografia 
 Madrileha, in three volumes, the latest of which appeared in 1907, and 
 which was also to be continued. It is no exaggeration to say that these 
 works contained more new biographical information concerning the great 
 writers of Spain than all other investigators combined had furnished in 
 the last two hundred years. 
 
 Sr. Pe'rez Pastor died on August 21, 1908, in the obscure village of Horche 
 (Province of Guadalajara), where his body rests in the humble church- 
 yard, in just such a spot as this modest scholar, retiring almost to timidity, 
 would doubtless have chosen. Let us hope that his work did not cease 
 when he let fall his pen, but that others may be prompted to follow in 
 the path of such a distinguished and exemplary leader. 
 
 409 
 
4 i o SPANISH ACTORS AND ACTRESSES 
 
 information : Jose Sanchez- Arjona, Noticias referentes a los Anales 
 del Teatro en Seville desde Lope de Rueda hasta fines del Sigh 
 XVII, Seville, 1898, a work based for the most part upon re- 
 searches in the archives of Seville ; Emilio Cotarelo y Mori, Tirso de 
 Molina, Investigations bio-bibliograficas, Madrid, 1893; Antonio 
 Restori, La Collezione della Biblioteca Palatina-Parmense, in Studj 
 di Filologia Romanza, Fasc. 15, Roma, 1891; Rojas, Viage entre- 
 tenido, Madrid, 1603; Luis Quihones de Benavente, Entremeses, 
 Loas y Jdcaras por D. Cayetano Rosell, Madrid, 1872-74, 2 vols. ; 
 Marti y Monso, Estudios historico-artisticos, Zaragoza (1902?); 
 Migaxas del Ingenio, Zaragoza (no date), and the new edition of 
 this work by Sr. Cotarelo (Madrid, 1909), and others. Among 
 the latter the MS. in the Biblioteca Nacional, of which a number 
 of excerpts are given by Gallardo, Ensayo, Vol. I, pp. 668 ff., is of 
 great importance, but must be used with caution. 
 
LIST OF 
 SPANISH ACTORS AND ACTRESSES 
 
 1560-1680 
 
 Abadia (Andres de), actor and musician in the company of 
 Manuel Vallejo in Sept., 1630, and with Antonio de Rueda in 
 1638—39. He and his wife Maria Jimenez were members of the 
 company of Manuel Vallejo in Seville in 1633, 1640, and 1643. 
 
 Abadia (Juan de la), v. Labadia. 
 
 Acacio (Juan), native of Madrid, was an autor de comedias 
 at least as early as 1614, when he had a company in Toledo. He 
 represented at the Coliseo and at the Corpus festival in Seville in 
 1617, and in the Corral de Dona Elvira and also at Corpus in 1619, 
 his wife Ana Falcona acting in his company. He was one of the 
 twelve autores authorized by the decree of 1615. In 1623 he repre- 
 sented three comedias privately before the King, and in 1644 took 
 part in the autos at Seville. In March, 1626, he is described as a 
 resident of Valladolid, where his company was acting in Feb. and 
 March of that year. For his company in 1619 and 1644, v. 
 Sanchez-Arjona, pp. 203, 371. In Nov., 1636, his name is given 
 as Juan Acacio Bernal. (N. D., p. 257.) 
 
 Acacio (Juan), el Mozo, son of the preceding and an actor 
 in his company in 1636, when both appeared in Gaspar de Obre- 
 gon's Del Voder para tener, in Plasencia. (Sanchez-Arjona, 
 p. 341, n.) He appeared in Manuel Vallejo's company in 1640, 
 and again in his father's company in 1644. 
 
 Acebedo (Antonio de), actor in the company of Bartolome 
 Romero in Lisbon for two or three months before Shrovetide in 
 1639. Perhaps the same as the following. 
 
 Acebedo Fajardo (Antonio), prompter in the company of 
 Esteban Nunez, el Polio, in 1657; afterward an actor, playing old 
 men's parts, in the company of Felix Pascual in 1680. He was 
 also an author. (Gallardo, I, p. 671.) 
 
 Acosta (Catalina de) and her husband Antonio de Rueda 
 
 411 
 
4 i2 SPANISH ACTORS AND ACTRESSES 
 
 were in the company of Alonso de Olmedo in 1631, when they 
 were received into the Cofradia de la Novena. She was probably 
 the D a Catalina in the cast of Lope's Del Monte sale (1628) ; in 
 Aug.-Sept., 1638, she was in her husband's company in Valladolid 
 and Segovia, and in 1640-44 played fourth parts in his company. 
 She was apparently still living at the death of her husband, in 1662. 
 
 Acosta (Isabel de), wife of Miguel de Barbosa; both were 
 musicians in the company of Diego Vallejo in 1619. 
 
 Acosta (Maria de) , wife of the actor Cosme Perez, q. v. 
 
 Acuna (Antonio de), member of the company of Alonso de 
 Olmedo and Luis Bernardo de Bovadilla in 1638-39. He had a 
 company in 1654. 
 
 Acuna (Manuela de), played damas in Valencia in 1667. 
 She was the wife of Vicente de Salinas, and died in Gerona. 
 
 Agramonte (Juan Antonio de), actor in Manuel Vallejo's 
 company in 1670. See under Antonio (Juan). 
 
 Agramonte (Pedro de), famoso segundo in the company of 
 Alonso de Olmedo in 1635; he played third parts in the com- 
 pany of Lorenzo Hurtado de la Camara in 1642, and in the 
 company of Juan Perez de Tapia in 1662. In 1664 he played 
 fourth parts in the company of Juan de la Calle and Bartolome 
 Romero. A Pedro de Agramonte was prompter in the company 
 of Juan Martinez in 1631. 
 
 Aguado (Juan), second gracioso in the company of Jeronimo 
 Vallejo in 1 660. 
 
 Aguado (Maria) played sixth parts in the company of Felix 
 Pascual and Agustin Manuel in 1671. 
 
 Aguado (Pedro), member of the company of Antonio de 
 Prado in 1614, when he appeared in Tirso de Molina's La Tercera 
 de la Sancta Juana. In the previous year he was in the company of 
 Cristobal Ortiz de Villazan, and appeared in Lope de Vega's La 
 Dama boba (1613). In 1619 and 1621 he was with Alonso de 
 Olmedo. 
 
 Aguado (Simon), gracioso in the company of Sebastian de 
 Prado in 166 1 and 1662. In the latter year and in 1674 he had 
 a company (in 1662 he and Juan de la Calle represented an auto 
 in Madrid, and in 1674 his company alone). In 1675, 1676, and 
 1678 he was gracioso in the company of Antonio de Escamilla. 
 In 1677 he was in the company of Agustin Manuel de Castilla, 
 
SPANISH ACTORS AND ACTRESSES 413 
 
 and in 1679 in that of Jose Antonio Garcia de Prado. He was 
 born in Malaga on Oct. 25, 1621, and died in Madrid, Jan. 18, 
 1706. He was the author of the mogiganga Los Niiios de la 
 Rollona y lo que pasa en las calles. (Paz y Melia, Catdlogo, 
 No. 2310.) 
 
 Agueda (Francisca) played first parts in the company of 
 Pablo de Morales in Seville in 1678. 
 
 Aguilar (Alonso de), native of Valencia; in March, 1602, 
 he agreed to act for one year in the company of Juan de Tapia, 
 Luis de Castro, and Alonso de Paniagua. 
 
 Agutlar (Francisco de), member of the company of Diego 
 de Santander in 1594. 
 
 Aguilar (Jeronima de), wife of the actor Luis Granados and 
 member of the company of Diego de Santander in 1594. Sister of 
 Francisco de Aguilar? 
 
 Aguilar (Jeronimo de), actor(?) accused of killing the actor 
 Juan Morales, husband of Juana de Villalba, in 1595. 
 
 Aguilar (Marina de), actress in Madrid in 1603; she was 
 the wife of Francisco Munoz. Both were in a joint company in 
 Madrid in 1603 and 1604, and in that of Alonso Riquelme in 
 Seville in 1607. There was a D? Mariana de Aguilar, who lived 
 in the Calle del Infante in Nov., 1 61 8, and who buried Catalina 
 de Valcazar. {Bull. Hisp. (1907), p. 383.) Perhaps the same as 
 the above. 
 
 Aguilera (Francisco de), actor in the company of Alonso 
 Riquelme in 1607. 
 
 Aguirre (Martin de), actor in 1583-84. See Nuevos Datos, 
 p. 14, and Bull. Hisp. (1906), p. 364. A Martin de Aguirre is 
 also mentioned in 1622. (N. D., p. 190.) 
 
 Aguirre (Miguel de), member of the company of Andres de 
 la Vega in 1638-39. 
 
 Alarcon (Diego Manuel de), actor in the company of 
 Andres de Claramonte in 1614— 15. 
 
 Alarcon (Gonzalo de), autor de comedias in 1598; his wife 
 was Antolina Rodriguez. 
 
 Alarcon (Hernando de), actor in Claramonte's company in 
 1614-15. 
 
 Alarcon (Juan Bautista de), actor in Claramonte's com- 
 pany in 1614-15. 
 
4 i4 SPANISH ACTORS AND ACTRESSES 
 
 Alarcon (Mariana de) of Valencia, widow of Alejandro 
 Maco; actress in Diego Vallejo's company in Seville in i6i9- 
 
 Alarcon (Sebastian de), actor in the company of Manuel 
 Vallejo in 1640, and in the company of Esteban Nunez in 1648. 
 He was still living in 1669. (Paz y Melia, Catalogo, No. 1664.) 
 
 Albricio (Juan de), actor in the company of Gaspar de Porres 
 from 1585 till Shrovetide, 1586. He was then a minor. (B. H. 
 (1906), p. 365.) He was indicted in 1596 for the killing of 
 Jeronimo Rodriguez. His name also appears as Juan de Albrici 
 and Juan Brizio Alegria. (B. H. (1907). P- 362.) 
 
 Alcantara (Nicolas de), member of the company of Esteban 
 Nunez in Seville in 1654. He was barba in Jeronimo Vallejo's 
 company in 1660. 
 
 Alcaraz (Basilia de) , first wife of the actor Juan de Tapia,q. v. 
 
 Alcaraz (Maria de), widow, actress in the company of Juan 
 Roman in 1639 and 1640. 
 
 Alcaraz, v. Lopez de Alcaraz (Diego). 
 
 Alcozer (Juan de), autor de comedias; he, Nicolas de los 
 Rios, and Miguel Ramirez represented one of the autos at Madrid 
 in 1587. He had a company in Madrid in July, 1590, and is 
 mentioned by Rojas, Viage entretenido, p. 362. 
 
 Aldama (Juan de) of Madrid and his wife Mariana de 
 Aparicio were in the company of Hernan Sanchez de Vargas in 
 1633-34, an( l m tnat OI Andres de la Vega in 1636—37. 
 
 Aldama (Manuel de), actor in the company of Alonso de 
 Riquelme in 1606. He and his wife (name unknown) took part 
 in the Corpus festival at Seville in 1 61 4. The name Aldama or 
 Aldana occurs in the cast of La belligera Espanola. See Restori, 
 Studj, p. 92. 
 
 Alegria (Francisco Garro de), lessee of the corrales of 
 Madrid in 1632, 1636-41, and 1645. 
 
 Alejandro, musician, and his wife Ana Maria were members 
 of the company of Domingo Balbin in Seville in 1 61 3. 
 
 Alejandro (Jose), member of the company of Jose Garcia de 
 Prado in 1658, and in that of Juan Perez de Tapia in 1662. 
 
 Almaguer (Juan de), actor in 1584, and in the company of 
 Jeronimo Velazquez in 1590. (Datos desconocidos, p. 146.) 
 
 Almansa (Mateo de), actor in the company of Jacinto 
 Riquelme in Seville in 1652. 
 
SPANISH ACTORS AND ACTRESSES 415 
 
 Almansa (Pedro de) belonged to the company of Baltasar 
 Pinedo in 1611 (Bibl. Madrilena, III, p. 325); he played third 
 parts in the company of Hernan Sanchez de Vargas in 1619—20; 
 in Domingo Balbin's company from Sept. 1, 1623, till Shrovetide, 
 1624, and in the company of Juan Martinez from Oct. 10, 1624, 
 till Shrovetide, 1625. 
 
 Almella (Juan Jeronimo), native of the village of Morella, 
 and autor de comedias in 1628, when he took his company to 
 Valencia to give sixty consecutive performances, beginning on Palm 
 Sunday, v. Bulletin Hispanique ( 1906) , p. 377, and text, p. 193, n.8. 
 Almenara (Pedro de), actor in the company of Jeronimo 
 Velazquez in 1590-91, receiving seven reals daily, besides three 
 reals for "maintenance, tapers, and clean linen." 
 
 Almendros (Esteban de), harpist, and his wife Maria de la 
 Paz were in the company of Jose Garceran in Seville in 1657. I n 
 1654 he had a company and represented the autos in Madrid. 
 (Calderon Documentos, p. 223.) 
 
 Almonacid (Diego de), lessee of the Coliseo in Seville in 
 1610; of the Coliseo and Dona Elvira in 1612, and of the Corral 
 de Dona Elvira in 1616—28. There were two persons, father and 
 son, who bore the same name. 
 
 Almonte, actor in the company of Ortiz de Villazan; he ap- 
 peared in Lope's La Dama boba (1613). See Life of Lope de 
 Vega, p. 172, n. 
 
 Alonso, actor in Valencia in the latter part of the sixteenth 
 century ( 1 588 ?) , in the company of Rodrigo Osorio. See Cotarelo, 
 Lope de Rueda, p. 30. His wife and daughter were members of 
 the same company. 
 
 Alonso (Francisco), actor in the company of Felix Pascual 
 in Seville in 1665. There was a Francisco Alonso who appeared 
 in Tirso's Celos con Celos se curan (1625). 
 
 Alonso (Juan), member of the company of Felix Pascual in 
 1665. His real name was D. Bartolome de Velasco, and he was 
 a native of Villadiego (Burgos). In 1662 he was in Valencia in 
 the company of Jose Carrillo, and in Madrid in 1663; in 1677 
 he was primer galan in the company of Magdalena Lopez. He 
 died in 1685. 
 
 Alonso (Manuel) played old men's parts in the company of 
 Pablo Martin Morales in Seville in 1678. 
 
4 i 6 SPANISH ACTORS AND ACTRESSES 
 
 Alquilona (La) managed a company of players in Valencia 
 in 1 67 1. 
 
 Alvarez (Anton), actor in 1604 in Madrid, in a joint com- 
 pany with Vicente Ortiz and others. 
 
 Alvarez (Beatriz), wife of the actor Juan de Soriano; both 
 were in Baltasar Pinedo's company in 1613. 
 
 Alvarez (Bernabe), member of the company of Bernardo de 
 la Vega in Seville in 1672. See Alvarez Quixano. 
 
 Alvarez (Bernardino), actor in the company of Rodrigo 
 Osorio in Valencia in I588( ?). (Cotarelo, Lope de Rueda, p. 30.) 
 The name given is merely Bernaldino, and the identification is not 
 certain. In 1613 he was in Domingo Balbin's company in Seville, 
 and appeared in Lope's Quien mas no puede in 1616. He was in 
 Manuel Vallejo's company in 1623, and in that of Antonio de 
 Prado in 1624. 
 
 Alvarez (Francisca) , wife of Juan Carmona; both were in the 
 company of Antonio de Prado in Valladolid in 1645. 
 
 Alvarez (Francisco), or Francisco Alvarez de Victoria, and 
 his wife Josefa Necti were members of the company of Tomas 
 Fernandez Cabredo. They were married in Valladolid in 1630, 
 but the wife is here called Josefa Nieto, which is probably correct. 
 (Marti y Monso, Estudios, p. 566.) A player by this name ap- 
 peared in the entremes Las Civilidades in Avendano's company. 
 (Rosell, I, p. 45.) In 1639 ne had a company jointly with Fran- 
 cisco Velez de Guevara and Pedro de Cobaleda. Francisco Albarez 
 and an actress Jusepa are found in the cast of Calderon's Troya 
 abrasada (1644). 
 
 Alvarez (Jeronimo), at one time an actor in the company of 
 Manuel Vallejo, is mentioned in 1662. He married Ana Baptista, 
 and died in 1689. 
 
 Alvarez (Luis), a minor in the company of Alonso Riquelme 
 from March, 1602, to 1603; he was in the company called Los 
 Andaluces in 1605-06; in Balbin's company in 1609, and with 
 Riquelme again in 1610, when his wife Maria de Herbias was a 
 member of the same company. Both belonged to the company of 
 Baltasar Pinedo from March 1, 1614, till Shrovetide, 1615. He 
 appeared in Lope's Del Monte sale (1628), in the company of 
 Heredia. v. Life of Lope de Vega, p. 324, n. 
 
SPANISH ACTORS AND ACTRESSES 417 
 
 Alvarez (Maria), wife of Alonso de Villalba; both were in 
 the company of Nicolas de los Rios in Seville in 1609. Prior to 
 this, in 1605, Maria Alvarez, "comedianta doncella," was in Rios's 
 company in Valladolid. (M. y M., p. 566.) 
 
 Alvarez (Maria), daughter of Francisco de Arteaga, was in 
 the company of Alonso de Olmedo in 1621, with her father. 
 {Bull. Hisp. (1908), p. 244.) 
 
 Alvarez (Maria), actress in the company of Manuel Vallejo 
 in 1674, and autora y scgunda in the company of Felix Pascual in 
 Seville in 1677. v. Sanchez- Arjona, p. 486. From the word 
 autora we infer that she was then the wife of Felix Pascual, 
 q. v. 
 
 Alvarez Quixano (Bernabe), actor in Madrid in 1678. 
 (Paz y Melia, Catalogo, No. 1459.) 
 
 Amarilis, v. Cordoba (Maria de). 
 
 Ambrosio, v. Lobaco and Martinez. 
 
 Amella, v. Almella. 
 
 Amor (Fabian de), menistril [player of a wind instrument] in 
 the company of Jerbnimo Ruiz, Francisco de Vera, and Alonso de 
 Morales in 1592. 
 
 Amor (Maria del), wife of Jeronimo de Castaneda; both 
 were in the same joint company in Madrid in 1614. 
 
 Ana (Dona), actress in the entremeses of Quinones de Bena- 
 vente. Her name was Ana Fajardo and she was the wife of Fran- 
 cisco Velasco, q. v. 
 
 Ana (La Senora), actress who took a subordinate part in 
 Lope's La nueva Victoria de D. Gonzalo de Cordoba (1622). 
 v. Life of Lope de Vega, p. 298, n. 
 
 Ana Maria, wife of Alejandro, musician; both were in the 
 company of Domingo Balbin in 1613. An Ana Maria appeared 
 as Dona Alanbra in Lope's Bastardo Mudarra (1612). 
 
 Ana Maria {La Bezona) ; her name was Ana Maria de 
 Peralta; she was the wife of the gracioso Juan Bezon (Nov., 
 1623), and was in the company of Hernan Sanchez de Vargas for 
 one year from Ash Wednesday, 1624 {N. D., p. 203) ; in 1632 
 she and her husband were in Avendano's company (Cotarelo, 
 Tirso, p. 202), and in 1635 both were in Pedro de Ortegon's 
 company in Seville, she playing third parts. In 1636 they were 
 
4 i 8 SPANISH ACTORS AND ACTRESSES 
 
 with Francisco Lopez. (S.-A., p. 300.) Lope de Vega alludes 
 to her in the entremes La Muestra de los Carros del Corpus: 
 
 Mas pfcara, graciosa y socarrona 
 que sobre aquestas tablas la Bezona. 
 
 She appeared at a festival in the Buen Retiro as late as 1658, 
 when she is described as "muy dama de Sevilla." (Barrionuevo, 
 Avisos, IV, p. 34.) Under date of June 26 of the same year this 
 chronicler informs us that: "malpario la Bezona dos dias antes del 
 Corpus, y para que se animase a representar los autos, le envio Jose 
 Gonzalez 400 reales como Comissario que era de ellos, como el mas 
 antiguo del Consejo." But it does not seem possible that this 
 Bezona and Ana Maria de Peralta (q. v.) were the same person. 
 It is very probable that Francisca Bezon is the actress alluded to 
 by Barrionuevo. 
 
 Ana Maria, "la hija del lapidario," a member of Figueroa's 
 company. (Rosell, Vol. I, p. 169.) 
 
 Ana Maria, wife of Melchor de Moya; both were in the com- 
 pany of Nicolas de los Rios in Valladolid in 1605 and in Seville in 
 1609. Her name was Ana Maria de la Canal. (Marti y Monso, 
 Estudios, p. 566.) 
 
 Ana Maria, wife of the Valencian actor Jose Vives. Their 
 son was Antonio Velez de Guevara, who was gracioso in the com- 
 pany of Lorenzo Hurtado in 1 63 1. (Gallardo, Ensayo, I, p. 669). 
 
 Ana Maria, wife of Juan Jeronimo Valenciano, played second 
 parts in the company of Alonso de Olmedo in Seville in 1635. 
 Her name was Ana Maria de Caceres, q. v. 
 
 Ana Maria, actress in the company of Felix Pascual in Seville 
 in 1665. 
 
 Ana Maria, v. also under Mata, Mencos, Pena, Peralta, 
 Ribero, Rivera, Ulloa, and Vives. 
 
 Anaya (Maria de), wife of Jose Garcia de Prado (after 
 1658?). She was in Sebastian de Prado's company in 1661; in 
 that of Simon Aguardo and Juan de la Calle in 1662; was musica 
 in Escamilla's company in 1663, 1675-76. In 1666 she was 
 acting in Paris. In 1677 and 1678 she was in the company of 
 Agustin Manuel de Castilla, and in the company of Manuel 
 Vallejo in 1681. v. Olmedo (Alonso de), el Mozo. 
 
SPANISH ACTORS AND ACTRESSES 419 
 
 Andaluces (Los), a joint company composed of Francisco 
 Garcia de Toledo, Diego de Monserrate and his wife Mariana 
 Rodriguez, Juan de Ostos and his wife Maria de Herrera, Luis de 
 Castro, Cristobal de Barrio, and Luis de Alvarez "en nombre de 
 Bivar." The company was organized in March, 1605, to last till 
 Shrovetide, 1606. 
 
 Andino (Nicolas), harpist in the company of Pablo Martin 
 de Morales in Seville in 1678. 
 
 Andrada (Maria), wife of Diego de Cisneros in 1660. 
 
 Andrade (Ana de), actress in the company of Diego Osorio 
 in Madrid in 1657, distinguished for the charm of her voice and 
 for her skill in music. She was the second wife of the autor de 
 comedias Felix Pascual, after 1665. 
 
 Andrade (Antonio de), el G die go, husband of Maria de la 
 O; both were members of the company of Manuel Vallejo in 1631. 
 
 Andrade (Feliciana de), actress, married Francisco Lopez 
 (before 1639), and had a daughter Josef a Lopez, called Pepa 
 la hermosa, who died in a convent at Monbeltran. (Pellicer, 
 Vol. II, p. 59.) 
 
 Andrade (Feliciana de), actress in the company of Diego 
 Osorio in 1657, and afterward the wife of Gregorio de Casta- 
 neda; both were in the company of Pablo de Morales in 1678. 
 
 Andrade (Josefa de), "single woman," played segundas damas 
 in the company of Pablo de Morales in 1678. 
 
 Andrade (Luisa de), daughter of Antonio de Andrade and 
 Maria de la O ; she was in the company of Manuel Vallejo in 1631. 
 
 Andrade (Micaela de), actress in the company of her hus- 
 band, Diego Osorio de Velasco in 1657 and 1659. Of this family 
 of Andrade, Pellicer (ibid., p. 20) says there were three sisters: 
 Ana, Feliciana, and Micaela, all natives of Toledo; all were 
 members of Diego Osorio's company in 1657. v. Perez Pastor, 
 Calderon Documentos, Vol. I, pp. 248 and 259. There seems to 
 have been a fourth sister, Josefa. v. above. 
 
 Angel (Gabriel) and his wife Juana de Prado were farsantes 
 in Madrid in 1583-84. (B. H. (1906), p. 153.) He is also 
 mentioned in March, 1602. 
 
 Angel (Manuel), actor in the company of Antonio de Esca- 
 milla in 1677 and 1678; in Manuel Vallejo's company in 1679 
 and 1680, and in Juan Antonio de Carvajal's in 1681. 
 
4 20 SPANISH ACTORS AND ACTRESSES 
 
 Angela Dido received her surname from Guillen de Castro s 
 tragedy Dido y Eneas, in which she was celebrated. Pellicer says 
 that she was an autora antigua, and that her will, dated 1653, is 
 preserved in the Archivo de la Virgen. 
 
 Angela Francisca played first parts in the company of Luis 
 Hurtado in 1641 and at Corpus in Seville in 1642. This is doubt- 
 less Angela Francisca de Hinestroza, q. v. 
 
 Angeles (Francisca de los), actress in the company of 
 Manuel Vallejo in 1670. 
 
 Angeles (Jeronima de los), wife of Luis Calderon; both 
 were members of the company of Jeronimo Velazquez in 1590. 
 v. Perez Pastor, Proceso de Lope de Vega, p. 146. 
 
 Angeles (Maria de los), born in the Rastro in Toledo, 
 famous actress in the company of Alonso Riquelme in 1 607. In 
 Aug., 1610, she appears as the wife of Jeronimo Sanchez, autor 
 de comedias. She was in the company of Baltasar Pinedo in 1614, 
 and, for some reason not stated, the municipality of Madrid at 
 Corpus of this year, when Pinedo represented autos, requested that 
 she and Mariana de Herbias be removed from the company and 
 that two other actresses be engaged in their stead. {Bull. Hisp. 
 (1907), p. 379.) She is mentioned among the celebrated actresses 
 of the time by Suarez de Figueroa, in his Plaza universal ( 1 6 1 5 ) . She 
 is probably the S a Maria who took the part of Lisena in Lope's Des- 
 den vengado in 161 7, as played by Juan Bap. Valenciano's company. 
 In 1620-21 she belonged to the company of Juan Bautista Valen- 
 ciano, and appeared as Leonor in the cast of Claramonte's La 
 infeliz Dorotea, as the MS. shows. See Life of Lope de Vega, 
 passim. In 1620 (dia de Sant Miguel) she was in the company 
 of Pedro de Valdes. {Bull Hisp. (1908), p. 243.) She wrote 
 some commendatory verses for the Viage entretenido of Rojas 
 (1603), and must have been a well-known actress at that time. 
 
 Angulo, el Malo, a native of Toledo, was an autor de comedias 
 about 1580. On Nov. 7, 14, and 15, 1582, his company repre- 
 sented in Madrid. Cervantes mentions him twice : in the Coloquio 
 de los Perros (written between 1606 and 1609, according to Fitz- 
 maurice-Kelly, Cervantes, Exemplary Novels, Glasgow, 1902, 
 p. xxix), saying: "We stopped at the house of an autor de comedias, 
 who, as I remember, was called Angulo el Malo, to distinguish him 
 from another Angulo, not an autor but an actor, the most witty 
 
SPANISH ACTORS AND ACTRESSES 421 
 
 that the comedias then had or have at this day" ; and again in Don 
 Quixote, Part II, chap, xi, v. Clemencin's note. According to 
 Figueroa's Plaza universal he was deceased in 1615. Rojas, Viage 
 entretenido, p. 362, mentions Angulo as a well-known autor de 
 comedias. He represented in Marchena with Rios in I592(?). 
 {Ibid., p. 90.) 
 
 Angulo (Juan Bautista de), actor in the company of 
 Antonio Granados for one year from Sept. 3, 1604. On Jan. 11, 
 1619, Juan de Angulo and his wife Bernarda Gonzalez agreed to 
 act for one year in the company of Tomas Fernandez Cabredo. 
 This was probably the same person as Juan Bautista de Angulo. 
 
 Angulo (Marco Antonio de) and his daughter Mencia de 
 Vibas were members of the company of Segundo de Morales for 
 one year from Nov., 1638. 
 
 Antandra (La), v. Granados (Antonia). 
 
 Antequera, gracioso mentioned by Rojas, Viage entretenido 
 (1603), p. 15. 
 
 Anteta (Felipe), musician in the company of Juan Nunez, 
 el Polio, in 1658; in 1667 he was in the company of Lorenzo 
 and Francisco Garcia. His wife was Ursula Correa. He died in 
 1678. 
 
 Antonia (La Senora), wife of Juan de Montoya; both were 
 in Vallejo's company in 1 63 1. An Antonia appeared in Lope's 
 Hermosa Ester ( 1610). 
 
 Antonia Bernarda, daughter of Francisco Rodriguez and 
 Maria Suarez, was a member of the company of Manuel Vallejo 
 in 1631. Antonia Bernarda or Bernardo was in the company of 
 Pedro de la Rosa in Valladolid in 1655. (M. y. M., p. 567.) 
 
 Antonia Infanta, v. Infanta. 
 
 Antonia Manuela, or Antonia Manuela Catalan, wife of the 
 autor Bartolome Romero. She and her husband were in the com- 
 pany of Cristobal de Avendano in 1622, and from Ash Wednesday, 
 1624, ' n Juan Bautista Valenciano's company. In 1630 she acted 
 in her husband's company in Seville, and in 1631-32 in that of 
 Roque de Figueroa at Madrid, when she appeared with great ap- 
 plause in Montalvan's No ay Vida como la Honra. See his Para 
 Todos, edition of 1645, fol. 29, v., where she is called "unica en 
 todo." In 1636-37 Antonia and her husband were in the com- 
 pany of Tomas Fernandez Cabredo, receiving 16 reals daily for 
 
422 SPANISH ACTORS AND ACTRESSES 
 
 maintenance and 22 reals for each performance, besides four ani- 
 mals for traveling. In 1637 sne acted in the autos in Madrid, 
 receiving a gratuity of 25 ducats. In the following year she and 
 her husband lived in the Calle del Amor de Dios, Madrid, and 
 mortgaged a house in the Calle de Francos, corner of the Calle del 
 Nino, to pay a wet-nurse for nursing their daughter Francisca 
 for forty-one months, at three and a half ducats per month. They 
 had three other children: Luisa, Mariana, and a son Damian. 
 The whole family was received into the Cofradia de la Novena on 
 April 26, 1 63 1. In 1642 and 1643 Antonia Manuela was acting 
 damas in her husband's company in Seville, where they represented 
 autos, and in 1645 in Valladolid. (M. y M., p. 567.) 
 
 Antonia Manuela and her husband Alejandro de la Villa, 
 were in the company of Jose Garcia de Prado in Seville in 1658. 
 In 1663 Antonia, then a widow, was in the company of Francisca 
 Lopez in Seville, and in 1665 she belonged to the company of Felix 
 Pascual. In 1668 she managed a company in Seville, and also- 
 in 1675. She also appeared in the latter year in Escamilla's com- 
 pany. (Perez Pastor, Calderon Doc, I, p. 341.) 
 
 Antonia Maria, actress in the company of Juana de Cisneros- 
 in Seville in 1660. 
 
 Antonio (Josephe), actor in the company of Jose Garcia de 
 Prado in Seville in 1658, and in Felix Pascual's company in 
 1665-70? He and his wife Josepha de Salazar were in the 
 company of Carlos de Salazar in Seville in 1676. His full name 
 was Jose Antonio Guerrero. He was still living in 1699 and had 
 a son Jose Andres Guerrero, who played fourth galanes in Valencia 
 in 1694. 
 
 Antonio (Juan), actor in the company of Antonio de Prado 
 in 1639. His name occurs in the cast of Calderon's Troy a abrasada 
 (1644). 
 
 Antonio (Juan), quarto galan in the company of Antonio de 
 Escamilla in 1661, in Jose Carrillo's company in 1663, and with 
 Escamilla again in 1671 ; in 1670 he was barba in Manuel 
 Vallejo's company, and in 1674 he was in the company of Mag- 
 dalena Lopez. The full name of this actor seems to have been 
 Juan Antonio de Agramonte. An actor named Antonio is men- 
 tioned by Rojas, Viage entretenido, p. 467, as a member of the 
 company of Rios. 
 
SPANISH ACTORS AND ACTRESSES 423 
 
 Antonio (Luis), member of the company of Antonio de Prado 
 in 1632. An actor named Antonio appeared in Lope's Quien mas 
 no puede (1616) in Cebrian's company, and in Lope's La Conpe- 
 tencia en los Nobles (1628). 
 
 Antonio (Marco) was in the company of Diego Lopez de 
 Alcaraz in 1603-04. He and his wife Maria de Aviola were in 
 the company of Domingo Balbin in 1613. Marco Antonio and 
 his wife are mentioned as early as Oct., 1582, as executors of the 
 will of Maximiliano Milimino. (N. D., p. 335.) There was a 
 Marco Antonio in Vallejo's company in 1633. 
 
 Aparicio (Bernardo), actor (?) lived in the Calle de Francos 
 "in his own house" in 1662. 
 
 Aparicio (Mariana de), wife of Juan de Aldama; both were 
 in the company of Hernan Sanchez de Vargas in 1633-34, an£ l m 
 the company of Andres de la Vega in 1636-37, she taking second 
 parts. 
 
 Aragon (Francisco de), second musico in the company of 
 Magdalena Lopez in Seville in 1677. 
 
 Aragon (Juan de), actor in a joint company .in 1604. There 
 was also an actor of the same name in the company of Magdalena 
 Lopez in 1674. 
 
 Aranda (Blas de) and his wife Juana de Segura, whom he 
 married in Valladolid in 1607, were in the company of Hernan 
 Sanchez de Vargas in 161 1— 12. He was in the same company in 
 Seville in 1 614, as bailarin. 
 
 Aranda (Luisa de), wife of the autor de comedias Francisco 
 Agavaro Valdes in 1588. 
 
 Aranda (Pedro de), actor and dancer in the company of Juan 
 Acacio in Seville in 161 9. 
 
 Arce, v. Arze. 
 
 Arcos (Sebastian de), calcetero, in charge of a carro at the 
 Corpus festival in Seville in 1560 and 1561. He was manager of 
 a company in 1580. 
 
 Arellano (Francisco de), actor in Madrid in 1584. 
 
 Arellano (Gregorio de), actor in a joint company in 1604- 
 1605, with Anton Alvarez, Vicente Ortiz, and others. The name 
 occurs in the cast of Lope's La Discordia en los casados (161 1). 
 
 Arguello, actor in the company of Alonso Riquelme in 1610. 
 
 Arguello (Maria de), wife of Pedro Barona or Varona; she 
 
424 SPANISH ACTORS AND ACTRESSES 
 
 was a member of the company of Alonso Riquelme in 1610, and 
 appeared in Lope's La buena Guarda. In 1619 she belonged to 
 the company of Antonio Martinez from Jan. 1 to Dec. 31. 
 
 Arias (Damiana de), first wife of the actor Mateo de Godoy 
 (1639-62). 
 
 Arias (Francisco), son of Damian Arias and Luisa de 
 Reinoso, belonged to the company of Manuel Vallejo in 163 1. 
 
 Arias (Juan), actor in Heredia's company in 1627, when he 
 appeared in Lope's Del Monte sale. 
 
 Arias de Penafiel (Damian), praised by Caramuel and 
 others as the greatest actor of his day. In 1 61 7 he appeared as 
 Don Juan in Alarcon's Las Paredes oyen, on its first performance. 
 His wife was Luisa de Reinoso, and both were in Heredia's com- 
 pany in 1619. He seems to have been in the company of Juan de 
 Morales Medrano in 1621 (Bull. Hisp. (1908), p. 244) and 
 was a member of the company of Manuel Vallejo in 1622, and 
 of Juan de Morales Medrano's company in 1624. In 1625 he 
 owned a house in the Calle de Loreto, parish of San Sebastian, 
 Madrid. (B. H. (1908), p. 252.) In 1631 (April) he and his 
 wife and two children, Francisco Arias and Luisa de Penafiel, 
 were in the company of Vallejo. Cotarelo ( Tirso de Molina, 
 p. 206) says that he was in Roque de Figueroa's company in July, 
 1 63 1. He had a company, then managed by Pedro de Ortegon, 
 in Seville at Shrovetide of this year. (S.-A., p. 271.) He appeared 
 in Lope's El Poder en el Discreto (1624), and in 1634 ne was 
 again in Vallejo's company, his name appearing in the cast of 
 Lope's Castigo sin Venganza, written in that year. He had a 
 company in 1636-38, and represented the autos in Seville in the 
 former year. Prior to 1638 he had been in the company of 
 Heredia in Lisbon. (Rosell, Vol. I, p. 369.) In 1640 he and 
 Luis Lopez de Sustaete had a joint company and represented autos 
 at Madrid. In 1643 he was acting in the company of Manuel 
 Vallejo in Seville, and is said to have died in Arcos in that year. 
 He first represented Lope's comedia El Prodigio de Etiopia. 
 
 Arquer or Arques (Rafael) and his wife Maria de Espinosa 
 were members of Avendano's company in 1632. In 1645 he was 
 acting in Valladolid, apparently in Antonio de Prado's company. 
 (M. y. M.,p. 567-) 
 
SPANISH ACTORS AND ACTRESSES 425 
 
 Arroyo (Agustin de), actor and musician in the company of 
 Pedro de Ortegon in Seville in 1635. 
 
 Arroyo (Domingo Ochoa de), v. Ochoa de Arroyo. 
 
 Arroyo (Jose de), actor in the company of Lorenzo Hurtado 
 and musico in Seville in 1645. 
 
 Arteaga (Andrea de) 
 
 Arteaga (Catalinade) 
 
 Arteaga (Clementede) 
 
 Arteaga (Eugenia de) 
 
 Arteaga (Franciscade), these five children of Francisco de 
 Arteaga and his wife Maria Perez were members of the company 
 of Manuel Vallejo in Seville in 1631-32 and Catalina and 
 Andrea were with Vallejo in 1643. 
 
 Arteaga (Francisco de) and his daughter Maria Alvarez 
 were in the company of Alonso de Olmedo in 1621. {Bull. Hisp. 
 (1908), p. 244.) He was a member of the company of Domingo 
 Balbin from 1623 till Shrovetide, 1624. In 1633 he was in the 
 company of Juan Bautista Espinola, with his daughter Maria de 
 Morales (sic). See Nuevos Datos, pp. 200, 229; Sanchez- Arjona, 
 p. 185. In 1635 he was in Alonso de Olmedo's company in 
 Seville; in 1643 he was in Vallejo's company, and in 1654 in the 
 company of Esteban Nunez in Seville. His wife was Maria Perez. 
 
 Arteaga (Juan de), autor de comedias, who, with Melchor 
 de Leon, represented the autos at Corpus in Seville in 1606. This 
 is probably the Artiaga mentioned as an actor (before 1603) by 
 Rojas, Viage, p. 13. 
 
 Arteaga (Maria or Mariquita de), daughter of Francisco de 
 Arteaga, was in Vallejo's company in 1632. See Rosell, I, p. 277. 
 In 1635 she played fourth parts in the company of Alonso de 
 Olmedo. 
 
 Arteaga (Pedro de), perhaps a brother of the preceding, and 
 a member of the same company in 1635. 
 
 Artegui (Pedro de), autor de comedias in 1634, when his 
 company represented before the King. (Averiguador, I.) Perhaps 
 Artegui is a mistake for Arteaga. 
 
 Arze (Bartolome Calvo de) was in the company of Nicolas 
 de los Rios in 1603, and seems to have been in the same company 
 for some years prior to this date. In 1609 he and his wife Isabel 
 
426 SPANISH ACTORS AND ACTRESSES 
 
 Ana belonged to the company of Rios in Seville. In 1622 he and 
 Isabel Ana were in the company of Cristobal de Avendafio, and 
 in 1624 in that of Juan de Morales Medrano. v. Rojas, Viage, 
 pp. 12, 14, and 466. 
 
 Arze (Jose), actor in Roque de Figueroa's company in 1631. 
 
 Arze (Juan de) of Salamanca, musico in the company of 
 Diego Vallejo in 1619, and in the company of Manuel Vallejo in 
 1622. In 1623 he was with Juan Bautista Valenciano. 
 
 Arze (Pedro de), native of Cuenca, actor in the company of 
 Gaspar de Porres from Jan., 1605, till Shrovetide, 1607. 
 
 Ascanio (Pedro de) and his wife Antonia Infanta were mem- 
 bers of the company of Antonio de Rueda in 1639 and 1640, 
 she playing third parts and la primera parte del saynete in 1639 
 and damas in 1640. (N. D„ p. 304; S.-A., p. 337.) In 1638 
 Rueda and Ascanio had a company together, when the loa of 
 Benavente, Vol. I, p. 366, was probably represented. They also 
 gave ninety performances in Lisbon between Nov. 15, 1638, and 
 Shrovetide, 1639. (N. D., p. 290.) In 1643 Ascanio represented 
 the autos in Madrid. In this year Zabaleta wrote for him the 
 comedia La Honra vive en los Muertos. (Paz y Melia, Catalogo, 
 No. 3875.) 
 
 Astorga y Valcazar (Maria de), v. Valcazar. 
 
 Asturiana (La), v. Roman (Maria). 
 
 Avellaneda (Sebastian de), autor de comedias (1635-40?). 
 I only find him mentioned in Gallardo, II, p. 667. 
 
 Avendano: there was an actor by this name at the close of 
 the sixteenth century, whom Rojas calls a famoso representante 
 y apacible poeta; he is also mentioned by Suarez de Figueroa in 
 1615, as being already deceased. He was probably Lope de 
 Avendano, the father of Cristobal de Avendano. (Rojas, Viage, 
 
 P- 131.) 
 
 Avendano (Agustin de), actor in Valladolid in 1602. (Marti 
 y Monso, Estudios, p. 566.) 
 
 Avendano (Antonio de) of Granada, musico in the company 
 of Juan Acacio in Seville in 1619. 
 
 Avendano (Cristobal de), actor and famous autor. Perhaps 
 he was the "Avendano, un mozo," who was in Rodrigo Osorio's 
 company in Valencia in I588(?). See Cotarelo, Lope de Rueda, 
 p. 30. His full name was Cristobal de Avendano Sasieta, and in 
 
SPANISH ACTORS AND ACTRESSES 427 
 
 161 1 he acted in the company of Baltasar Pinedo. (Bib. 
 Madrilena, III, p. 325.) In 1613 he belonged to the company of 
 Baltasar Pinedo; in 1619 he and his wife Maria Candau (q. v.) 
 were in the company of Tomas Fernandez, and in 1620 in that of 
 Juan Bap. Valenciano, appearing in Claramonte's Infelice Dorotea. 
 He managed a company at least as early as 1620 (Bull. Hisp. 
 (1907), p. 385), in which year, and again in 1621 and 1626, he 
 represented autos in Madrid. In 1622 his company produced 
 Lope's La Juventud de San Isidro. On July I, 1623, he left 
 Madrid to give fifty representations in Valencia. In March, 1623, 
 Avendano agreed with Juan de Morales, Manuel Vallejo, and 
 Juan Bautista Valenciano to represent on the public stage erected 
 in Madrid on the reception of the Prince of Wales. (Bull. Hisp. 
 (1908), p. 248.) In 1625, 1627, and 1629 he represented autos 
 in Seville, and in 1628 he performed in La Monteria. In 1631 he 
 again took his company to Valencia, beginning to play at Easter. 
 In this year, on St. John's eve, he represented Lope's La Noche de 
 San Juan. He often performed before the King, notably in April 
 and May, 1623; in 1632, when he produced Lope's Hermosa Fea 
 and Noche de San Juan, and in 1635. Other comedias of Lope 
 first brought out by him were: El Medico de su Honra, Lanza por 
 Lanza, and La Paloma de Toledo. He was one of the founders 
 of the Cofradia de Nuestra Sehora de la Novena, in 1624. Ac- 
 cording to a letter of Lope de Vega the company of Avendano in 
 1633 met with only indifferent success. (Barrera, Nueva Bio- 
 grafia, p. 651.) In 1635 his company gave eight private per- 
 formances before the King: of these five were between May 14 
 and June 10, and three on Nov. 8, 20, and 26. I copy the entry: 
 "En Madrid, a 10 de Octubre 1635, a Francisco de Alegria, 
 arrendador de los corrales de la comedia, 1050 reales por cinco 
 particulares que hizo a S. M. Cristobal de Avendano." Again: 
 "En 27 de Noviembre 1635, 600 reales por tres particulares que hizo 
 a S. M." (Averiguador, I, p. 74.) Why the money was paid to 
 Alegria and not to Avendano we cannot answer. Was Avendano 
 indebted to Alegria? or did he, perhaps, die before May 14, 1635? 
 See Sanchez-Arjona, p. 296, and under Candau (Maria). For 
 his company in 1622, v. Datos desconocidos, p. 297; in 1623, 
 v. Nuevos Datos, p. 194; in 1632, v. Cotarelo, Tirso, p. 202. He 
 first represented Tirso's Celos con Celos se curan (1625). 
 
428 SPANISH ACTORS AND ACTRESSES 
 
 Avendano (Cristobal de), actor in the company of Tomas 
 Fernandez in 1620, when he is described as being more than 
 twenty-five years old. Perhaps a son of the preceding. (Bull. 
 Hisp. (1907), p. 385.) Fernandez Guerra, Alarcon, p. 380, men- 
 tions "Josefa," wife of Cristobal de Avendano, el Mozo. _ 
 
 Avendano (Lope de) represented one of the autos at Corpus 
 in Seville in 1588 and 1600. See Avendano, above, and the fol- 
 lowing. 
 
 Avendano (Sebastian de Sasieta) and his wife Jeronima de 
 Salcedo were players in Valladolid in 1604, in the company of 
 Pinedo(?). (Marti y Monso, p. 566.) But (ibid.) we also find 
 "Lope de Sasieta Avendano y su muger Jeronima de Salcedo, 
 comediantes." 
 
 Avila (Diego de) and his wife Mariana de Mirabete took part 
 in the festival at the village of Mostoles, at Corpus, 1619. In 1624 
 he was in Antonio de Prado's company. 
 
 Avila (Jeronimo de), actor in Valladolid in 1644 in the com- 
 pany of Francisco de Guzman Morales. In 1645 he married the 
 actress Gregoria Delgado de la Cruz in Valladolid, when both 
 seem to have been in the company of Bartolome Romero. (M. y 
 M., p. 567.) 
 
 Avila (Juan de), actor in a joint company in 1604, and in 
 the company of Melchor de Leon in 1607. See also Pellicer, 
 I, 69. There was a Juan de Avila in the company of Alonso 
 Velazquez in 1598; perhaps the same. 
 
 Avila (Pedro de), actor in the company of Alonso de Heredia 
 in 1614; latest date 1628. 
 
 Avinon (Juan de) married the actress Isabel de Lerma in 
 Valladolid in 1605, when both were in the company of Rios. 
 (Marti y Monso, Estudios, p. 566.) He was a member of the 
 company of Baltasar Pinedo in 1613. 
 
 Aviola (Maria de), wife of Marco Antonio; both were in the 
 company of Domingo Balbin in 1613. 
 
 Ayala (Cristobal de), actor in the company of Alonso 
 Velazquez in 1598. 
 
 Ayala (Gregorio de) and his daughter Josefa de Ayala joined 
 the company of Juan Roman in March, 1639, and in April, 1639, 
 he was in the company of Juan Rodriguez de Antriago. In 
 
SPANISH ACTORS AND ACTRESSES 429 
 
 1643 he and Josef a de Ayala (then called his wife) were in the 
 company of Bartolome Romero in Seville. (Sanchez-Arjona, 
 P- 367-) 
 
 Ayala (Hernando de), member of the company of Pedro de 
 Plata in 1587. He was then "more than twenty-five years old." 
 
 Ayala (Josefa de), daughter of Gregorio de Ayala, q. v. In 
 1642 she played second parts in Bartolome Romero's company in 
 Seville. 
 
 Ayala (Juan Antonio de), called Cuatro ojos, of Ecija; he 
 married a sister of Jose Carrillo, and was in the company of Juana 
 de Cisneros in Seville in 1660; in 1670 he was in Manuel 
 Vallejo's company, and in 1671 with Antonio de Escamilla as 
 barba. 
 
 Ayala (Luisa de), sister of Josefa ( ?) and in the same com- 
 pany in 1642. 
 
 Ayala (Pedro de) played first parts in the company of Fran- 
 cisco Galindo in 1637-38. 
 
 Ayora (Juan de), cobrador in the company of Antonio de 
 Escamilla in 1661. 
 
 Ayuso (Ana de), actress in the company of Juan Perez de 
 Tapia in Seville in 1662. 
 
 Ayuso (Feliciana de), wife of Bias de Navarrete; both were 
 in the company of Francisco Gutierrez in Seville in 1668; in 
 Antonio de Escamilla's company in 1672 and 1673 (in the latter 
 year she did not represent at Corpus on account of illness) ; in 
 Manuel Vallejo's in 1674, 1675, and 1676. 
 
 Ayuso (Jose de), called Mdtalo-todo, actor in 1653, and 
 cobrador with Francisco Garcia in 1665. 
 
 Ayuso (Miguel de) and his wife Luisa de Reinoso were in 
 the company of Claramonte from June 19, 1614, till Shrovetide, 
 1615. 
 
 Aznote (Gabriel), actor in the company of Nicolas de los 
 Rios in 1609. 
 
 Azores y Avila (Catalina de), wife of Antonio Granados, 
 at the time of his death, after June 8, 1641. 
 
 Azua (Diego de) belonged to the company of Baltasar Pinedo 
 in 161 1, and was a member of the company of Cristobal de Aven- 
 dano in 1623. 
 
430 SPANISH ACTORS AND ACTRESSES 
 
 Balbin (Domingo), famous autor of Toledo, was an actor in 
 the company of Gaspar de Petra (Porres?) in Valladolid in 1604. 
 (Marti y Monso, Estudios, p. 566.) His wife was Isabel de Bernz. 
 His company represented autos at Madrid in 1609 and at Seville in 
 1613. In July, 1623, he represented five comedias before the King; 
 he first produced Lope's Gran Cardenal de Belen and El Caballero 
 del Sacramento. Latest date March 30, 1625. For his company 
 in 1613, see Sanchez- Arjona, Anales, p. 154. 
 
 Balbin (D a Maria), sister of the preceding and wife of Diego 
 de Cardenas in 1634. She took part in the Corpus festival at 
 the village of Yebenes in 1635, and at the festival of Our Lady 
 at San Roque in 1636, playing first parts. She was still living 
 in 1640. 
 
 Balcazar, v. Valcazar. 
 
 Balmaceda, v. Valmaceda. 
 
 Baltasara (La), v. Reyes (Baltasara de los). 
 
 Banuelos (Juana), actress in the company of Francisco Gar- 
 cia (Pupilo) in 1665. 
 
 Barato (Anton), member of the company of Manuel Vallejo 
 in 1623. 
 
 Barba (Beatriz) of Rioseco married Juan Rodriguez in Valla- 
 dolid in 1 65 1, both being then in the company of Carlos de Tapia. 
 (M. yM, p. 567-) 
 
 Barbosa (Miguel) and his wife Isabel de Acosta, both of 
 Lisbon, were in the company of Diego Vallejo in Seville in 1619. 
 
 Barco, actor in the cast of La belligera Espanola (printed in 
 1616). v. Restori, Studj di Fil. Rom., Fasc. 15, p. 92. 
 
 Bargas, v. Vargas. 
 
 Barona or Varona (Pedro) was in the company of Antonio 
 Granados in 1613; in 1619 he and his wife Maria de Arguello 
 were in the company of Antonio Martinez. 
 
 Barrio (Baltasar de), actor in a joint company to represent 
 in Borox at Corpus in 1604; he was an autor in 161 1. Perhaps 
 this name should be Barrios. 
 
 Barrio (Cristobal de), member of the company called Los 
 Andaluces from March 15, 1605, to Shrovetide, 1606. 
 
 Barrionuevo, actor in the cast of La Paciencia en la Fortuna 
 (about 1640?). (Restori, Studj, p. 143.) 
 Barrios (Ana de), born in Naples and the daughter of a 
 
SPANISH ACTORS AND ACTRESSES 431 
 
 washerwoman. She was adopted by the actor Jacinto de Barrios, 
 became an actress, and was in the company of Roque de Figueroa 
 in Valencia about 1649, and in that of Pedro de la Rosa in 1650. 
 She married Felipe de Velasco. (Gallardo, Ensayo, Vol. II, p. 667. 
 See also Pellicer, Vol. II, p. 22.) 
 
 Barrios (Antonio de), actor in the company of Diego Lopez 
 de Alcaraz in 1603. 
 
 Barrios (Jacinto de) played third parts in the company of 
 Pedro de la Rosa at Seville in 1639. 
 
 Bartolico, actor mentioned by Rojas, Viage entretenido, p. 465. 
 
 Basurto, v. Lopez Basurto (Diego). 
 
 Batanes (Juan de), joint lessee with Antonio Correa Muniz 
 of the corral La Monteria in Seville in 1639. 
 
 Bautista (Alejandro), galan in a company in Zaragoza in 
 1635, playing in El Diablo Predicador. (Barrera, Catdlogo, p. 30.) 
 
 Bautista (Juan), v. Valenciano. 
 
 Bautista (Juan) of Seville, sculptor by profession. He was 
 an autor, taking part in the Corpus festival at Seville in 1576, 
 1577, 1579, 1582, 1584, 1585-86, and 1589. He seems to have 
 been the same person as Juan Bautista de Aguilar. v. S.-A., p. 82. 
 He is mentioned by Rojas as a writer and actor. The Bautista 
 who was in Osorio's company in I588(?) in Valencia was Juan 
 Bautista de Villalobos, q. v. v. Cotarelo, Lope de Rueda, p. 30. 
 
 Bazan (Francisca), wife of the autor Lorenzo Hurtado de la 
 Camara, q. v. 
 
 Bazan (Isabel), second wife of the actor Mateo de Godoy. 
 She died in Seville in 1658. 
 
 Bazan (Juan), musician who took part in the Corpus festival 
 at the villa del Escorial in 1619. 
 
 Beatricica, v. Velasco. 
 
 Beatriz, v. Velasco. 
 
 Beatriz Jacinta, actress playing fifth parts in the company of 
 Bartolome Romero in Seville in 1642 and 1643. 
 
 Becerra, autor de comedias in Jaen, who was licensed to repre- 
 sent Lope's Contienda de Diego Garcia de Paredes in that city on 
 Jan. 17, 1614. 
 
 Becerra Faxardo (Francisco), second gracioso in the com- 
 pany of Alonso de Olmedo and Luis Bernardo de Bovadilla in 
 1638. This is perhaps Francisco Antonio Becerra, who was acting 
 
432 SPANISH ACTORS AND ACTRESSES 
 
 in Valladolid in 1642. His wife was Catalina de Silva. (M. y M., 
 p. 566.) 
 
 Becerril (Jacinto de), in the company of Francisco Velez de 
 Guevara and others in 1639. 
 
 Belbis (Jose de), member of Bernardo de la Vega's company 
 in Seville in 1672. 
 
 Bella (Antonio de la) and his wife Luciana de la Bella 
 were in the company of Tomas Diaz, el Labrador, in Seville in 
 1643. 
 
 Bella (Luciana de la), v. preceding. 
 
 Benavente (Antonio de), actor in the company of Gabriel 
 de Espinosa in Aug., 1638, to represent the comedias Progne y 
 Filomena and Nunca mucho costo poco at Colmenar Viejo. 
 
 Benavides (Juan de), "de la villa de Alcafiices en la tierra de 
 Campos"; member of the company of Antonio Granados in 1613 
 and of Alonso de Villalba's in 1614. In 1 61 9 he was in the com- 
 pany of Cristobal Ortiz in Seville, and in 1621 in that of Alonso 
 de Olmedo. (Bull. Hisp. (1908), p. 244.) He is also called Juan 
 Enrique de Benavides. 
 
 Benet (Jusepe), musico in the company of Agustin Manuel 
 de Castilla in 1677-78. 
 
 Benito [de Castro], actor in the company of Riquelme in 
 1607 and 1610. He appeared in Lope's La buena Guarda (1610) ; 
 El Bastardo Mudarra (1612); La Dama boba (161 3); and El 
 Sembrar en buena tierra (1616). 
 
 Benzon (Luisa), wife of Jusepe Gonzalez; both were in the 
 company of Alonso de Cisneros and Melchor de Villalba for two 
 years (1595 and 1596). The first year they received 14 reals 
 "paid each day for each representation," and the second year 15 
 reals daily, besides 5 ducats for maintenance in each year, and also 
 a doubloon de a cuatro for washing, "as is customary, and as other 
 autores give, and free transportation in addition." 
 
 Bermudez de Castro (Miguel), with his company repre- 
 sented in the Coliseo of Seville in 1654. He was a native of San- 
 tiago de Galicia, and married first Maria de Salas and then Fabiana 
 Laura, from whom he was shortly afterward divorced. He be- 
 longed for a while to the company of Jose de Salazar and played 
 the parts of galan, and afterward barba. In 1660 he returned to 
 
SPANISH ACTORS AND ACTRESSES 433 
 
 Seville with his wife Fabiana Laura, in the company of Francisco 
 Lopez. He died in 1676. 
 
 Bernabela ( Juana) , wife of Jose de Salazar, autor, who repre- 
 sented at Corpus in Seville in 1626. He returned in 1628 and 
 again represented the autos in 1630, when Juana Bernabela re- 
 ceived a gratuity of 500 reals. There is a Juana Bernabela de- 
 scribed as the wife of the autor Juan Rodriguez de Antriago and 
 a member of his company in 1639, doubtless the same person. 
 
 Bernal y Acacio (Juan Francisco), actor in the company 
 of Pedro de la Rosa in 1637. 
 
 Bernaldino, see under Alvarez (Bernardino). 
 
 Bernarda and her sister Maria were members of Figueroa's 
 company in i63i-32(?); they appeared in Benavente's entremes 
 El Talego. v. Rosell, I, pp. 109, 322. On p. 232 we learn that 
 Bernarda is the wife of Robles. This is probably Bernarda Rami- 
 rez, q. v. 
 
 Bernarda, actress in the company of Manuel Vallejo (about 
 1632?), is probably Bernarda Gamarra. (Rosell, I, pp. 277, 300.) 
 
 Bernarda, v. Gamarra, Ramirez, Teloy, Villaroel. 
 
 Bernarda Manuela, called la Grifona, was the daughter of 
 Jeronima de Vargas. (Perez Pastor, Calderon Documentos, 
 I, p. 265.) She was in Antonio de Prado's company in 1650, and 
 in 1659 played second parts in the company of Sebastian de Prado 
 and Juan de la Calle. In 1 661 she acted third parts in Seb. de 
 Prado's company, and in 1662 was with Simon Aguado and Juan 
 de la Calle. In 1664 she was segunda in the company of Bartolome 
 Romero and Calle, and in 1665, 1670, 1671, 1677, and 1678 
 in Antonio de Escamilla's company; in 1673 she was with Felix 
 Pascual, and in 1674., 1675, 1676, 1679, and 1680 in the company 
 of Manuel Vallejo. In 1681 she was tercera in Juan Antonio de 
 Carvajal's company. From the Entremes del Nino Caballero by 
 Solis (Comedias, 1 68 1, p. 55), which was acted in the Coliseo del 
 Buen Retiro in 1658, it seems to follow (see p. 57, col. 1) that 
 Bernarda Manuela was at that time the wife of Cosme Perez. 
 The name Beatriz Ramirez (p. 54) is a mistake for Bernarda 
 Ramirez, who was also in the same company. See also the En- 
 tremes del Salta en Banco (p. 63), in which Bernarda [Ramirez], 
 Bernarda Manuela, Luisa and Mariana Romero, la Beqona, Maria 
 
434 SPANISH ACTORS AND ACTRESSES 
 
 de Prado, and Maria Quinones appeared. And see the saynete at 
 the conclusion of Solis's Euridice y Orfeo, the passage beginning 
 with the stage direction: "Canta Bernarda \Manuela\, baylando 
 Cosme." (Poesias, ed. 1692, pp. 184, 214.) Under date of 
 Aug. 29, 1654, Barrionuevo (Avisos, I, p. 40) writes: "A la 
 Grifona, amiga del Condestable, han condenado al emparedamiento 
 de Baeza, que es un encerramiento cruel, sin comunicacion con 
 persona humana." Oct. 4, 1656: "Escapose del encerramiento de 
 Toledo la Grifona . . . se metio en uno de los coches ordinarios 
 con un rebozo, y se vino a Madrid en compania de un Andres Diaz, 
 escribano . . . que hoy le tienen preso para que diga donde esta, 
 porque ella, en llegando, tomo las de Villadiego." (Vol. Ill, 
 
 P- I5-) 
 
 Bernardino, v. Alvarez (Bernardino). 
 
 Bernardo, gracioso in the company of Avendano, about 1632: 
 his name occurs in the cast of Tirso's Celos con Celos se curart 
 (1625), as played by Avendano *s company. See Rosell, I, p. 214, 
 and II, p. 529. He seems also to have been in Avendano's com- 
 pany in 1626. (Flor de Entremeses (1657), p. 122.) An actor 
 named Bernardo appeared in Belmonte's A un tiempo Rey y Vasallo 
 in 1 642, as "Pasquin," and evidently also a gracioso. This was proba- 
 bly Lamparilla, q. v. There was a Bernardo, gracioso, in Lorenzo 
 Hurtado's company in i632-35(?). (Rosell, Vol. I, p. 29.) 
 Perhaps this was Bernardo de Medrano, q. v. A Bernardo, 
 gracioso, was in the company of Felix Pascual in 1665— 68( ?). 
 
 Berrio (Diego), a tailor, and native of San Marcos. He 
 brought out the auto La Batalla espiritual at Corpus in Seville in 
 1569, and in 1571 El Gonvite de Abraham, and again autos in 1572 
 and 1574. See Rojas, Viage, p. 125. 
 
 Berrio (Ursula de) and her husband Juan de Cuebas were 
 in the company of Andres de la Vega in 1638-39, and in that 
 of Pedro de la Rosa in Seville in 1639-40, playing fifth parts. 
 See also under Rio. Perhaps the above name should be Ursula del 
 Rio, as given in N. D., p. 283. 
 
 Berriz (Isabel de), or Isabel de Beris, wife of Domingo 
 Balbin (q. v.), and actress in his company. 
 
 Bezon (Francisca), said to have been the daughter of the 
 dramatist D. Francisco de Rojas Zorrilla. She was brought up 
 by Juan Bezon and his wife Ana Maria (la Bezona), and after- 
 
SPANISH ACTORS AND ACTRESSES 4 35 
 
 ward became an actress. She was with the company of Diego 
 Osorio in 1659, and with Sebastian de Prado in Paris in 1660, 
 where she was much admired. She acted at Corpus in Madrid in 
 1671 ; was in Manuel Vallejo's company in 1674. In 1671, 1675, 
 and 1676 she was in the company of Antonio de Escamilla. She 
 married Vicente de Olmedo and managed a company in 1683, 
 when she produced an auto at Madrid. She died in the Calle de 
 Cantarranas in 1704. 
 
 Bezon ( Juan) , celebrated gracioso. His real name was Grego- 
 rio de Rojas, and he was half-brother to the dramatist Francisco 
 de Rojas Zorrilla. In 1622 he was a member of Manuel Va- 
 llejo's company, and from Ash Wednesday, 1624, to 1625 he 
 and his wife Ana Maria (la Bezona) were in the company of 
 Hernan Sanchez de Vargas. Both were also members of the com- 
 pany of Roque de Figueroa in 1629 or 1630 (Rosell, I, p. 169), 
 and in that of Cristobal de Avendano in 1626 at Corpus in Madrid, 
 and in March, 1632. In the latter year the wife is called Ana 
 Maria de Peralta. (Cotarelo, Tirso, p. 202.) In 1636 Juan 
 Bezon and Ana Maria were in the company of Francisco Lopez. 
 In Manuel Vallejo's company in 1622, besides Juan Bezon, we 
 find "Ana Maria de Peralta and her husband Diego de Ortega." 
 It is probable that we are here concerned with the same Ana Maria 
 who first married Ortega, and afterward Juan Bezon. 
 
 Bezona (La), see under Ana Maria and Peralta. 
 
 Bienpica (Pedro de) was in the company of Andres de la 
 Vega in Feb., 1638, and in July of the same year he was in the 
 company of Gabriel de Espinosa. 
 
 Blanco (Isabel), wife of Francisco Trivino; both were in the 
 company of Roque de Figueroa in 1631. They both appeared in 
 Lope's Guzmanes de Toral. See the ed. of Restori, p. ix. 
 
 Blasco (Jeronimo de), member of the company of Cristobal 
 de Salazar (Mahoma) , in March, 1630, when he was admitted to 
 the Congregation of the Novena. In 1639 he took old men's parts 
 in the company of Pedro de la Rosa, in Seville. 
 
 BOBADILLA, V. BoVADILLA. 
 
 Bohorques (Francisca de), actress in the company of Juan 
 Antonio de Carvajal in 1681. 
 
 Bolay, musico in the companies of Rueda and Ascanio. (Rosell, 
 I, p. 366.) v. Volay. 
 
436 SPANISH ACTORS AND ACTRESSES 
 
 Bonelo (Rafael), actor in the company of Cristobal de 
 Avendafio in 1632. 
 
 Bonilla (Pedro de), actor in the cast of Lope's La gran 
 Columna fogosa (1629). 
 
 Bordoy (Juan de) and his wife Luisa de Bordoy were mem- 
 bers of the companies of Jose de Salazar (Mahoma) and Antonio 
 de Rueda. 
 
 Bordoy (Luisa de), see the preceding. She was in Antonio 
 de Prado's company in 1632, and appeared in the entremes El 
 Talego. (Rosell, I, p. 127.) 
 
 Borja (Luisa de), actress in the company of Roque de Figue- 
 roa in 1631-32 (Rosell, I, p. 232, and Cotarelo, Tirso, p. 206), 
 and in Avendano's company (1633?) {ibid., p. 62.) She played 
 fifth parts and the harp in the company of Antonio de Rueda in 
 Seville in i638(?), 1640, and 1644. This is undoubtedly Luisa 
 de Rayos, wife of Pantaleon or Jusepe de Borja, q. v. 
 
 Borja (Mariana de), or la Borxa, daughter of Pantaleon de 
 Borja and Luisa de Rayos, actress in the company of Diego Osorio 
 in 1659. She played fourth parts in the company of Antonio de 
 Escamilla in 1 66 1 and 1672; in Simon Aguado and Juan de la 
 Calle's company in 1662; in Jose Carrillo's in 1663; in Juan de 
 la Calle and Bartolome Romero's as tercera and musica in 1664; 
 in Francisco Garcia's in 1665, and in Manuel Vallejo's in 1670, 
 1675, and 1676. In 167 1 she was with Felix Pascual. For the 
 company in which she appeared in 1655, see Solis, Poesias, Madrid, 
 1692, p. 173. She was the wife of Cristobal Caballero and died 
 in 1 68 1. Maria de Borja, who was in the company of Carlos de 
 Tapia in Valladolid in 1 65 1, is probably the same person. 
 
 Borja (Pantaleon de), harpist, and his wife Luisa de Rayos 
 were in the company of Figueroa in 1631-32, and in the com- 
 pany of Antonio de Rueda in 1639, receiving 7 reals for mainte- 
 nance and 9 for each performance, besides three pack animals. 
 Both were in the same company in the following year, and both 
 were again in Rueda's company in Seville in 1644. He was in 
 Olmedo's company in i636(?). v. Rosell, I, p. 90. He was 
 drowned in passing the bar of Huelva in 1678, while in the com- 
 pany of Ines Gallo. Cotarelo, Tirso, p. 206, gives his name as 
 Joseph de Borja. He was also in Avendano's company (1633?). 
 
SPANISH ACTORS AND ACTRESSES 437 
 
 (Rosell, Vol. I, p. 62.) Both he and his wife Luisa took part in 
 the entremes El Tiempo. v. under Montemayor (Juan). 
 
 Borja (Vicenta de), wife of Jusepe Jimenez; both were in 
 the company of Baltasar Pinedo in 1617, and in that of Antonio 
 de Prado in 1624. She is probably the Vicenta in the company of 
 Olmedo in i636( ?). v. Rosell, I, p. 90. v. Vicenta. 
 
 BOTANELLI (VlNCENZO), V. CuRCIO ROMANO. 
 
 Botarga (Estefanelo) was in charge of one of the carros at 
 Corpus in Seville in 1584. 
 
 Bovadilla (Antonia de) agreed to sing, dance, and act in 
 three comedias in the village of Brunete on Aug. 15 and 16, 1637, 
 for 200 reals, transportation and board and lodging for herself 
 and maid. 
 
 Bovadilla (Luis Bernardo de), member of the company of 
 Manuel Vallejo in 1623, and in the company of Antonio de 
 Prado in 1624 and 1632. In 1625 he and his wife Maria de 
 Vitoria appeared in Lope's El Brasil restitutio, in the company of 
 Andres de la Vega, and in 1626 in Lope's Amor con vista, in the 
 company of Antonio de Prado. He had a company in 1637, and 
 in Feb., 1638, formed one with Alonso de Olmedo, in which his 
 wife acted, receiving 8 reals for maintenance and 16 reals for each 
 performance. In this year (1638) he arranged to have his com- 
 pany and that of Juan Rodriguez de Antriago give thirty repre- 
 sentations in Toledo. In 1639 Bernardo and his wife were in the 
 company of Antonio de Prado in Seville. He is probably the 
 Bernardo who appeared in the cast of La Guarda cuidadosa of 
 Miguel Sanchez (1615), and perhaps the Maria of the same cast 
 was his wife. 
 
 Bracamonte Gallareta (Gines de) was in the company of 
 Juan de Morales Medrano in 1624. Is this the Vacamonte of 
 Lope's El Poder en el Discreto (1623)? See Life of Lope de 
 Vega, p. 303, n. 
 
 Bravo (Francisco) was in the company of Hernan Sanchez 
 de Vargas in 1634-35. 
 
 Bravo (Juan), actor in the company of Melchor de Leon in 
 1607. Perhaps this is the Bravo who was in Rodrigo Osorio's 
 company in Valencia in 1588. (Cotarelo, Lope de Rueda, p. 30.) 
 
 Bravo (Lucia), probably an actress. In 1638 she accused 
 
438 SPANISH ACTORS AND ACTRESSES 
 
 Diego de Leon, actor, of being guilty of the death of her son, 
 Francisco Vicente. 
 
 Bravo (Pedro) and his wife Dionisia de Castillo were mem- 
 bers of a joint company in 1614-15, which met every morning at 
 nine for rehearsals at Pedro Bravo's lodgings. 
 
 Brillante (Jeronimo), actor in the company of Juan Rodri- 
 guez de Antriago in 1639. 
 
 Briones (Andres de), in charge of the carros at Corpus in 
 Seville in 1592. 
 
 Burgos (Jeronima de), famous actress and friend of Lope de 
 Vega. See Life of Lope, pp. 113 et passim. For her Lope wrote 
 La Dama boba (1613). She was the wife of the celebrated actor 
 and autor Pedro de Valdes (before Feb. 14, 161 4), and was with 
 her husband's company in Lisbon in 161 5. She had a company 
 which represented Lope's Los Milagros del Desprecio before the 
 King on Dec. 24, 1632; perhaps her husband was then deceased. 
 She died, a widow, on March 27, 1641, in the Calle de Canta- 
 rranas, Madrid. 
 
 Burriel (Jacinto), prompter in Roque de Figueroa's company 
 in 1631. 
 
 Bustamante (Manuela de), la Mentirella, wife of the autor 
 Felix Pascual. She was segunda dama in Sebastian de Prado's 
 company in 1 66 1, and also played second parts in Simon Aguado's 
 company in 1662; in 1663 she was with Jose Carrillo, and in 
 1665-71 she played first parts in Felix Pascual's company. She 
 was the daughter of Toribio de Bustamante and Maria de los San- 
 tos, and died in 1673, leaving two children: Bernardo and Sabina. 
 
 Bustamante (Toribio de), actor and writer of entremeses. 
 He was in Sebastian de Prado's company in 1661 ; in that of Simon 
 Aguado in 1662, and in Felix Pascual's company in Seville in 1665. 
 His wife was Maria de los Santos, who must have been divorced 
 from him before 1654, f° r sne was then the wife of Pedro de 
 Salazar. v. Santos. Toribio died in 1680. 
 
 Bustamente (Francisca de), wife of Alejandro Ordonez; 
 both were in the company of Bernardo de la Vega in Seville in 
 1672. 
 
 Bustamente (Juan de), member of a joint company with 
 Manuel Vallejo in 1623, and in the company of Juan Rodriguez 
 de Antriago in 1639. 
 
SPANISH ACTORS AND ACTRESSES 439 
 
 Caballero (Alonso), autor, represented in La Monteria, 
 Seville, in 1667. His wife was Isabel Coronado. His company 
 also appeared at the Corpus festivals at Seville in 1671 and 1672, 
 and represented in 1675. 
 
 Caballero (Cristobal) of Granada, actor in the company of 
 Manuel Vallejo in 1670 (playing quartos), 1675, 1676, and 1681. 
 He played fourth parts in the company of Felix Pascual in 1671, 
 and in Escamilla's company in 1672. He had a company in 1691 
 and 1693, and died in Granada in 1725. His wife was Mariana 
 de Borja. 
 
 Caballero (Diego) and his wife Antonia Mazana were in the 
 company of Francisco Gutierrez in Seville in 1668; he was barba 
 in Felix Pascual's company in 1671, and both were with Matias de 
 Castro in 1673. 
 
 Caballero (Manuela), ha Rubia, daughter of Alonso 
 Caballero and D a Isabel Coronado. She was in the company of 
 Manuel Vallejo in 1673. 
 
 Cabello (Ana), wife of Alonso Fernandez de Guardo; both 
 were in the company of Antonio de Prado in 1614-16, appearing 
 in Tirso's La Tercera de la Sancta Juana, and in that of Hernan 
 Sanchez de Vargas in 1619-20, she taking first parts. 
 
 Cabello (Juan), actor in a joint company in 1614 with Andres 
 de Claramonte and others. In 1622 he was in the company of 
 Cristobal de Avendano. 
 
 Cabello (Mariana), wife of Alonso Rodriguez; both were in 
 the company of Domingo Balbin in 1613. 
 
 Caceres (Agustin de), actor (?), father of the actress Maria 
 Leonor de Caceres (1631). His name occurs hi the cast of the 
 anonymous comedia Paciencia en la Fortuna (MS. dated 1615). 
 v. Restori, Studj, p. 143. 
 
 Caceres (Agustina de), wife of Agustin de Caceres, and 
 mother of Maria Leonor de Caceres. 
 
 Caceres (Ana de), actress in the company of Juan Perez de 
 Tapia in Seville in 1662. 
 
 Caceres (Ana Maria de), wife of Juan Jeronimo Valenciano 
 (1625) ; in 1635 she was in the company of Alonso de Olmedo 
 in Seville, and in 1643 both were in the company of Manuel 
 Vallejo, also in Seville. 
 
 Caceres (Maria Leonor de), see above, Caceres (Agustin 
 
44Q SPANISH ACTORS AND ACTRESSES 
 
 de). She was in a joint company which represented at the Corpus 
 festival of 1631 in Almonacid de Zurita. 
 
 Caceres (Martin de), farsante, represented a comedia before 
 the King in 1628. 
 
 Caceres (Matias de), autor in Seville in 1625, when he peti- 
 tioned to take part in the autos of that year. He acted the parts of 
 gracloso and then had a daughter ten years old. 
 
 Calderon (Cristobal). In 1576 he married Elena Osorio 
 (the Fills of Lope de Vega), daughter of the celebrated autor 
 Jeronimo Velazquez, in whose company he acted for a number of 
 years. He died on March 30, 1595. See Perez Pastor, Proceso de 
 Lope de Vega, pp. 218, S. 
 
 Calderon (Luis), husband of Jeronima de los Angeles; both 
 were in the company of Jeronimo Velazquez in 1590. 
 
 Calderon (Maria), la Calderona, famous actress. In March, 
 1623, she was the wife of Pablo Sarmiento, and both were in the 
 company of Juan Bautista Valenciano. {Bull. Hisp. (1908), 
 p. 248.) She was the mistress of Philip IV, and the mother of 
 his son, Don John of Austria (born April 17, 1629). She ap- 
 peared in Lope's El Poder en el Discreto (1624), and took the 
 part of Fenis in Lope's Amor con Vista (1626). Her husband in 
 1632 was Tomas de Rojas. In this year she received 1050 reals 
 for acting in two comedias and two autos in the village of Pinto, 
 besides transportation for herself, husband, and maid, lodging and 
 8 reals maintenance for every day she was on the journey. She 
 took part in the Corpus festival of the same year at Seville, leaving 
 the company of Juan Jeronimo Valenciano, of which she was 
 then a member, for this purpose. (S.-A., p. 285.) She after- 
 ward became a nun in the convent of Vallehermoso, in the province 
 of Guadalajara, where she became abbess, "and repenting of her 
 sins, there are those who assure us that she died in the odor of 
 sanctity." See also Gallardo, Ensayo, etc., Vol. II, pp. 601, 602. 
 Apparently she was still living in 1646. (Pellicer, II, p. 92.) 
 v. text. 
 
 Calle (Francisco de la), actor in Figueroa's company in 
 1635, in the cast of Peligrar en los Remedios by Rojas Zorilla. 
 
 Calle (Francisco de la) and his wife Jeronima Coronel were 
 members of the company of Francisca Lopez in 1663. Cotarelo 
 says (Migajas del Ingenio, p. 198) that in 1660 Francisco de la 
 
SPANISH ACTORS AND ACTRESSES 441 
 
 Calle was the husband of Jeronima Coronel, niece of Cosme Perez 
 and sister of Barbara Coronel, and that Jeronima played second 
 parts in his company in that year. He says, moreover, that Jeronima 
 was the widow of Diego Jimenez, and that she must have been 
 older than Calle, for she was playing damas in Seville in 1643 and 
 was then married, and that her widowhood dated from at least 
 1648. Sometime between 1665 and 1670 Francisco de la Calle 
 (actor at least as early as 1657 and manager of a company in 
 Valencia in 1660) and his wife Josef a de Morales were in the 
 company of Felix Pascual (q. v.) ; both were in the company of 
 Magdalena Lopez in 1674 m Seville. In 1680 they were in the 
 company of Jeronimo Garcia, and in 1 68 1 in the company of 
 Juan Antonio Carvajal, he playing second barbas. He was also 
 a playwright. See Schack, Nachtrage, p. 60; Barrera, Catalogo, 
 p. 59 ; Paz y Melia, Catdlogo, No. 2650. 
 
 Calle (Juan de la), actor in 1632 in the company of Pedro 
 de Ortegon and in Roque de Figueroa's in 1635-36 (v. Rosell, 
 I, p. 322) ; in 1639 he played first and second galanes in the com- 
 pany of Francisco Velez de Guevara. He was again with Antonio 
 de Prado in 1650, and with Sebastian de Prado in 1 65 1. He had 
 a company in 1659 and 1660, in which he played third parts. In 
 1 66 1 he was again in Sebastian de Prado's company, and in 
 1662—64 played second barbas in his own company. In 1670 
 he was with Manuel Vallejo, el Mozo. 
 
 Callenueva (Pedro de), actor in the company of Diego 
 Lopez de Alcaraz in 1607 ; in 1 610 he was in Riquelme's company 
 and appeared in Lope's La buena Guarda. He is mentioned by 
 Rojas, Viage entretenido, p. 466, as being in the company of 
 Nicolas de los Rios (before 1602). 
 
 Calvo (Juan), actor and musician in the company of Alonso 
 de Olmedo in Seville in 1635. 
 
 Camacho (Bonifacia), daughter of Pedro Camacho and 
 Magdalena Lopez, and a graciosa in her mother's company in 
 1674-77. She had a brother Vicente Camacho, of whom nothing 
 is known. 
 
 Camacho (Clara), sister of the preceding (Bonifacia), and 
 in the same company. She died in Valencia in 1680. 
 
 Camacho (Juan), gracioso in the company of Jeronimo 
 Vallejo in 1660. Magdalena Lopez was in the same company. 
 
442 SPANISH ACTORS AND ACTRESSES 
 
 Camacho (Pedro), husband of Magdalena Lopez (1634)- 
 He died in 1674. Their children were: Clara Camacho, Bonifacia 
 Camacho, and Vicente Camacho. 
 
 Campos (Gonzalo de), autor de comedias, took part in the 
 Corpus festival in Seville in 1586. 
 
 Campos (Juan de) and his wife Francisca Luisa de Guevara 
 were in the company of Manuel Vallejo in 1 631. He played third 
 parts in the company of Alonso de Olmedo in 1635. 
 
 Campoy (Juan de), actor, residing in Granada in 1633; he 
 played old men's parts (barbas) in the company of Francisco Velez 
 de Guevara in 1639. Perhaps the same as the preceding. 
 
 Canal (Ana Maria de la), v. Ana Maria. 
 
 Canales (Jusepe), actor in the company of Antonio de Rueda 
 in 1644. 
 
 Candada (La), v. Mariana de Velasco. 
 
 Candado or Candau (Antonia), actress in the company of 
 Cristobal de Avendano in 1632. 
 
 Candau or Candado (Juliana), wife of Pedro Diaz de 
 Robles; both were in the company of Manuel Vallejo in 163 1, 
 and in the company of Andres de la Vega in 1638—39. In 1644 
 Juliana Candado and her husband Pedro de Urquisa were in the 
 company of Antonio de Rueda. The MS. in the Bib. Nac. (San- 
 chez- Arjona, p. 371, n.) says that Juliana first married Pedro Diaz, 
 and after his death she married Esteban Nunez [Averigiielo quien 
 quiere~\. She was in Valencia in 1644, playing third parts in the 
 company of Jose Garceran. She must have married Nunez after 
 1654, I0r m 's first wife was still living at that date. 
 
 Candau (Luis), actor in the company of Alonso de Heredia 
 in 1 61 4. In 1 61 9 he was in the company of Tomas Fernandez 
 and also in i623( ?). In 1622 he belonged to the company of his 
 son-in-law Cristobal de Avendano, and was cobrador in the same 
 company in Seville in 1628. He and his wife Mariana de Velasco 
 owned a house in the Calle del Infante, Madrid, in 1623. They 
 were also in Avendano's company in 1632. He died in the Calle 
 del Infante, Madrid, Oct. 3, 1649, on the day following the death 
 of his wife. He was sometimes called Luis Candau de Fox. 
 
 Candau (Maria), Maricandado, daughter of Luis Candau 
 and Mariana de Velasco, and the wife of Cristobal de Avendano 
 (1619), when she was in the company of Tomas Fernandez. She 
 
SPANISH ACTORS AND ACTRESSES 443 
 
 acted in Madrid in 1623, and was in Seville in 1625 in her hus- 
 band's company, and again in 1632 we find her mentioned; in the 
 former year she received a gratuity of 220 reals for excellent act- 
 ing and reciting the loa. In 1626 she took part in the Corpus 
 festival at Madrid in her husband's company, appearing also in 
 Belmonte's entremes La Maestra de Gracia. See Flor de Entre- 
 meses (1657), p. 129. After the death of Avendano (May, 
 1635 (?) : see above, under Avendano) she married Salvador de 
 Lara, who appears as director of the company on May 31, 1635, 
 when they represented in La Monteria, Seville. ( Sanchez- Arjona, 
 Anales, pp. 243, n., 294, 296.) She died in 1636 or 1637. 
 
 Cano (Juan), prompter in the company of Cristobal de Aven- 
 dano in 1632. 
 
 Cano (Luis), actor in Madrid in 1584. In 1590 he repre- 
 sented the auto El Desposorio de Isac con Rebeca in Seville. 
 
 Canobas., actor in the cast of Lope de Vega's La Conpetencia 
 en los Nobles (1628). 
 
 Canadas (Alonso), actor in the company of Antonio de Prado 
 in 1632; he played old men's parts in the company of Jose Garceran 
 in Seville in 1657. 
 
 Capilla (Alonso de), autor de comedias in Seville in 1573. 
 Juan de la Cueva calls him "ingenioso representante" ; his com- 
 pany acted in Las Atarazanas in Seville in 1581, producing for the 
 first time Cueva's comedia La Libertad de Roma por Mucio 
 Scevela. He also represented autos in 1581-83. 
 
 Capiscol (El), v. Garces (Marcos). 
 
 Carbonera (Jeronimo) and his wife Mariana de los Reyes 
 (la Carbonera?) gave three representations in Barajas at Corpus 
 in 1637. I n Oct., 1643, his wife was Mariana Ladron de 
 Guevara. His first wife was still living in Sept., 1640, and the 
 second must have died shortly after Oct. 3, 1643, the date of her 
 last will. (Perez Pastor, Nuevos Datos, pp. 261, 280, 325, 331.) 
 In 1627 Carbonero (sic) and Mariana were in the company of 
 the Valencianos, perhaps the same persons, v. Barrera, Nueva 
 Biografia, p. 442. 
 
 Carbonera (Mariana la) played primeras damas in the com- 
 pany of Alonso de Olmedo in Seville in 1635. See also under 
 Reyes (Mariana de los) and Ladron de Guevara 
 (Mariana). 
 
444 SPANISH ACTORS AND ACTRESSES 
 
 Carcaba (D a Catalina de) married Diego Lopez de Alcaraz 
 on Dec. 19, 1610. 
 
 Cardenal (Marcos de) represented the auto San Justo y San 
 Pastor at Seville in 1576, and also represented at Corpus in 1 577> 
 1580, and 1582. 
 
 Cardenas (Cipriano de), actor in the company of Juan Perez 
 de Tapia in Seville in 1662. 
 
 Cardenas (Diego de) and his wife Dona Maria Balbin took 
 part in Corpus festivals in 1634, 1636, and 1640. 
 
 Cardenas (Juan de) played fourth parts in the company of 
 Magdalena Lopez in Seville in 1677. His wife Maria Paula was 
 in the same company. He was still living in 1698. 
 
 Carmona (Juan) and his wife Francisca Alvarez were in the 
 company of Antonio de Prado in Valladolid in 1645. (M. y M.; 
 p. 566.) 
 
 Caro (Andres), actor in the company of Andres de la Vega 
 in 1639-40. 
 
 Caro (Juana), actress in the company of Pedro de la Rosa in 
 Valladolid at Corpus in 1659, and in that of Sebastian de Prado 
 in 1 66 1, and with Ant. de Escamilla in 1664. This curious notice 
 is found in reference to the Corpus representation of 1659 in 
 Zaragoza : "= mande dar ... 24 reales por aber traydo una sylla 
 de mano todo el dya del corpus y el byernes por la mafiana en que 
 yba Juana caro comedyanta por estar enferma y no poder yr en el 
 carro y llebarla asta donde paraban a las rrepresentaciones . . . 
 = 14 Junio, 1559." (Marti y Monso, Estudios, p. 567.) 
 
 Carranza (Pedro de), dancer in the Corpus festivals at 
 Madrid in 1593, 1598, 1599, and 1604; in the latter year he is 
 described as a tailor by trade. 
 
 Carrasco (Pedro), a famous tenor, was musico in the company 
 of Antonio de Escamilla in 1663-65 (in the latter year as barba), 
 and 1670—72 as barba. He married the actress Inez Gallo, but 
 was afterward (1670) separated from her. "Murio en Indias." 
 
 Carrillo (Damian), member of the company of Alonso 
 Riquelme in 1602, receiving 3 reals daily for maintenance and 10 
 reals for each performance, besides transportation for himself and 
 wife. In 1610 he was in the company of Sanchez de Vargas, and 
 appeared in Lope's La hermosa Ester. 
 
 Carrillo (Diego) played fifth galanes in the company of Seb. 
 
SPANISH ACTORS AND ACTRESSES 445 
 
 de Prado and Juan de la Calle in 1659. He was in the company 
 of Ant. de Escamilla in 1663—65, and in 1672 as segundo gracioso, 
 with Felix Pascual in 1673, and with Escamilla in 1675 and 1676. 
 
 Carrillo (Feliciana), wife of Jose Carrillo and actress in his 
 company in 1663. 
 
 Carrillo (Jeronimo) player vejetes in the company of An- 
 tonio de Escamilla in 1678. 
 
 Carrillo (Jose) was in the company of Jacinto Riquelme in 
 Seville in 1652, and in the company of Juana de Cisneros in 1660. 
 His wife was Feliciana (surname not given). He was a musician 
 and had a company in Valencia in 1662 and 1663 ; in the latter 
 year he represented two autos at Corpus in Madrid. He was 
 probably the author of the burlesque comedia El Robo de Elena y 
 destruction de Troya. v. Paz y Melia, Catdlogo, No. 2925. 
 
 Carrillo (Juan Bautista) had charge of one of the dances 
 at Corpus in Madrid in 1628. 
 
 Carrillo (Juana), actress in the company of Jacinto Riquelme 
 in 1652. 
 
 Carrion (Jusepe or Jose de) and his wife Jacinta de Osorio 
 were in the company of Antonio Granados in 1632; he took old 
 men's parts in the company of Antonio de Rueda in 1639, 1640, 
 and 1644 in Seville. In 1654 ne was m tne company of Antonio 
 de Acuna, and later in that of Pedro de la Rosa. In 1659 and 1661 
 he played barbas in Seb. de Prado's company, and in 1662 in 
 Simon Aguado and Juan de la Calle's. In 1663 he was in Valencia 
 with Jose Carrillo, and in 1665 with Felix Pascual. In 1669 he 
 had a company and took part in the Corpus festival at Seville, and 
 in 1672 he was in the company of Bernardo de la Vega. He died 
 in 1676. 
 
 Carrion (Manuela de), actress in the company of Lorenzo 
 Hurtado in 1645, and in the company of Luis Lopez in 1650. 
 She was received into the Cofradia de la Novena in 1653. 
 
 Carrizales (Juan de), actor in the company of Tomas Diaz 
 in Seville in 1643, and in Lorenzo Hurtado's company in 1645. 
 
 Carvajal (Baltasar de), "apacible representante y agradable 
 versista." (Claramonte, Letania moral, in Gallardo, Ensayo, 
 II, p. 473.) He appeared in the company of Ortiz de Villazan in 
 1613, in Lope's La Dama boba. His comedia El Hijo de la Tierra 
 was published by Professor Restori, under the title La Bandolera 
 
446 SPANISH ACTORS AND ACTRESSES 
 
 de Flandes, Halle, 1893. Caravajal is mentioned by Rojas, Viage, 
 p. 131, among the farsantes who were also playwrights. 
 
 Carvajal (D a Catalina), owner of the theater in Lisbon in 
 1619. 
 
 Carvajal (Juan Antonio de), musico in his own company in 
 Madrid in 1 68 1. He married Paula Lopez. His company and 
 that of Manuel Vallejo in 1681 represented La divina Filotea and 
 El Cordero de Isias, the last autos written by Calderon. Carvajal 
 was the author of both the loas that were represented on this occa- 
 sion. (Gonzalez Pedroso, Autos Sacramentales, p. 531.) 
 
 Carvajal (Manuel de), actor in the company of Carlos de 
 Salazar in Seville in 1676. 
 
 Casanueva (Pedro de), actor in the company of Alonso de 
 Riquelme in 1610. 
 
 Casas (Melchor de las), "Americano, de la Habana," actor 
 in the companies of Matias de Castro (1673) and Magdalena 
 Lopez (1674). He and his wife Melchora Rafaela were drowned 
 at "la barra de Huelva" while in the company of Ines Gallo 
 in 1678. 
 
 Cascan, actor in the cast of Lope de Vega's El Poder en el 
 Discrete (1624), according to Schack. I think this a mistake for 
 "Lezcano." 
 
 Casco y Rojas (Diego) and his wife Ana Maria de la Mata 
 were in the company of Sanchez de Vargas in 1633. 
 
 Castaneda (Gregorio de) and his wife Feliciana de Andrade 
 were in the company of Pablo de Morales in Seville in 1678. 
 
 Castaneda (Jeronimo de), actor in the company of Andres 
 de Claramonte in 1614; he and his wife Maria del Amor were 
 members of a joint company with Pedro Bravo and others from 
 July of the same year till Shrovetide. 
 
 Castano (Micaela) played fourth parts in Bartolome 
 Romero's company in Seville in 1642 and 1643. Her husband 
 Roque Castano was in the same company. 
 
 Castano (Roque) , see the preceding. He was in Juan Acacio's 
 company in Seville in 1644. 
 
 Castellon (Hernando), actor in the company of Diego 
 Lopez de Alcaraz in 1610. 
 
 Castellon (Jose), member of the company of Jose Garcia de 
 
SPANISH ACTORS AND ACTRESSES 447 
 
 Prado in Seville in 1658, and of the company of Juan Perez 
 de Tapia in 1662. 
 
 Castilla (Agustin Manuel de), son of Pedro Manuel de 
 Castilla, actor and author of the zarzuela El Nieto de su Padre. 
 v. Restori, Studj, p. 38. He was famous in the parts of galan. In 
 167 1 he had a company with Felix Pascual, in which he played 
 first galanes; in 1673 he acted in Pascual 's company, and in 1675 
 and 1676 he was with Manuel Vallejo. He again had a company 
 in 1677 and 1678, when he represented autos in Madrid. In 1679 
 he was in Jose Garcia de Prado's company, and in 1680 in Jero- 
 nimo Garcia's. He died in Madrid in 1694. 
 
 Castilla (Pedro Manuel de), called Mudarra, a celebrated 
 actor. He played second galanes in the company of Alonso de 
 Olmedo in 1 63 1 and in the same company in Seville in 1635, 
 and first galanes in Antonio de Rueda's company in 1638, receiv- 
 ing 30 reals per day and 500 reals for the Corpus festival. Before 
 this (in 1637?) he managed a company. (Rosell, Vol. I, p. 369.) 
 In 1639 he appeared as Don Juan in Calderon's ha Desdicha de la 
 Voz. He had a company in this year with Antonio de Rueda, and 
 represented at La Monteria in Seville. He was called Mudarra 
 on account of his excellence in the principal role in Cubillo's play 
 El Rayo de Andalucia. He was again in Rueda's company in 1640, 
 and died at Naples in 1642, leaving a son, Agustin Manuel de 
 Castilla. His name appears in the cast of Calderon's Troya 
 abrasada, taking the part of Paris. The autog. MS. of this play 
 contains a censura dated Feb. 2, 1644, which shows that the 
 comedia had been previously performed. I owe this information 
 to Dr. G. T. Northup. See Paz y Melia, Cat., No. 3371. 
 
 Castillo (Alonso del) produced one of the autos at Corpus 
 in Seville in 1572. He was an actor and playwright, and agreed, 
 in 1589, to furnish Gaspar de Porres (in whose company he was 
 then acting) with nine comedias written by him, among them 
 La Escuela de Athenas. He was to receive 5^ reals per day 
 until he finished the said comedia; "after that, on account of the 
 plays and his acting, he is to have food and drink and clean linen 
 and 2^ reals per day, besides 3200 reals, one third to be paid 
 every four months." Nuevos Datos, p. 25. 
 
 Castillo (Andres del) had charge of one of the autos at 
 Seville in 1574. 
 
448 SPANISH ACTORS AND ACTRESSES 
 
 Castillo (Antonio del), actor in the company of Jose Garcia 
 de Prado in Seville in 1658. 
 
 Castillo (Dionisia de), wife of Pedro Bravo; both were in 
 a joint company in Madrid in 1614. 
 
 Castillo (Juan del), actor in the company of Francisca 
 Lopez in Seville in 1660. 
 
 Castillo (Pedro del), member of the company of Jeronimo 
 Sanchez from March 27, 1623, for one year. 
 
 Castro. An actor named Castro, and his wife, were in the 
 company of Rodrigo Osorio in Valencia in I588( ?). See Cotarelo, 
 Lope de Rueda, p. 30. He is also mentioned by Rojas, Viage, 
 p. 131, as one of the farsantes who had written farsas, loas, and 
 bayles before 1600. Perhaps this is Christoual de Castro, who ap- 
 peared in the entremes (sixteenth century) entitled Un Hijo que 
 nego a su Padre. See p. 406. 
 
 Castro (Antonio de), actor in the company of Juan Acacio 
 in 1644, and in Jacinto Riquelme's in Seville in 1652. His wife 
 Catalina de Pena was also in the latter company. His real name 
 was Zuniga, and he was celebrated in the roles of galan, especially 
 in the comedias El Licenciado Vidriera (Moreto), Un Bobo hace 
 ciento (Solis), and El Afamador de Utrera (Belmonte). He had 
 a company in Seville in 1655 and 1656, and in Valencia in 1664. 
 He afterward retired from the stage and became alguacil mayor of 
 Logrofio, where he died in 1684. For his company in 1656, see 
 SanchezArjona, p. 410. 
 
 Castro (D* Beatriz de), or D a Beatriz de Castro y Virues, 
 wife of the actor and playwright Andres de Claramonte (1604- 
 1626). 
 
 Castro (Benito de), see under Benito [de Castro]. 
 
 Castro (Damian de), well-known gracioso, son of Matias de 
 Castro and Juana Gutierrez; he married (after 1684?) Catalina 
 Hernandez, known as Eufrasia Maria de Reina (S.-A., p. 484, n.), 
 whom he afterward left, "because it was uncertain whether her 
 first husband was dead." See Pellicer, II, p. 48, and p. 42, where 
 he says that Castro was still acting in 1723. He acted in the 
 Corpus festival at Madrid in 1706. (Paz y Melia, Catalogo, 
 No. 2957.) 
 
 Castro (Francisco de), actor in the company of Tomas Fer- 
 nandez de Cabredo from Shrovetide, 1619, to Shrovetide, 1620, 
 
SPANISH ACTORS AND ACTRESSES 449 
 
 and in the company of Cristobal de Avendano in 1622. In 1623 
 he was in Manuel Vallejo's company. (N. D., p. 201.) 
 
 Castro (Francisco de) and his wife Antonia de Santiago were 
 members of the company of Luis Lopez in Seville in 1650. In 
 1 65 1 he had a company which represented the autos at Seville. 
 
 Castro (Francisco de), el Farruco, son of Matias de Castro 
 y Salazar and Juana Gutierrez, was a gracioso in Valencia in 1692. 
 His second wife (1700) was Salvadora de Estrada. He died in 
 1 7 14. He was the author of the entremeses noted by Paz y Melia, 
 Catdlogo, Nos. 1369, 1783, 2134, 2597, and 3426. See Barrera, 
 Catalogo, p. 79. h 
 
 Castro (D a Isabel de), celebrated actress in the company of 
 Andres de la Vega in 1635; in the following year, when she is 
 designated as a widow, she played third parts in the company of 
 Tomas Fernandez de Cabredo, receiving 14 reals daily. In 
 1638-39 she was again in the company of Andres de la Vega, 
 playing first and second parts, dancing and singing. 
 
 Castro (D a Jeronima de), widow, actress in the company of 
 Andres de la Vega in 1636, for one year, beginning Feb. 7, playing 
 second parts, singing and dancing. 
 
 Castro (Juan de), v. Castro y Salazar (Matias). 
 
 Castro (Lorenzo de), el G die go, actor in the company of 
 Luis Lopez in Seville in 1650. His wife was Maria de Quesada, 
 and he had a son Sebastian de Castro. 
 
 Castro (Luis de), autor de comedias in 1602 and 1603, in con- 
 junction with Juan de Tapia and Alonso de Paniagua. His wife 
 (1602) was Isabel de Ledesma. He was in the company styled 
 Los Andaluces in 1605, and in a joint company in 1614. 
 
 Castro (Maria de), wife of Alonso de Uceta, of the com- 
 panies of Figueroa and Avendano (1632). She was in the com- 
 pany of Juan Bautista Valenciano with her husband Diego de 
 Uceta (sic) in March, 1623. (Bull. Hisp. (1908), p. 248.) 
 
 Castro (Mariana de), widow, actress in the company of 
 Cristobal Ortiz de Villazan in 1623, in which year her wages 
 were attached by Gabriel Gonzalez Flores, lessee of the theaters 
 of Madrid. 
 
 Castro (Matias de), v. Castro y Salazar. 
 
 Castro (Pedro de) and his wife Francisca Gevaro were in 
 Domingo Balbin's company in Seville in 1613. 
 
450 SPANISH ACTORS AND ACTRESSES 
 
 Castro (Silvestre de), actor in the company of Diego Lopez 
 de Alcaraz in 1610. 
 
 Castro (Ventura de), son of Matias de Castro and Mana 
 de la Cruz, and member of his father's company in 1673. 
 
 Castro y Guzman (Bernarda de), wife of Diego de Valdes 
 Toral; both were in the company of Luis Bernardo de Bovadilla 
 for one year from Feb. 4, 1637, she playing first parts. 
 
 Castro y Salazar (Juan de), actor, brother of the following 
 (Matias de Castro). 
 
 Castro y Salazar (Matias de), Alcaparrilla, born in 1629, 
 son of D. Pedro de Castro and Antonia Granados, was an actor in 
 Valladolid in 1652. His first wife, who never appeared on the 
 stage, was Maria de la Cruz of Toledo, by whom he had eleven 
 children; his second wife was Juana Gutierrez, by whom he had 
 fourteen more. They were born all over Spain, and Sanchez- 
 Arjona (p. 460) gives a list of some of them. Castro and his 
 second wife, who was a daughter of Francisco Gutierrez, were 
 members of Juan Perez de Tapia's company in Seville in 1662, 
 and were in the company of Francisco Gutierrez in 1668. He 
 played the part of gracioso. In 1672 he was with Felix Pascual. 
 (M. y M., p. 567.) In 1673 he had a company, which he took 
 to Madrid in August, and afterward to Seville, where he per- 
 formed from Nov. 1 till Shrove Tuesday, 1674; and in 1683 
 represented Calderon's auto La Cura y la Enfermedad, also in 
 Madrid, where he died in 1 69 1. He was an author of entremeses 
 and jdcaras. v. Paz y Melia, Catdlogo, Nos. 2134, 2443, and 
 2502. One of his sons, Juan, also an actor, married in turn: 
 Mari-Gomez, Teresa de la Cueva, and Angela Diaz. 
 
 Castro y Salazar (D. Pedro Antonio de), father of the 
 preceding, was a native of Logrono and alguacil mayor of that city. 
 He fell in love with the actress Antonia Granados (la divina 
 Antandra) , sister of the famous autor de comedias Antonio de 
 Granados, and adopted the stage as a profession. They had three 
 children: Matias de Castro y Salazar, Juan de Castro y Salazar, 
 and Susana de Castro y Salazar. Don Pedro died after being 
 eight years on the stage. He was also a playwright, v. Barrera, 
 Catdlogo, pp. 79, 516. 
 
 Catalan (Antonia Manuela), v. Antonia Manuela. 
 
 Catalan (Juan) and his wife Mariana de Guevara were 
 
SPANISH ACTORS AND ACTRESSES 451 
 
 members of the company of Alonso de Riquelme in 1606 for one 
 year from Shrovetide to Shrovetide. He had a company in 1617. 
 
 Ceballos or Zavallos (Juan de) and his wife Maria de 
 Corbellas were members of Claramonte's company in March, 1614, 
 and in Vallejo's company in 1631. In 1632 both belonged to the 
 company of Antonio de Prado. 
 
 Ceballos or Zavallos (Maria de), her husband Diego de 
 Guevara, and her mother Maria de Corbella were in the com- 
 pany of Manuel Vallejo in 1631, when she appeared in Lope's 
 El Castigo sin Venganza. She and her husband took part in 
 Benavente's entremes Las Duenas, given by the companies of 
 Antonio de Prado and Roque de Figueroa in the Buen Retiro in 
 i635-36( ?). (Rosell, Vol. I, p. 322.) 
 
 Cebrian (Pedro), well-known autor de comedias, and one of 
 the twelve authorized by the decree of 1615. In 1616 he repre- 
 sented Lope's comedia Quien mas no puede, and two autos in 
 Madrid at Corpus. See, however, Bull. Hisp. (1907), p. 381, 
 from which he seems to have represented in Toledo at Corpus. In 
 1 61 7 he represented two autos at Pastrana, receiving 3150 rs. 
 In 1619 his company played twenty-four days in Toledo, beginning 
 at Easter; he also represented at Corpus in Madrid in this year, 
 and at Las Navas and Segovia, and later took his company to 
 Lisbon, to perform for three months, beginning on Dec. 1, 1619. 
 He also first produced Jimenez de Enciso's Los Medicis de Flo- 
 rencia. (Schack, Nach., p. 43.) In 1620 he represented the autos 
 Los Angeles and La Conversion de San Pablo in Seville. His wife 
 (Sept. 4, 1616) was Ana Munoz, probably the widow of Antonio 
 de Villegas. On this date he bought a house in the Calle de 
 Cantarranas for 2900 ducats. (Bull. Hisp. (1907), p. 381.) 
 
 Celada (Francisco de), in charge of the dances at Corpus 
 in Madrid in 1577, 1589, 1591, 1593, and 1594. 
 
 Celada (Lorenzo de), actor in Madrid in 1584, and in the 
 company of Sebastian de Montemayor in 1589. 
 
 Celis (Barbola de), actress, married Jeronimo de Velasco in 
 Valladolid in 1632. 
 
 Cenzano (Pedro), dancer in charge of the dances at Corpus 
 in Madrid in 1595 and 1596. 
 
 Cepeda (Diego de), joint lessee of the theaters of Madrid in 
 1639 with Gabriel Garcia Flores and Francisco de Alegria. The 
 
452 SPANISH ACTORS AND ACTRESSES 
 
 name Cepeda occurs in the cast of Lope's Los Mdrtires del 
 Japon. 
 
 Cera (Felipe de), of Jaen, musician in the company of 
 Gaspar de Porres in 1609. 
 
 Cerda (Luis Antonio de la), in the company of Pedro de 
 la Rosa in 1636, "to sing, play, and act." 
 
 Cerdeno (Luis), silversmith of Seville, in charge of one of 
 the autos at Corpus in Seville in 1561, 1563, 1570. ana " I 57i- 
 
 Cereceda (Francisco de) and his wife Maria Ruiz were in a 
 joint company in 1637. 
 
 Cerezo de Guevara (Pedro), actor in the company of Gas- 
 par de Porres in 1604, and in Feb., 1614, engaged to act for one 
 year in the company of Pedro de Valdes, receiving 5 reals daily 
 for maintenance and 12 reals for each performance, besides 200 
 reals for Corpus. Later in the same year (June 19) he agreed 
 to act in a joint company with Claramonte until Shrovetide, 1615, 
 and in 161 6 had a company which represented two of the autos 
 at the Corpus festival at Madrid. 
 
 Cerquera (Ignacio), gracioso mentioned by Pellicer, II, p. 60. 
 
 Ceruela, actor who appeared in Lope's El Sembrar en buena 
 tierra (1616). 
 
 Cintor (Antonio), cobrador in the company of Luis Bernardo 
 de Bovadilla in Feb., 1638; and in Aug., 1638, in the company 
 of Damian de Espinosa. He had a company later in the same year. 
 
 Cintor (Gabreil), well-known actor (galan) in the company 
 of Tomas Fernandez in 1622. (B. H. (1908), p. 245.) In 1631 
 he was in the company of Lorenzo Hurtado, and in 1637 with 
 Bartolome Romero, receiving 10 reals daily for maintenance and 
 18 reals for each performance. In this year he took part in 
 the autos at Madrid, playing the parts of Pedro de la Rosa in the 
 latter's company. (CalderonDocumentoSjp.no.) He was with 
 Luis Bernardo de Bovadilla in Feb., 1638, receiving 10 + 20 reals 
 daily, and in July of the same year he was with Gabriel de 
 Espinosa. In 1639-40 he was in the company of Juan Rodriguez 
 de Antriago, and later had his own company. He died in great 
 poverty (in 1660?) in the General Hospital of Madrid. 
 
 Cintor (Pedro), actor in the company of Diego Lopez de 
 Alcaraz in 1607. In Lope de Vega's El Bastardo Mudarra ( 1612) 
 the part of Gonzalo Bustos is assigned to Cintor. This is probably 
 Pedro Cintor. In the same play Ana Maria and Cintorrico also 
 
SPANISH ACTORS AND ACTRESSES 453 
 
 occur. In a loa written by Lope, about 1625-30, and published 
 by Barrera {Life of Lope de Vega, p. 292) , a "Cintor de Talavera" 
 is mentioned. The name Cintor also occurs in the cast of Cor- 
 deiro's El Favor en la sentencia, dated 1626, in Lope's La Con- 
 petencia en los Nobles, 1628 (?), and in El Brasil Restituido 
 (1626). 
 
 Cisneros (Alonso de), perhaps the most famous of all the 
 early autores de comedias, was born in Toledo about 1550. We 
 first hear of him as an autor in 1578, when he represented the 
 autos at Corpus in Madrid; in 1580 he represented the autos in 
 Madrid and appeared in the Corral de Puente, in the Calle del 
 Lobo, and frequently in the succeeding years. See Appendix A. 
 In 1582 he again represented at Corpus in Madrid, and in 1584 
 in Toledo, while in 1590 he resided at Madrid. His wife was 
 Mariana Paez de Sotomayor, daughter of Pedro Paez de Soto- 
 mayor and Ana Ortiz. She died in Seville, apparently, in January, 
 1590, "leaving much property and jewelry." Cisneros also repre- 
 sented at Corpus in Madrid in 1590 and 1591 and at Toledo in 
 1592, receiving 200 ducats = 2200 reals. In 1593 and 1595 he 
 again represented autos at Madrid, receiving 640 ducats. He died 
 on Sept. 10, 1597. {Bull. Hisp. (1907), p. 368.) However, if 
 this date of Cisneros' death be correct, there is something wrong 
 in the document published in the Nuevos Datos on p. 356. It is 
 upon this that I had relied for my former statement that Cisneros 
 was still living in Jan., 1608. Lope de Vega, in his Peregrino en 
 su Patria (1604), speaking of Cisneros, says: "The fourth comedia 
 {El Perseguido) was represented by Cisneros, to whom no one 
 can be compared since the invention of comedias." Cabrera's story 
 concerning Cisneros is given by Sanchez-Arjona, p. 67. It may 
 be added that in 1581 he represented Juan de la Cueva's El 
 Infamador in the Huerta de Dona Elvira in Seville, which city 
 he also visited in 1585, 1588, and 1589, taking part in the 
 Corpus festivals. Suarez de Figueroa, in his Plaza Universal 
 (1615), mentions him among the famous actors then deceased. See 
 also Barrera, Catdlogo, p. 92. 
 
 Cisneros (Diego de) and his daughter Maria de Cisneros 
 were in the company of Bernardo de la Vega in Seville in 1672. 
 In 1669 he was in Garceran's company. His wife was Maria 
 Andrada or Andrade. 
 
 Cisneros (Juana de), actress in the company of Antonio de 
 
454 SPANISH ACTORS AND ACTRESSES 
 
 Prado in Seville in 1639. In 1651 she still played primeras damas 
 in Sebastian de Prado's company in Toledo, and in 1 660 had a 
 company in Seville at Corpus and in Madrid in Nov. and Dec, 
 and in 1661 in Madrid. 
 
 Cisneros (Luis de), actor in Roque de Figueroa's company 
 in 1631-32, taking old men's parts. See Rosell, Vol. I, PP. 45> 
 168, 231, and Cotarelo, Tirso, p. 206. He died in 1634. 
 
 Cisneros (Maria de), v. Cisneros (Diego). She played in 
 the company of Antonio de Escamilla in 1677 and 1678, and in 
 Manuel Vallejo's company in 1679—81. She was the second wife 
 (in 1676?) of Manuel de Mosquera. She also married Jose 
 Jimeno, from whom she was divorced. (Gallardo, I, p. 690.) 
 
 Clara, actress in the cast of Lope's La hermosa Ester (1610) 
 in the company of Hernan Sanchez de Vargas. 
 
 Clara Maria played first parts in the company of her mother, 
 Magdalena Lopez, in Seville in 1677. In 1675 they managed a 
 company jointly. 
 
 Claramonte [y Corroy] (Andres de), well-known actor 
 and playwright, was a native of Murcia. Rojas names him in 
 1603 among the actors who were also playwrights. (Viage, 
 p. 141.) In 1604 he belonged to the company of Baltasar Pinedo 
 in Valladolid, when he married Dona Beatriz de Castro y Virues. 
 He was one of the twelve autores authorized by the Council of 
 1615. He is first mentioned as an autor in 161 1, and in 1614 
 was the head of a joint company. His Letania moral was printed 
 in 1613; in 161 7 he lived in Seville, and in 1 62 1 published there 
 "dos famosas loas a lo divino" : La Asuncion de la Virgen and 
 Las calles de Sevilla. In 1623 he received 300 reals for his auto 
 El Valle de la Muerte, represented by Tomas Fernandez, and in 
 June of the same year he received 300 reals for the auto Los 
 Corporales de Daroca, played by Alonso de Olmedo. In 1624 
 two other autos sacramentales by him were represented at Seville: 
 La Sinagoga, represented by Andres de la Vega, and El Homo de 
 Constantinopla, represented by Tomas Fernandez. The latter is 
 the only auto by Claramonte that has been preserved. In 1620 
 he wrote for Juan Bautista Valenciano the comedia La infeliz 
 Dorotea (MS. in the Bib. Nac). It was represented in the 
 Coliseo at Seville, the part of Dorotea being played by D a Manuela 
 Enriquez, wife of Juan Bautista. The MS. shows that the part 
 
SPANISH ACTORS AND ACTRESSES 455 
 
 of Nufio de Lemos was played by Andres. Perhaps this was 
 Claramonte. He visited Valencia (before 161 6) and is highly 
 praised in the loa to Tarrega's La Duquesa constante: 
 
 Un monte claro, que a esta tierra vino. 
 
 He died on Sept. 19, 1626, in the Calle del Nino, Madrid. 
 
 Clavijo (Antonio) was in the company of Alonso de Cis- 
 neros and Melchor de Villalba for two years, beginning March 5, 
 J 595> receiving 2^ reals daily for maintenance and 9 reals for 
 each representation, "besides a doubloon each year toward washing 
 his linen." 
 
 Cobaleda (Pedro de) and his wife Luisa de Guevara were 
 members of the company of Juan Martinez for one year, beginning 
 at Shrovetide, 1 63 1. In 1639 he had a company with Francisco 
 Velez de Guevara and Francisco Alvarez de Vitoria. 
 
 Coca (Ana de), wife of the autor Manuel de Coca y Reyes. 
 
 Coca y Reyes (Manuel de or Manuel de los Reyes y 
 Coca), famous gracioso in the company of Roque de Figueroa in 
 1630. In 1631-32 he and his wife Ana or Juana de Coca were 
 in the company of Roque de Figueroa; he was also in the same 
 company in 1635 and appeared in Peligrar en los Remedios by 
 Rojas Zorrilla. In 1634 ne was m tne company of Esteban Nunez 
 in Seville. He was in Barcelona in 1636, and in 1640 and 1643 
 belonged to the company of Manuel Vallejo, and in 1645 was 
 with Luis Lopez in Seville, and died at Estremera in 1660, while 
 in the company of Esteban Nunez. 
 
 Collazo (Isabel), actress in the company of Nicolas de los 
 Rios at Valladolid in 1603, when she married Juan Diez or Diaz, 
 actor in the same company. (Marti y Monso, Estudios, p. 566.) 
 
 Compania Espanola (La), a joint company organized in 
 May, 1602, by Pedro Rodriguez, Diego de Rojas, and Gaspar de 
 los Reyes. 
 
 Conde (Gavina), actress in the company of Manuel Vallejo 
 in 1640, perhaps the wife of the following. 
 
 Conde (Pedro), member of Manuel Vallejo's company in 1640. 
 
 Contreras (Manuel de), actor in a joint company with 
 Hernan Sanchez de Vargas and others in 1634, beginning at 
 Shrovetide, and continuing for one year. 
 
456 SPANISH ACTORS AND ACTRESSES 
 
 Contreras (Manuela de), "single woman" in the company 
 of Bartolome Romero in 1638-39. 
 
 Contreras (Pedro de), musico in the company of Roque de 
 Figueroa (1628?). See the loas of Quinones de Benavente, ed. 
 Rosell, Vol. I, pp. 168 and 381. In 1637 and 1639 he was in 
 the company of Pedro de la Rosa, playing fourth parts. 
 
 Contreras (Xines de), oficial in the company of Gaspar de 
 Porres in 1 600, and in the company of Baltasar Pinedo in Valla- 
 dolid in 1604. (M. y M., p. 566.) 
 
 Corbella (Angela de) , wife of the autor Luis Lopez de Sus- 
 taete (1634-41). Their children were: Maria, Josefa Luisa, 
 Micaela Francisca, and Francisco Manuel Lopez. She was still 
 living on Dec. 21, 1641. 
 
 Corbella (Maria de), wife of Juan de Ceballos or Zevallos; 
 both were members of the company of Andres de Claramonte from 
 March 28, 1614, till Shrovetide, 1615, and of Antonio de Prado's 
 company in 1632. Their daughter Maria de Ceballos or Zevallos 
 was the wife of Diego de Guevara. 
 
 Cordoba (Cipriano de), actor in the company of Matias de 
 Castro in Seville in 1673. 
 
 Cordoba (Diego de), actor in the company of Gaspar de 
 Porres in 1593. 
 
 Cordoba (Gonzalo de), actor in the Corpus festival at Seville 
 in 1594. 
 
 Cordoba ( Isabel de) , wife of the autor Antonio Martinez in 
 1619. Their daughter was the famous Maria de Cordoba (Jma- 
 rilis). They lived in the Calle de los Negros, in a house bought 
 from Bartolome Salcedo. Both seem to have died before Feb. 1, 
 1632. (N. D., p. 223.) 
 
 Cordoba (Jeronimo de), actor in the company of Manuel 
 Vallejo in 1623. 
 
 Cordoba (Maria de), Amarilis, also called la Gran Sultana, 
 one of the most famous of Spanish actresses. See my Life of Lope 
 de Vega, pp. 350 et seq. She was the daughter of Antonio Mar- 
 tinez and Isabel de Cordoba, both of Madrid, and the wife of the 
 actor and autor Andres de la Vega at least as early as 1 61 8, when 
 both belonged to the company of Baltasar Pinedo. (B. H. ( 1907), 
 p. 382.) In 161 7 she appeared as Dona Ana in Alarcon's Las 
 Paredes oyen; in 1620 (dia de Sant Miguel) she was in the com- 
 
SPANISH ACTORS AND ACTRESSES 457 
 
 pany of Pedro de Valdes (Bull. Hisp. (1908), p. 243), and in 
 1 62 1 she and her husband were in the company of Tomas Fer- 
 nandez. She was in her husband's company in 1624 and took part 
 in the autos and in the festival given by the Duke of Medina 
 Sidonia to Philip IV. in Seville in that year. In the same year 
 they represented Claramonte's auto La Sinagoga and Lope de 
 Vega's El Pastor Lobo. In 1625 she appeared in Lope's El Brasil 
 restituido, and at Corpus, 1626, she took part in the festival of 
 Madrid, being in the company of her husband. In Nov., 1626, 
 Amarilis managed a company which gave eight comedias before 
 the King at Aranjuez, for which she received 2400 reals, besides 
 an ayuda de casta of 2600 reals "for going to Aranjuez." She 
 played the part of Hero in Mescua's Hero y Leandro before 1629, 
 and her company represented El Cerco de Fuenterrabia by Cris- 
 tobal de Morales: "Representola la compania de Amarilis." 
 (Schmidt, Calderon, p. 25.) Her company also first performed 
 Tirso's Cautela contra Cautela. (Comedias de Tirso, Part II, 
 1635.) In 1632, dia de candelas, she received 800 reals, and cos- 
 tumes for herself, besides transportation, board and lodging for her- 
 self and maid, "to act, sing, and dance in two comedias at the village 
 of Daganzo ; the comedias to be selected from the following" : ( 1 ) 
 No hay Dicha ni Desdicha hasta la Muerte (Mira or Rojas Zo- 
 rrilla) ; (2) Amar como se hade A mar (Lope) ; (3) El Milagro por 
 los Celos (Lope) ; (4) Sufrir mas porquerermas (Villayzan) ; (5) 
 El Mariscal de Biron (Montalvan) ; (6) La Puente de Mantible 
 (Calderon) ; (7) La Dicha del Forastero (Lope) ; (8) ElExamen 
 de Maridos (Alarcon). In 1639 she acted in four comedias in 
 Valdemoro at Corpus, receiving board, lodging, and traveling ex- 
 penses for herself and maid, and 1000 reals. In Sept., 1640, her 
 husband agreed to represent two comedias at the Villa del Escorial, 
 "if my wife Maria de Cordoba goes ; but if la Carbonera [Mariana 
 de los Reyes] should go, then I must give three comedias." 
 (N. D., p. 325.) She was acting at least as late as 1643, and died 
 in Madrid in 1678, after having retired from the stage more than 
 thirty years before. She is extravagantly praised by Guillen de 
 Castro in his comedia Enganarse enganando (written in 1624 or 
 earlier), and by Don Alonso de Castillo Solorzano in his novel Las 
 Harpias de Madrid (1631), who speaks of Amarilis as "la mayor 
 comica que ahora se conoce" ; v. the edition by Cotarelo, Madrid, 
 1907, p. 84. v. text. 
 
458 SPANISH ACTORS AND ACTRESSES 
 
 Cordoba (Sebastiana de), sister of Maria, and wife of Luis 
 de Toledo (1632). 
 
 Coronado (Diego), famous actor of the second half of the 
 seventeenth century. 
 
 Coronado (D a Isabel), wife of the autor Alonso Caballero; 
 she died in Seville in July, 1666, leaving a daughter, Manuela 
 Caballero, also an actress. 
 
 Coronel (Agustin), native of "Oropesa in the Kingdom 
 of Toledo." He was in the company of Alonso de Riquelme 
 in 1602, taking charge of the wardrobe and managing the traveling 
 of the company, receiving 2j4 reals for maintenance and 3 reals 
 daily during the two years of his contract. In 1606, 1607, and 
 1 6 10 he was again in Riquelme's company, and in the latter year 
 appeared in Lope's La buena Guar da. In 161 7 he was in Juan 
 Bautista's company and appeared in Lope's El Desden vengado. 
 In 1 6 19 he was with Cristobal Ortiz in Seville, and in 1620, 1622, 
 and 1623 again with Juan Bautista Valenciano, appearing in 1622 
 in Lope's La nueva Victoria de D. Gonzalo de Cordoba. In 1620 
 he took the part of Arnao in Claramonte's Infelice Dorotea. In 
 1643 he is called autor de comedias, and with his wife Maria 
 Coronel and his daughter Barbara Coronel, then eleven years old, 
 was acting in the company of Tomas Diaz in Seville, and in the 
 following year he was in the company of Juan Acacio in the same 
 city. He first represented Serrano's El Rayo de Cataluha. 
 (Barrera, Cat., p. 369.) 
 
 Coronel (Ana), actress, wife of Luis de Guevara (1621). 
 
 Coronel (Barbara), daughter of Agustin and Maria Coro- 
 nel, was in the company of Tomas Diaz in Seville in 1643 with 
 her parents. She was born in 1632, and married Francisco Jalon. 
 Being suspected of some part in her husband's death, she was im- 
 prisoned in Guadalajara, but was set free through the efforts of 
 her uncle Cosme Perez {Juan Rana). She is said to have worn 
 men's clothes through contempt for her sex. She had a company 
 in Valencia in 1676 and died in 1691. (Pellicer, II, p. 28.) 
 
 Coronel (Jeronima de), wife of Diego Jimenez; both were 
 in the company of Tomas Diaz in Seville in 1643, with Juan 
 Acacio in 1644, an d with Lorenzo Hurtado in Seville in 1645. 
 In 1648 she was a widow and was in the company of Esteban 
 Nunez in Seville, and in 1650 was with Luis Lopez. In 1663 
 
SPANISH ACTORS AND ACTRESSES 459 
 
 she is designated as a "married woman" and was in the com- 
 pany of Francisca Lopez, to which her second husband, Francisco 
 de la Calle, also belonged. Cotarelo (Migajas del Ingenio, p. 198) 
 says that Jeronima was the sister of Barbara Coronel. 
 
 Coronel (Juan), actor in the company of Antonio de Prado 
 in Seville in 1639. He married Isabel de Gongora, widow of 
 Juan Vizcaino (in 1639?). He was a hidalgo of Jadraque and 
 was for a time a member of the companies of Pedro de la Rosa and 
 Bartolome Romero. 
 
 Coronel (Maria), wife of Agustin Coronel. She was proba- 
 bly the Dona Maria in the cast of Lope de Vega's El Desden 
 Vengado (1617), in which her husband' also appeared. She was 
 an actress and dancer in the company of Cristobal de Avendano at 
 Corpus in Seville in 1625, and received a gratuity of 10 ducats, 
 "por lo bien que bailo con las sonajas en uno de los carros." In 
 
 1643 she was in the company of Tomas Diaz in Seville, and in 
 
 1 644 with Juan Acacio. 
 
 Correa (Ana), actress and dancer in the latter half of the 
 seventeenth century. Paz y Melia, Catalogo, No. 2284 ( 8 ), notes 
 •a bade written for her and Francisco Ponce. 
 
 Correa (Juan), antiguo autor mentioned by Rojas, Viage 
 entretenido, p. 361. 
 
 Correa (Juan), actor in the company of Juan Perez de Tapia 
 in Seville in 1655. 
 
 Correa (Ursula), wife of Felipe Anteta; both were in the 
 company of Juan Nunez, el Polio, in 1658. 
 
 Correa Muniz (Antonio), one of the lessees of La Monteria 
 in Seville in 1639. 
 
 Cos (Andres de) played second barbas, 1667-83, in 1678 
 with Escamilla, in 1679, 1680, and 1681 with Vallejo. His wife 
 Maria Ayora was the daughter of Juan de Ayora and Ursula de 
 Torres. 
 
 Cosme, v. Perez (Cosme). 
 
 Cristobal, famous as a galan in 1602. See Rojas, Viage entre- 
 tenido, p. 52. He was in the company of Antonio de Prado, and 
 appeared in Tirso's La Tercera de la Sancta J nana, written in 161 4. 
 He is mentioned by Figueroa in his Plaza Universal (1615), and 
 appeared in Lope's Quien mas no puede (1616). 
 
460 SPANISH ACTORS AND ACTRESSES 
 
 Cruz (Blas de la), prompter and stage manager in the com- 
 pany of Juan Roman in 1639. 
 
 Cruz (Francisco de la) was one of the managers of the 
 theater in Lisbon in 1638. 
 
 Cruz (Gregoria Delgado de la), actress, married Jeronimo 
 de Avila in 1645. Both seem to have been in the company of Bar- 
 tolome Romero. (M. y M., p. 567.) 
 
 Cruz (Ines de la), actress, widow in 1637. 
 
 Cruz (Juan de la), musician of Granada, was the fiTst hus- 
 band of Francisca Diaz, afterward the wife of Antonio de Esca- 
 milla. Their children were known as Ana and Maria de Escamilla. 
 (Migajas del Ingenio, ed. Cotarelo, p. 202.) 
 
 Cruz (Luisa de la), actress in the company of Antonio de 
 Prado in 1632-35 (?). She frequently figures in the entremeses 
 of Benavente in the company of Antonio de Prado. v. Rosell, 
 I, pp. 127, 271, 312, 322. Her husband was Juan Antonio Sando- 
 val. She was an excellent singer and musician, and appeared in 
 Lope's Fabula de Perseo. She died in 1658. 
 
 Cruz (Maria de la), first wife of Matias de Castro y Salazar 
 (after 1650). She never appeared upon the stage. 
 
 Cruz ado (Francisco), actor in the company of Nicolas de los 
 Rios in Seville in 1609. 
 
 Cucarella (Ginesa), v. Cucarella (Juan Vicente). 
 
 Cucarella (Jose), v. Cucarella (Juan Vicente). 
 
 Cucarella (Juan Vicente), his wife Ginesa, and their son 
 Jose were in Avendano's company in 1632. 
 
 Cuebas, actor in the company of Cebrian in 1616, when he 
 appeared in Lope's Quien mas no puede. He was probably a 
 gracioso, and also appeared in the anonymous comedia Paciencia en 
 la Fortuna. See Restori, Studj, p. 143. Perhaps he is the same as 
 Juan de Cuevas or Juan de la Cueva. Cueva (Juan de la) and 
 his wife Ursula de Berrio or Ursula del Rio were in the company 
 of Andres de la Vega in 1638. Juan de Cuevas played fifth parts 
 in Pedro de la Rosa's company in 1639. (S.-A., p. 327.) 
 
 Cueva (Rodrigo de la), actor in the company of Alonso de 
 Villalba in 161 4. 
 
 Cuevas (Alonso de las), in charge of dances at Corpus in 
 1594, 1598, and 1599. 
 
 Cuevas (Jusepe de las), brother of the preceding, was in 
 
SPANISH ACTORS AND ACTRESSES 461 
 
 charge of the dances at Corpus in Madrid in 1577-79, 1584-87, 
 1589, 1590, 1592, 1594-99- 
 
 Cuevas (Pedro Alonso de las), jubetero, in charge of the 
 dances at Corpus in Madrid, 1576-79. He died before March, 1592. 
 
 Cuevas (Salvador de las), actor in Manuel Vallejo's com- 
 pany in 1670 (second gracioso), 1675, and 1676; in 1671 he was 
 with Felix Pascual; in 1677 with Agustin Manuel de Castilla, 
 and in 1680 he was second gracioso in the company of Jeronimo 
 Garcia. In 1681 he was prompter in Carvajal's company. He 
 died, very poor, in Madrid on April 21, 1702. His wife was 
 Maria de San Miguel, by whom he had five children: Teresa, 
 Narcisa, Manuela, Francisco, and Lorenzo de las Cuevas or de la 
 Cueva. Of these Manuela and Francisco were also players. 
 (Cotarelo, Migajas del Ingenio, p. 201.) 
 
 Culebras (Jeronimo de), actor in the company of Jimenez de 
 Valenzuela in 1601, and in that of Diego Lopez de Alcaraz in 
 1607. He and his wife Marina de Torres were members of the 
 company of Alonso de Villalba in 161 4. 
 
 Curcio Romano, Italian actor, whose company represented 
 an auto in Toledo in 1579, receiving 50,000 maravedis. His real 
 name was Vincenzo Botanelli, and in 1581 he was subdirector of 
 Ganassa's company in Madrid, v. Cotarelo, Revista de Archivos, 
 1908, p. 52. 
 
 Cusio (Ana), wife of Francisco Perez Lobillo in 163 1. 
 
 Cusio (Catalina), sister of the preceding. 
 
 Chavarri (Jeronimo de), actor in the company of Bartolome 
 Romero and Juan de la Calle in 1664, and in Antonio de Esca- 
 milla's in 1665. 
 
 Chavarria (Andres de), actor in a joint company called Los 
 Conformes in 1623. 
 
 Chaves (Antonio de), actor in the company of Gabriel Vaca 
 in March, 1598. 
 
 Chaves (Magdalena de), wife of Pedro Maldonado, autor 
 de comedias in March, 161 1, when they lived "in their own 
 house" in the Calle de Cantarranas. 
 
 Damian, actor who appeared in Lope's La Conpetencia en los 
 Nobles (1628). Perhaps this was Damian Arias or Damian 
 Carrillo. 
 
462 SPANISH ACTORS AND ACTRESSES 
 
 Davila (Pedro), of Carabanchel de Abajo, actor in the com- 
 pany of Diego Lopez de Alcaraz in 1605. On Jan. 1, 1606, he 
 agreed to act in the company of Alonso Riquelme. 
 
 Delgado (Jose) was fourth galan in the company of Jeronimo 
 Vallejo in 1660. 
 
 Diago (Gaspar), native of Valencia, married Catalina Sanchez 
 of Aragon at Valladolid in 1655, both being then in the company 
 of Pedro de la Rosa. (M. y M., p. 567.) 
 
 Diaz (Alonso) , member of the company of Bartolome Romero 
 in 1642. 
 
 Diaz (Diego), actor in the company of Alonso Cisneros in 1595. 
 
 Diaz ( Francisca) , wife of Antonio de Escamilla, and mother 
 of Manuela de Escamilla. 
 
 Diaz ( Francisco ) , actor in the company of Antonio de Rueda 
 in Seville in 1644. 
 
 Diaz (Isabel), wife of the autor Carlos de Salazar, and in his 
 company in Seville in 1676. ( Sanchez- Arjona, p. 484.) 
 
 Diaz (Josepa), member of the company of Bartolome Romero 
 in Seville in 1643. 
 
 Diaz (Juan), "guarda mayor de la ropa de Rios." (Rojas, 
 Viage entretenido, p. 404.) This is probably Juan Diez, who mar- 
 ried Isabel Collazo in Valladolid in 1603, when both were acting 
 in the company of Rios. (Marti y Monso, Estudios, p. 566.) 
 v. Godoy (Juan Diaz). 
 
 Diaz (Jusepe), actor in Lorenzo Hurtado's company in Seville 
 at Corpus, 1642; he appeared in Bartolome Romero's company in 
 the same year, playing third parts and singing. 
 
 Diaz (Luis), gilder, had charge of some of the autos repre- 
 sented at Seville in 1570-75. 
 
 Diaz (Luiz), actor in the company of Lorenzo Hurtado in 
 Seville in 1645. 
 
 Diaz (Tomas), el Labrador, autor de comedias, had a company 
 in Seville in 1643 (S.-A., p. 369), when he represented thirty 
 comedias in the Coliseo from Sept. 15, among them "six new 
 ones, never before acted in Seville during the last thirty years." 
 In 1644 he was in the company of Juan Acacio, and in 1645 in the 
 company of Luis Lopez. 
 
 Diaz Navarrete (Alonso), actor in the company of Cristo- 
 bal de Avendano in 1623, and in the same company, with his 
 
SPANISH ACTORS AND ACTRESSES 463 
 
 wife Antonia de Vitoria, in 1632. Both appeared in Lope's 
 La Conpetencia en los Nobles (1628). 
 
 Diaz de Robles (Pedro) and his wife Juliana Candau were 
 in the company of Manuel Vallejo in 1631, and in that of Andres 
 de la Vega in 1638-39. 
 
 Diego, actor in Antonio de Prado's company in 1632-35 (?). 
 (Rosell, I, p. 322.) This is probably Diego de Guevara, husband 
 of Maria de Ceballos, who was in the same company. See also 
 under Mencos, Nauarrete, Robledo. 
 
 Diest (Miguel) and his wife Manuela de Escamilla were in 
 the company of Sebastian de Prado and Juan de la Calle in 
 Dec, 1659. 
 
 Dios (Ana de), actress in the company of Felix Pascual in 
 i665-68(?). 
 
 Dolza (Jose) took subordinate parts in the company of Ber- 
 nardo de la Vega in Seville in 1672. 
 
 Domingo (Vicente), "tocaba con gran primor el clarin." His 
 wife was Luisa Lopez, daughter of the autor Luis Lopez de 
 Sustaete. 
 
 Domingo (Vicente) and his wife Luisa Antonia were in the 
 company of Francisco Gutierrez in Seville in 1668. 
 
 Dominguez (Andres), actor in the company of Alonso 
 Riquelme in 1 6 10. The name Dominguez also occurs in the cast 
 of Lope's La gran Columna fogosa (1629). 
 
 Dominguez (Cebrian) and his wife Maria Tardia were 
 players in Madrid in 1619. 
 
 Dorotea, actress in the company of Bartolome Romero in 
 i63i(?). She appeared in the cast of Jacinto Cordero's play El 
 Favor de la Sentencia, written in 1626. ( Sanchez- Arjona, p. 272.) 
 See also under Sierra. 
 
 Duarte (Ambrosio) or Ambrosio Duarte [Martinez?], 
 a Portuguese musician, and his wife Maria de Prado were in the 
 company of Antonio de Prado in Valladolid in 1645 and in that of 
 Sebastian de Prado in Nov., 165 1; she played primeras damas, 
 and both (he as musico) were in the same company in 1659, 1661, 
 and 1662 (with Prado and Escamilla), when she played segundas. 
 In 1663 both were in Jose Carrillo's company, she playing first 
 parts. In 1664 both were in the company of Bartolome Romero 
 
464 SPANISH ACTORS AND ACTRESSES 
 
 and Juan de la Calle, and in 1665 in the company of Francisco 
 Garcia (Pupilo). 
 
 Duarte (Gabriel), actor in the company of Alonso de Cis- 
 neros and Melchor de Villalba for one year from March 5> I 595> 
 and in the company of Jimenez de Valenzuela in 1602. He agreed 
 to act in the company of Juan de Morales Medrano in 1606, and 
 afterwards withdrew. He was with Alonso de Heredia in 1614, 
 and with Hernan Sanchez de Vargas for two years (1617-19). 
 
 Duarte (Jeronimo), member of the company of Jacinto 
 Riquelme in Seville in 1652. 
 
 Duarte (Martin), actor in a joint company in 1614, and in 
 the company of Juan Roman in March, 1639, in which he agreed 
 to act for one year; in the following month we find him in the 
 company of Juan Rodriguez de Antriago, to act at Corpus in the 
 villa de Borox. 
 
 Elguero (Francisco) and his wife Francisca Munoz took 
 part in the Corpus festival at Truxeque and Penalver in 1636, 
 and at Hita in 1637. 
 
 Elvira (Francisco de) of Alcaraz and Juan Ibafiez produced 
 the dances and "inventions" at the Corpus festival at Alcaraz 
 in 1554. 
 
 Enciso (Francisco de), "cloth-shearer," and his wife Sebas- 
 tiana de la Paz acted, sang, and danced at the Corpus festival at 
 Galapagar in 1619, and at Fuente de Saz in the same year. 
 
 Enriquez, early actor mentioned by Rojas, Viage, p. 13. 
 
 Enriquez (Diego), actor in the company of Hernan Sanchez 
 de Vargas for one year from Nov. II, 1633. 
 
 Enriquez (Jacinto), member of the company of Luis Lopez 
 in Seville in 1645, and with Esteban Nunez in 1648. 
 
 Enriquez (D a Manuela) of Valencia, wife of Juan Bautista 
 Valenciano; she was in her husband's company in 1617, and 
 appeared in Lope de Vega's El Desden vengado. She and her hus- 
 band were in the company of Cristobal Ortiz de Villazan at 
 Corpus in Seville in 1619, when Manuela received a gratuity of 
 50 ducats for excellent acting. She was in the company of her hus- 
 band in Seville in 1620, also receiving a gratuity, and appeared in 
 the title role of Claramonte's La infeliz Dorotea. In 1621 and 
 1622 she was again in her husband's company, appearing in the 
 
SPANISH ACTORS AND ACTRESSES 465 
 
 latter year in Lope's Nueva Victoria de D. Gonzalo de Cordoba. 
 She is probably the Emanuela Henrriques, widow, who was resid- 
 ing in Valencia in 1628. v. text, p. 193, n. 8. 
 
 Enriquez (Pedro), actor in the company of Juan Roman in 
 March, 1639 ; in the following month he was one of a joint com- 
 pany under Juan Rodriguez de Antriago, until Shrovetide, 1640. 
 
 Enriquez (Tomas) , celebrated gracioso; in the company of 
 Antonio de Prado in 1624, and in Romero's company in 1637 till 
 Shrovetide, 1639. He was in Seville in 1642, 1643, and 1645, in 
 the company of Bart. Romero, his name also appearing in the com- 
 pany of Luis Lopez, in Seville, in the latter year. His wife was 
 Maria Roman, la Asturiana, also called Marimorena. 
 
 Escamilla (Antonio de), native of Cordoba. His real name 
 was Antonio Vazquez. He married Francisca Diaz in Granada, 
 and had two daughters, Manuela and Maria de Escamilla. Cota- 
 relo, Migajas del Ingenio, p. 202, says that Ana and Maria de 
 Escamilla were the daughters of Francisca Diaz and her first 
 husband Juan de la Cruz, musician, of Granada, and that Manuela 
 was the only daughter of Escamilla and Francisca Diaz. Antonio 
 de Escamilla we find as a member of Antonio de Prado's company 
 in 1650, and in 1 65 1 he and his daughter Maria were in the com- 
 pany of Sebastian de Prado. In 1659 he was gracioso in the 
 company of Sebastian de Prado and Juan de la Calle, and in 1661 
 had a company at the Corpus festival in Madrid. In 1662 he had 
 a company with Sebastian de Prado, and represented autos with his 
 own company in 1663, 1664, 1665, 1670, 1671, and 1672. In 1673 
 he was in the company of Felix Pascual; in 1674 as gracioso with 
 Simon Aguado, and in 1675, 1676, 1677, and 1678 he again had a 
 company and represented autos at Madrid. In 1679, 1680, and 
 1681 he was in Manuel Vallejo's {el Mozo) company, as gracioso. 
 In Sept., 1690, he was in Cadiz. (Paz y Melia, Catdlogo, 
 No. 2550.) 
 
 Escamilla (Manuela de), daughter of Antonio de Escamilla 
 and Francisca Diaz, and wife of Miguel Diest (1659). Probably 
 before this she had borne a son to Alonso de Olmedo, el Mozo, q. v. 
 In 1658 she was in the company of Francisco Garcia, and in 1659 
 with Sebastian de Prado and Juan de la Calle, playing third parts. 
 In 1661, 1662, 1663, 1664, 1665, 1671, 1672, 1676, 1677, and 
 1678 she played third parts in her father's company. In 1673 
 
466 SPANISH ACTORS AND ACTRESSES 
 
 she was with Felix Pascual, in 1674 with Simon Aguado. In 1679, 
 1680, and 1 68 1 she was in the company of Manuel Vallejo. ror 
 her the comedia Pedro de Urdemalas was written. (Paz y Meha, 
 Cat., No. 2550.) According to Pellicer (Vol. II, p. 86), she was 
 born in Monforte de Lemos, Galicia, first appeared upon the stage 
 at the age of seven, was married at thirteen and a widow at fifteen, 
 remarried, and died in 1695. 
 
 Escamilla (Maria de), daughter of Antonio de Escamilla, 
 was in the company of Antonio de Prado in 1650 and 1 65 1. In 
 1658 she was with Francisco Garcia, and in 1659 played fourth 
 parts in the company of Sebastian de Prado. In 1663, 1664, and 
 1665 she was musica in the company of her father. 
 
 Escobedo (Antonio de) and his wife were acting in Madrid in 
 1584. In Dec, 1589, he was in the company of Alonso de Cis- 
 neros; in March, 1602, he belonged to a joint company directed 
 by himself, Melchor de Leon, Diego Lopez de Alcaraz, and Pedro 
 Ximenez de Valenzuela, which was to represent autos and comedias 
 in Toledo. See Scobedo (Antonio de). 
 
 Escoriguela (Juan de), a native of Tronchon in Aragon. 
 He is probably the actor who appeared as Liseo in Lope's Sembrar 
 en buena tierra (1616) : the name is twice written Escruela, and 
 it is possible that it may be a different person. He was in the 
 company of Antonio de Prado in 1623, and again in 1631, 1632, 
 i634~36(?), and 1639, taking old men's parts in the latter year. 
 His wife was Jeronima de Sierra, who died shortly after Dec. 25, 
 1641. In 1645 he was acting in Valladolid, when his name is 
 given as Juan de Esguriguillas Arifio. (M. y M., p. 566.) 
 
 Escudero (Lorenzo), member of Antonio de Prado's company 
 in 1639. He managed a company and represented in La Monte- 
 ria at Seville in 1649, and in 1650 was in the company of Luis 
 Lopez. 
 
 Espada (Ambrosio de) played old men's parts in Lorenzo 
 Hurtado's company in Seville in 1642. 
 
 Espana (Juan de) was in the company of Bernardo de la Vega 
 in 1672, and gracioso in the company of Magdalena Lopez in 
 Seville in 1677. He was formerly a physician in the General 
 Hospital of Madrid. 
 
 Espana (Pedro de), actor in the company of Diego Lopez de 
 Alcaraz in April, 1607, and in the company of Alonso de Heredia 
 
SPANISH ACTORS AND ACTRESSES 467 
 
 in March, 1614. His name appears in the cast of Lope de Vega's 
 La buena Guarda (1610), represented by Riquelme's company. 
 In 1621 he was in the company of Alonso de Olmedo. (Bull. Hisp. 
 (1908), p. 244.) 
 
 Espanoles (Los), a company under the management of Nicolas 
 de los Rios in Jan., 1589. (N. D., p. 24.) 
 
 Espinola (Juan Bautista) of Seville, autor de comedias in 
 Feb., 1633, when he was in Alicante. His company consisted of: 
 Maximiliano Morales, who played second parts; Francisco de 
 Arteaga and his daughter Maria de Morales ; Francisco de Valencia 
 and his wife Maria de Herrera, both second parts; Juan de 
 Samaniego and his wife Maria de la O, who played third parts, 
 and Juan de Garabito, cobrador. Perhaps this name should be 
 Espinosa instead of Espinola. 
 
 Espinosa( ?), actor in 1631. (Nuevos Datos, p. 222.) 
 
 Espinosa (Ana Maria de), wife of the autor Juan Roman 
 (1637). (Nuevos Datos, p. 262; Sanchez- Arjona, p. 335.) 
 
 Espinosa (Beatriz de) and her husband Nicolas Oracio Carta- 
 gines were in the company of Diego Lopez de Alcaraz in 1603. 
 
 Espinosa (Damian de), actor in March, 1638, in the com- 
 pany of Andres de la Vega; autor in the same year and in 1639. 
 His company on July 25, 1638, consisted of: Gabriel Cintor, Anto- 
 nio de Benavente, Antonio de Salinas, Pedro de Bienpica, Manuel 
 de Vellon, and Bias de Heredia. The Gabriel de Espinosa (N.D., 
 p. 294) is almost certainly a mistake for Damian de Espinosa. 
 
 Espinosa ( Juana de) , second wife of the autor Tomas Fernan- 
 dez de Cabredo (1635). In 1642 Belmonte wrote for her (then 
 a widow) the comedia A un tiempo Rey y Vasallo. In 1643 she 
 and Luis Lopez managed a company. She died before March, 
 1647 (Averig., p. 170), leaving three children, Francisca and her 
 two younger sisters. See under Fernandez de Cabredo. 
 
 Espinosa (Juan Bautista de), autor de comedias in 1634- 
 1637. See above, under Espinola (Juan Bautista de). 
 
 Espinosa (Manuela Maria de) and her husband Manuel 
 Vallejo, el Mozo, were members of the company of Antonio de 
 Castro in 1656, and of Juana de Cisneros' company in Seville in 
 1660. Her first husband was Rafael Arquer. She died in 1670. 
 Rafael Arquer and Maria de Espinosa are found in the list of 
 Avendano's company in 1632. (Cotarelo, Tirso, p. 202.) 
 
468 SPANISH ACTORS AND ACTRESSES 
 
 Espinosa (Silvestre de) , actor in Madrid in 1584- (^- "• 
 
 (1906), p. 363-) 
 Estanque (Francisco), actor in the company of Carlos de 
 
 Salazar in 1676. 
 
 Estefania, actress in Antonio de Prado's company in Bena- 
 vente's El Murmurador. (Rosell, I, pp. 143, 394.) 
 
 Estrada (Luis de), actor in 1626. He was in Antonio de 
 Prado's company in Seville in 1639, and in Lorenzo Hurtado's 
 in 1645. His name occurs in the cast of the anonymous comedia 
 Paciencia en la Fortuna (Restori, Stud), p. 143), and in Cordero's 
 El Favor en la Sentencia (1626). ( Sanchez- Arjona, p. 272.) 
 
 Eugenia, v. Arteaga, Osorio, and Villegas. 
 
 Eugenia Maria, wife of the actor Gonzalez, called el Grana- 
 dino and el Meon, about 1632—36. 
 
 Exea (Juan de) and his wife Salvadora de Ochoa were in 
 Bait. Pinedo's company in 1613. 
 
 Fabiana Laura, actress, was born at Granada, the daughter 
 of a physician, D. Matias Andres de Eslava, and D" Salvadora 
 Hurtado. She ran away from home and at an early age married 
 the actor Miguel Bermudez, whose second wife she was (1660), 
 in which year they both belonged to the company of Francisca 
 Lopez in Seville. Fabiana Laura was afterward in the following 
 companies: Manuel Vallejo's in 1672, playing second parts; 
 Felix Pascual's in 1673, playing first parts; Simon Aguado's in 
 1674, first parts; Manuel Vallejo's in 1675, 1676; Agustin Manuel 
 de Castilla's in 1677, 1678; Jose Garcia de Prado's in 1679, and 
 in Jeronimo Garcia's in 1680, always playing primeras damas. 
 She died in Madrid, Jan. 23, 1698. See Sanchez-Arjona, Andes, 
 
 P- 425- 
 
 Fadrique, actor in the cast of Lope de Vega's El Desden ven- 
 gado ( 1617) , and in his Nueva Victoria de D. Gonzalo de Cordoba 
 (1622). He also appeared as D. Garci Nunez in Claramonte's 
 La infeliz Dorotea (1620) in the company of Juan Bap. Valen- 
 ciano. 
 
 Fajardo (Ana), wife of Francisco de Velasco; both were in 
 Pedro de la Rosa's company in 1636. In 1637 they paid 2300 reals 
 for a costume. 
 
SPANISH ACTORS AND ACTRESSES 469 
 
 Fajardo (Ines), wife of Nicolas de Villanueva; both were in a 
 joint company from 1614 till Shrovetide, 161 5, with Pedro Bravo 
 and others. 
 
 Fajardo (Juan), actor in the company of Tomas Diaz in 
 Seville in 1643. In 1644 he was in Valladolid in the company of 
 Francisco de Guzman Morales. (M. y M., p. 566.) One Juan 
 Fajardo had charge of a dance at Corpus in Alcaraz in 1599. 
 
 Falcon (Diego), member of the company of Juan Acacio in 
 Seville in 1619. 
 
 Falcon (Jaime), tailor, and actor in the company of Juan 
 Acacio in 1619; perhaps a brother of Diego. He was in the com- 
 pany of Manuel Vallejo in 1623 and seems to have been in Acacio's 
 company again in March, 1626. 
 
 Falcona (Ana) , actress in the company of Juan Acacio in 
 1617, receiving a gratuity of 550 reals at the Corpus festival for 
 excellence in acting and costumes in the auto El Salteador del 
 Cielo, In 1619 she was the wife of Juan Acacio and belonged to 
 his company. 
 
 Farinas (Domingo) and his wife Maria del Rio were acting 
 in Valladolid in 1652. (M. y M., p. 567.) 
 
 Feliciano (Francisco), actor in the company of Jose Garcia 
 de Prado in Seville in 1658. 
 
 Felipa Maria played fourth parts and danced in the company 
 of Luis Hurtado in Seville in 1642. There was a Felipa Maria in 
 the company of Felix Pascual in 1673 as understudy. 
 
 Felipe, actor in the cast of Lope's El piadoso Aragones (1626), 
 taking the part of D. Pedro de Agramontes. 
 
 Felipe (Miguel), member of the company of Carlos de Salazar 
 in Seville in 1676. 
 
 Feliseo (Gabriel Francisco) played barbas in the company 
 of Magdalena Lopez in Seville in 1677. 
 
 Felix (Francisco), actor in 1636; his wife was the actress 
 Mariana de Talavera. 
 
 Fernandez (Alonso), actor in the company of Nicolas de los 
 Rios in 1609. 
 
 Fernandez (Andres), autor de comedias in Madrid in 1623- 
 1624, jointly with Juan Bautista Valenciano. 
 
47Q SPANISH ACTORS AND ACTRESSES 
 
 Fernandez (Andres), actor in the company of Carlos de 
 Salazar in 1676. Here he is called "brother of Alonso.' 
 
 Fernandez (Francisca), daughter of Tomas Fernandez de 
 Cabredo and Juana de Espinosa. In March, 1647, after the death 
 of her mother, she petitioned the King to be paid the sum due her 
 mother for eight private performances given to the Queen. She 
 had two younger sisters, who were left without support by the 
 death of their mother. (Averiguador, p. 170.) 
 
 Fernandez (Gaspar), actor in the company of Diego Osorio 
 in 1659, and cobrador in Antonio de Escamilla's company in 1677 
 and 1678. 
 
 Fernandez (Juan) brought out a carro in the autos at Seville 
 in 1570 and 1572. 
 
 Fernandez (Juan), actor and musician in 1593. 
 
 Fernandez (Juan), husband of Catalina de Leon of Madrid, 
 who was in the company of Juan Martinez in 1631. 
 
 Fernandez (Juan), actor in the company of Antonio de Esca- 
 milla in 1670, 1671 (segundo galan), and 1675; in 1674 he was 
 with Simon Aguado, and in 1679 with Manuel Vallejo. 
 
 Fernandez (Luisa) of Murcia, daughter of D. Francisco 
 Velastegui, and wife of the actor Antonio Leonardo. She was in 
 the company of Antonio Ordaz in Valencia in 1664, and came to 
 Madrid and played fourth parts in the company of Antonio de 
 Escamilla in 1669 and 1670, and third parts in Manuel Vallejo's 
 company in 1672, 1673, 1676, 1679, 1680, and 1681, in the last 
 two years as understudy. 
 
 Fernandez (Magdalena), wife of Diego de Medina; both 
 were in Antonio de Prado's company in 1632. 
 
 Fernandez (Manuela), actress (cuarta) in the company of 
 Antonio de Escamilla in 1671. 
 
 Fernandez (Micaela), actress in the company of Francisca 
 Lopez in 1660; with Manuel Vallejo in 1670, and with Magda- 
 lena Lopez in Seville in 1677. She is said to have been as clever 
 in the role of dama as in that of galan in male attire. She was the 
 daughter of Miguel Fernandez Bravo and Isabel Ana. (Cotarelo, 
 Migajas del Ingenio, p. 203.) There were two well-known 
 actresses named Isabel Ana; which one is meant here, I do not 
 know. Micaela Fernandez in 1688 was acting in the company of 
 
SPANISH ACTORS AND ACTRESSES 471 
 
 Matias de Castro, and in 1689 in that of Escamilla. She died 
 in 1691. 
 
 Fernandez (Miguel), autor de comedias in charge of the 
 autos at Seville in 1657. In 1660 he was in the company of 
 Francisca Lopez. His wife was Jacinta Gallego. 
 
 Fernandez (Sebastiana), younger sister of Luisa Fernandez, 
 played segundas damns in the company of Antonio Ordaz in 1664. 
 She was in the company of Antonio de Escamilla in 1669 and 
 again in 1676; in 1 67 1 with Felix Pascual, and played third parts 
 in Manuel Vallejo's company in 1672, 1673, and 1675. In 1679 
 she was in the company of Jose Garcia de Prado, and in 1680 with 
 Jeronimo Garcia. She married Vicente Salinas, and both retired 
 from the stage and set up a shop selling "barros y dukes de Portu- 
 gal" in the Carrera de San Jeronimo, Madrid, where they lost all 
 their savings, so that Sebastiana lived on the alms of the theatrical 
 companies. She died in the Calle de las Huertas on Sept. 29, 1702. 
 (Cotarelo, Migajas.) 
 
 Fernandez Bravo (Miguel), see above under Fernandez 
 (Micaela). Perhaps the same as Miguel Fernandez. 
 
 Fernandez de Cabredo (Tomas), famous autor de comedias 
 and gracioso. In 1607 he had a company in Valladolid, and in 
 1608 and 1609 he represented at the Coliseo in Seville; in 161 1 
 and 1612 he represented two autos at Corpus in Madrid, receiving 
 600 ducats. He was one of the autores authorized by the decree 
 of 1615, and first represented Lope de Vega's El Bobo del Colegio 
 (before 1618). His wife Juliana Antonia is first mentioned in 
 1619. (N. £>., p. 180.) In 1623 and 1624 he took part in the 
 Corpus festival at Seville, when he represented the auto of Clara- 
 monte, El Valle de la Muerte. He was one of the five founders 
 of the Cofradia de la Novena. In 1625 he represented autos in 
 Madrid, and beginning in June, his company performed ten come- 
 dias privately before the King. In Oct., 1632, he began to repre- 
 sent in La Monteria, Seville, and brought out the autos at Corpus 
 in the following year. In 1634 ne again represented four comedias 
 before the King. On June 5, 1635, ne was m Valladolid, and 
 returned to La Monteria in Seville in Nov., 1637, where he also 
 represented an auto in 1638, and in the early part of this year 
 performed in the same theater. In 1637 he gave no less than 
 
472 SPANISH ACTORS AND ACTRESSES 
 
 seventeen representations before the King, and also gave an auto 
 in Madrid. In 1635 his wife was Juana de Espinosa, by whom 
 he had three daughters: Francisca and two younger, whose names 
 are not given. The first wife of Fernandez was Ana Maria de la 
 Pefia, whom he married in Valladolid in 1607. (Marti y Monso, 
 Estudios, p. 566.) In the cast of Ricardo de Turia's La belligera 
 Espahola (printed in 1616), as represented by Tomas Fernandez, 
 occur the names La S* Ana Maria [de la Pefia?] and La S a Juana 
 [de Espinosa?]. He first represented Lope de Vega's La Conpe- 
 tencia en los Nobles (1628?). Fernandez died before Dec, 1641, 
 the date of the license of Belmonte's play A un tiempo Rey y 
 Vasallo, which he wrote for Juana de Espinosa, "viuda de Tomas 
 Fernandez." Perhaps he died before Corpus, 1641, for it is 
 probable that la Viuda, whose company represented two autos in 
 Madrid in that year, was Ana de Espinosa. v. Schack, Nachtrage, 
 
 PP- 72, 73- 
 
 Fernandez de Castro (Juan), actor in the company of Sebas- 
 tian de Montemayor in Sept., 1599. 
 
 Fernandez de Garrote (Antonio), actor in the company of 
 Bartolome Romero for one year from Feb. 25, 1640. 
 
 Fernandez de Guardo (Alonso) and his wife Ana Cabello 
 were in the company of Antonio de Prado in 1614-16 and ap- 
 peared in Tirso's La Tercera de la Sancta Juana, and both were 
 in the company of Sanchez de Vargas in 1619—20. 
 
 Ferrer (Jose), cobrador in the company of Pablo Martin de 
 Morales in Seville in 1678. 
 
 Ferrer (Maria Lopez), v. Lopez (Maria). 
 
 Ferrer (Vicente), native of Valencia living in Madrid, and 
 his wife Maria Ruiz were members of the company of Juan de 
 Tapia, Luis de Castro, and Alonso de Paniagua from March 4, 
 1602, for one year. He was in a joint company in 1604. 
 
 Figueroa (Ana de), widow, actress in the company of Sanchez 
 de Vargas for one year from Jan., 1635. 
 
 Figueroa (Francisca de) and her husband Antonio Herrera 
 de Mendoza were members of the company of Cristobal de Aven- 
 dano in 1632. 
 
 Figueroa (Gabriela de), daughter of Roque de Figueroa and 
 Mariana de Olivares. She was in her father's company in 1 63 1 
 and in Valencia in 1649, playing second parts, likewise in the 
 
SPANISH ACTORS AND ACTRESSES 473 
 
 company of her father. In 1650 she was in Pedro de la Rosa's 
 company. She married Jose Garceran, and played first parts in 
 his company in Seville in 1657 and 1658, and in Valencia in 1664. 
 She died in Mallorca before 1668. 
 
 Figueroa (Jeronima de), wife of Juan de Figueroa; both 
 were members of the company of Matias de Castro y Salazar in 
 1673. 
 
 Figueroa (Juan de), v. the preceding. 
 
 Figueroa (D a Maria de), wife of Francisco de Rivera; both 
 were in Carlos de Salazar's company in 1675. 
 
 Figueroa (Roque de) of Cordoba, famous autor de comedias 
 and friend of Lope de Vega. He and his wife Mariana de Olivares 
 were in Domingo Balbin's company from Sept. 1, 1623, till Shrove- 
 tide, 1624, receiving u reals for maintenance and 22 reals for 
 each performance. In March, 1628, he represented eight comedias 
 before the King, four in the Pardo and four in the Salon de 
 Madrid; and in 1627, 1629, and 1630 he represented autos at 
 Corpus in Madrid. (Nuevos Datos, pp. 216, 218.) His company 
 appeared in Seville in 1626, representing an auto, and again in 1632 
 at the Coliseo. In 1631 he performed in the Casa Real de Campo ; 
 in 1634 he gave eight comedias privately before the King, and ten 
 in the following year. In 1635 he represented the comedia Peligrar 
 en los Remedios, which was written for him by Rojas Zorrilla, as 
 the MS. shows. (Paz y Melia, Catdlogo, No. 2552.) The latest 
 notice that I have found of his company is 1649, when he was at 
 Tarragona. (Schack, ibid., p. 73.) Figueroa received a careful 
 education, and the story is related of him that some accident hav- 
 ing befallen the preacher at a festival in the parish of S. Sebastian, 
 Madrid, Figueroa took off his sword, ascended the pulpit, and de- 
 livered an address in Latin, to the great surprise of all his hearers. 
 It was Figueroa who first produced the two famous plays of Tirso 
 de Molina, El Condenado por desconfiado and El Burlador de 
 Sevilla, and a number of Montalvan's : No ay Vida como la Honra 
 (before 1632, "in which Antonia Manuela appeared with great ap- 
 plause" ) , El Mariscal de Biron, El SenorD. Juan de Austria, Cum- 
 plir con su Obligation. He had two children, Miguel de Figueroa, a 
 captain of cavalry, who died in Milan, and a daughter Gabriela, q. v. 
 He died in 1651. In Gallardo, Ensayo, Vol. II, p. 688, we read 
 that Figueroa first married Ana Ponce, whose obsequies were cele- 
 
474 SPANISH ACTORS AND ACTRESSES 
 
 brated in 1633. But she must have died long before this, as he 
 was married again in 1623. Moreover, this "antigua y loable 
 costumbre de celebrar las honras de los defuntos" was often cele- 
 brated annually. Figueroa died at Valencia at the age of eighty, 
 according to Gallardo. {Ibid.) For his company in 1631, 
 v. Cotarelo, Tirso, p. 206. (Rosell, Vol. I, pp. 165, 224.) 
 
 Florencia y Carrillo (Diego Prudencio de), actor, married 
 Maria de Santa Cruz in Valladolid in 1653. (M. y M., p. 567.) 
 
 Flores (Catalina), actress, and wife of the hawker 
 (buhonero) Lazaro Ramirez. The Cofradia de la Novena had 
 its origin in a miracle concerning her. For her story v. Entremeses, 
 LoaSj etc., de Quihones de Benavente, ed. D. Cayetana Rosell, 
 Madrid, 1874, Vol. II, appendix. Her daughter was Bernarda 
 Ramirez, wife of Sebastian de Prado, q. v. 
 
 Flores (Francisca), actress in the company of Pedro de la 
 Rosa in 1636. 
 
 Flores (Gaspar) had charge of the dances at Corpus in 
 Madrid in 1649. 
 
 Flores (Isabel de), member of the company of Carlos de 
 Salazar in Seville in 1676. 
 
 Flores (Juan de), called Siete Coletos, actor in the company 
 of Francisca Lopez in 1660. His wife was Maria de la O de la 
 Beruga. He was drowned at Huelva in 1678, while in the com- 
 pany of Ines Gallo. 
 
 Flores (Maria), daughter of Maria de Salinas and actress in 
 the company of Bartolome Romero and Juan de la Calle in 1664, 
 playing fifth parts and music. 
 
 Flores (Maria de), called Mariflores, wife of Pedro Rodri- 
 guez in 1590, when both belonged to the company of Jeronimo 
 Velazquez. In 1602 she was in Valladolid, apparently in the com- 
 pany of Jeronimo Lopez. (M. y M., p. 566.) In 1606-07 both 
 were in the company of Melchor de Leon. She was in her hus- 
 band's company sometime prior to 16 10, when he died. She ap- 
 peared in the comedia by the Count of Lemos, La Casa confusa, 
 in Lerma, before Philip III., in Oct., 1618. In 1629 she executed 
 a power of attorney to recover money due her by Melchor de Leon 
 since 1606. Leon was apparently in Brussels with his company 
 in 1629. She was unable to sign her name. She is mentioned by 
 Suarez de Figueroa in 161 5, among the famous actresses of that 
 time. 
 
SPANISH ACTORS AND ACTRESSES 475 
 
 Fonseca (Alonso), musico, member of the company of Rueda 
 and Ascanio (1638-39). (Rosell, I, p. 366.) 
 
 Fonseca (Maria de), daughter of Pedro de Fonseca, actress in 
 the company of Matias de Castro in Seville in 1673. She was in 
 Manuel Vallejo's company in 1681 as understudy. 
 
 Fonseca (Nicanor de), actor in the company of Francisco 
 Gutierrez in Seville in 1668. 
 
 Fonseca (Nicolas de), actor in the company of Luis Bernardo 
 de Bobadilla for one year from Feb. 28, 1637. An actor by the 
 same name was in the company of Francisca Lopez in 1663. 
 
 Fonseca (Pedro de), son of Alonso Fonseca, was a member 
 of the company of Laura de Herrera in 1663, and of Francisco 
 Gutierrez in Seville in 1668; in 1673 he and his daughter Maria 
 were in the company of Matias de Castro in Seville. He died 
 in 1682. 
 
 Fontana (Maria), actress in the company of Andres de la 
 Vega in 1638. 
 
 Fontela (Nicolas de), member of the company of Antonio de 
 Rueda in 1639. The same as Nicolas de Fonseca? 
 
 Francesquina (La), Italian actress in Madrid in 1587, in the 
 company of Drusiano Martinelli. (Nuevos Datos, p. 21.) Her 
 name was Silvia Roncagli. 
 
 Francisca, wife of the actor Andres de Labaya; both were in 
 Manuel Vallejo's company in 1631. 
 
 Francisca, actress in the company of Pedro Cebrian in Lope's 
 Quien mas no puede ( 1616), and in Heredia's company in the cast 
 of Del Monte sale. Perhaps the latter was Francisca Paula, wife 
 of Mencos, who was in the same company. 
 
 Francisca, actress in the company of Hernan Sanchez de Vargas 
 at Corpus in Seville in 1621. 
 
 Francisca, actress in the company of Antonio de Prado (1632- 
 1636?). (Rosell, I, pp. 270, 294.) 
 
 Francisca, actress in the company of Pedro de la Rosa in 
 1660-61. (S.-A, p. 330.) 
 
 Francisca, see also under Arteaga, Bazan, Bezon, Flores, 
 Gevaro, Gongora, Hinestroza, Lopez, Manso, Ortiz, San 
 Miguel, Torres, Vallejo. 
 
 Francisca Antonia, wife of Francisco Tome, actress in the 
 
476 SPANISH ACTORS AND ACTRESSES 
 
 company of Luis Bernardo de Bobadilla for one year from 
 March 12, 1637; both were in Bartolome Romero's company for 
 one year from Feb. 22, 1638. 
 
 Francisca Feliciana, actress in the company of Juan Perez de 
 Tapia in Seville in 1662. 
 
 Francisca Maria, daughter of Maria Gabriela; both were in 
 the company of Claramonte from June 19, 161 4, till Shrovetide, 
 
 1615. 
 
 Francisca Maria, la Nina, played the part of the infant Jesus 
 in the auto Siquis, in the company of Juan Bautista Valenciano in 
 Seville in 1 62 1. 
 
 Francisca Maria, wife of Manuel Vallejo; both were in the 
 company of Diego Vallejo in Seville in 1619. In 1622-23 she was 
 also acting in her husband's company. She died on Nov. 21, 1627, in 
 the Calle del Nino. v. under Vallejo (Manuel de). She left 
 a daughter, also named Francisca Maria. 
 
 Francisca Maria, v. Valdivia. 
 
 Francisca Paula, wife of Diego de Mencos; both were in 
 the company of Bartolome Romero in 1638 and 1640, and with 
 Manuel Vallejo in 1639. In the latter year they acted in Lisbon, 
 Mencos playing vexetes and his wife third parts. (N. D., p. 296.) 
 v. also Rosell, Vol. I, pp. 162, 358, and under Perez. 
 
 Francisca Teresa, actress in the company of Antonio de Castro 
 in Seville in 1656. 
 
 Francisco (Juan), actor in the company of Jeronimo Sanchez 
 in 1623. An actor by this name belonged to the company of 
 Manuel Vallejo in 1670 and 1679, to the company of Magdalena 
 Lopez in 1674 and 1677, and to Jeronimo Garcia's in 1680, and 
 was prompter in Carvajal's in 1681. 
 
 Francisco (Manuel) or Manuel Francisco Martinez, 
 el Brillante, played galanes in the company of Antonio de Prado in 
 1650. In 1656 he was with Antonio de Castro at the Coliseo, 
 Seville; in 1660 with the company of Juana de Cisneros; in 1663 
 with that of Francisca Lopez and Laura de Herrera; in 1668 
 with Francisco Gutierrez; in 1672 played second galanes with 
 Antonio de Escamilla, and in 1674 was with the company of 
 Magdalena Lopez in Seville. 
 
 Francisco Felix, v. Felix. 
 
 Francisco Vicente, son of the actress (?) Lucia Bravo. He 
 
SPANISH ACTORS AND ACTRESSES 477 
 
 was killed in 1638, and his mother accused the actor Diego de 
 Leon of being concerned in his death. See also under Vicente. 
 
 Franco (Lucas) of Murcia, actor in 16 19. 
 
 Franco (Luis), actor ( ?) in 1602. (N. D., p. 62.) 
 
 Franco (Pedro) brought out the auto Los cinco Sentidos at 
 Corpus in Seville in 1560. 
 
 Frasquito, actor in the cast of Alarcon's Las Paredes oyen, 
 1617. 
 
 Fresno (Ana del), daughter of Pedro del Fresno; she was 
 in Pedro de la Rosa's company in 1637. 
 
 Fresno (Pedro del) played first old men's parts (barba) in 
 Pedro de la Rosa's company in 1637 and 1638. 
 
 Frutos (Francisco de), in charge of one of the dances at the 
 Corpus festival in Madrid in 1628. 
 
 Frutos (Pedro de), gracioso after the middle of the seven- 
 teenth century, v. Solis, Poesias, Madrid, 1692, p. 296. 
 
 Frutos Brabo (Jose), celebrated gracioso; he and his wife 
 Josefa Lobaco were members of the company of Antonio de Prado 
 in 1632 and 1635 (?), and again in Seville in 1639. See Rosell, 
 I, pp. 127, 322; S.-A., pp. 280, 325. He was still living in 1644, 
 and died in Toledo. 
 
 Fuensalida (Jeronimo de), lessee of the corrales of Madrid in 
 1604 and 1609. 
 
 Fuente (Sebastian de la), actor in the company of Alonso de 
 Heredia in 1614. 
 
 Fuente (Tomas de la) of Toledo, autor de comedias in 1584. 
 v. Rojas, Viage entretenido, p. 362. He had a brother Juan. 
 
 Fuentes (Domingo), member of the company of Alonso 
 Velazquez in Seville in 1598. The name Fuentes occurs in the 
 cast of Lope's La hermosa Ester (1610) when it was first repre- 
 sented by the company of Sanchez de Vargas. 
 
 Fuentes (Francisco de), called Monguia, from a character 
 in Tirso's Santo y Sastre, played vejetes in Manuel Vallejo's com- 
 pany in 1679-81. He married Jeronima Quirante, daughter of 
 Pedro Quirante. He was still acting in 1695. 
 
 Fuentes (Isabel de), called Lanza de Coche. 
 
 Fuentes (Leonor de), sister of the preceding, actress in the 
 entremeses of Benavente. 
 
478 SPANISH ACTORS AND ACTRESSES 
 
 Gadea (Micaela de), wife of Alonso de Riquelme (March, 
 1602), acted in her husband's company at the Corpus festival in 
 Seville in 1607. She died before March 30, 1608, when Riquelme 
 married Catalina de Valcazar. 
 
 Gaitan (Juan) played subordinate parts in the company of 
 Magdalena Lopez in Seville in 1674. 
 
 Galiano (Antonio), actor in the company of Andres de la 
 Vega from March, 1639, for one year. 
 
 Galindo (Francisco) , autor de comedias in March, 1637, hav- 
 ing a joint company (compania de partes). 
 
 Galindo (Mariana), daughter of Maria de Guzman Rueda; 
 she was in the company of Juan Acacio at Corpus in Seville in 
 1644, when she received a gratuity of 400 reals. In the follow- 
 ing year she was in the company of Lorenzo Hurtado. 
 
 Galvez (Isabel de), actress in the company of her husband 
 Francisco Garcia in 1658, and in Antonio de Escamilla's company 
 in 1664, playing segundas damas. In 1665 she was again in Fran- 
 cisco Garcia's company. (Perez Pastor, Calderon Documentos, 
 PP-253,3o8.) InNov., 1657, while acting in Madrid, and being then 
 the wife of Garcia, Isabel de Galvez was carried off by the Conde 
 de Monterrey and the Marques de Almazan, who had no difficulty 
 in pacifying the irate husband, according to Barrionuevo, Avisos, 
 III, p. 352. He calls the actress La Galvez, "una comedianta muy 
 bizarra." She was Garcia's second wife. 
 
 Galvez (Jeronimo de), one of the earliest of Spanish theat- 
 rical managers. On Nov. 29, 1579, Galvez and Juan Granado 
 gave the first representation in the new Corral de la Cruz in 
 Madrid. On Dec. 3, 1581, he represented in the Corral de la 
 Pacheca, and several times thereafter in that year and in 1582, and 
 again in 1584. In 1590 he was acting in the company of Jeronimo 
 Velazquez, who calls Galvez "mi companero y autor." (Perez 
 Pastor, Datos desconocidos, p. 146. See Appendix A.) Suarez de 
 Figueroa mentions Galvez among the famous actors then (1615) 
 deceased. He died in Valladolid in 1604; his full name was 
 Jeronimo Millan de Galvez. (M. y M., p. 567.) 
 
 Gallego, actor in the company of Rodrigo Osorio in Valencia 
 in the latter part of the sixteenth century (1588?). (Cotarelo, 
 Lope de Rueda, p. 30.) 
 
SPANISH ACTORS AND ACTRESSES 479 
 
 Gallego (Jacinta), actress, wife of Miguel Fernandez 
 {1657). She died in Granada. 
 
 Gallego (Juan), actor in the company of Francisco Gutierrez 
 in Seville in 1668, and harpist with Antonio de Escamilla in 167 1 
 and 1672. In 1676 he was with the company of Carlos de Salazar. 
 
 Gallegos (Juan), lessee of the theater in Toledo in 1608. 
 
 Gallo (Ines), wife of Pedro Carrasco, a famous tenor. She is 
 said to have been the daughter of D. Antonio de Pedraza, who 
 was murdered in the Puerta del Sol. She had a company of players, 
 and was drowned at Huelba in 1678. 
 
 Gamarra (Bernarda), daughter of Miguel Jimenez and Ber- 
 narda Teloy. She was a member of the company of Manuel 
 Vallejo in 1 63 1. 
 
 Ganassa (Alberto Naseli de), Italian actor, who first 
 brought a company of players to Madrid in 1574. In a document 
 dated Madrid, 1581, he styles himself "Alberto Naseli, alias 
 Ganassa." He took part in the Corpus festival at Seville in 1575 
 and returned in 1578 and 1583. In May and June, 1579, he repre- 
 sented in the Corral de Puente, Madrid, and frequently thereafter 
 in that year and in 1580-84. See Appendix A. His company in 
 1581-82 comprised: Cesare di Nobile, Giovanni Pietro Pasquarelo, 
 Cipion Graselli, Giulio Villanti, Iacopo Portalupi, Carlo Masi, 
 two Spanish musicians: Pedro de Salcedo and Ant Laso, besides 
 Vincenzo Botanelli, alias Curcio Romane. See text, pp. 29, n. 1, 
 et passim, and Cotarelo in Revista de Archivos, 1908, pp. 42 ff. Lope 
 de Vega, who doubtless knew Ganassa, mentions him in several of 
 his comedias, and in one of them he introduces a servant whose 
 speeches throughout are in the Bergamask dialect. See El Genoues 
 liberal (an early play), Comedias, Part IV, Pamplona, 1614. 
 
 Ganteo (Felipe), actor who took part in the autos has Lagri- 
 mas de San Pietro and Los vicios Locos del Infierno in the town of 
 Borox in 1604. 
 
 Garabito (Juan de), cobrador in the company of Juan Bap. 
 Espinola in 1633, and seems also to have managed a company in 
 that year. He is mentioned also in 1637. 
 
 Garay (Teresa de), wife of Antonio Marin; both were in the 
 company of Jacinto Riquelme in Seville in 1652. In 1660 she 
 played segundas damas in Jeronimo Vallejo's company. She was 
 
480 SPANISH ACTORS AND ACTRESSES 
 
 the first wife of Juan de Sequeiros, according to Cotarelo, Migajas 
 del Ingenio, 1 908, p. 194. 
 
 Garceran (Jose) of Mallorca had a company in La Monteria, 
 Seville, in 1657-58, and in Valencia in 1668. His wife Gabriela 
 de Figueroa, daughter of Roque de Figueroa, played first parts in 
 his company. He died in 1678. 
 
 Garces (Marcos), el Capiscol, was in the company of Diego 
 Osorio in 1659, and harpist in Antonio de Escamilla's company 
 in 1 66 1, 1662, and 1663. In 1671, 1672, and 1673 he was harpist 
 and segundo barba with Felix Pascual. 
 
 Garcia (Alonso), actor in the company of Andres de Clara- 
 monte in 1 614. 
 
 Garcia (Ana), widow, in Oct., 1636, of Pedro Garcia de 
 Quintanilla, and mother of the actress Rufina Justa. 
 
 Garcia (Blas), actor in the company of Francisco Velez de 
 Guevara, Pedro de Cobaleda, and Francisco Alvarez, for one year 
 from March 13, 1639. 
 
 Garcia (Brigida), wife of the actor Francisco de San Miguel, 
 q. v. 
 
 Garcia (Domingo), Pertecilla, harpist in the company of 
 Simon Aguado and Juan de la Calle in 1662, and also with Jose 
 Carrillo in the same year. In 1665 he was with Felix Pascual, 
 and died in Granada in 1689. 
 
 Garcia (Francisco) and his wife Maria Sanchez, of Ciudad 
 Rodrigo, were members of the company of Alonso Riquelme for 
 two years, from March, 1602, till 1604. v. Garcia de Toledo 
 (Francisco). 
 
 Garcia (Francisco), autor de comedias in 1639. (Nuevos 
 Datos, p. 311.) An actor by this name appeared in Belmonte's 
 A un tiempo Rey y Vasallo in 1 642. Francisco Garcia, "vecino de 
 Granada," and D a Jacinta Reyes, both players, were married in 
 Valladolid in 1642. (M. y M., p. 566.) See the following. 
 
 Garcia (Francisco), Pupilo, and his wife Jacinta Eugenia 
 were in the company of Esteban Nunez at Seville in 1648. (S.-A., 
 p. 384-) He afterward belonged to the following companies: 
 in 1650 he played first galanes with Luis Lopez; in 1 65 1 he was 
 with Sebastian de Prado; in 1654 with Esteban Nunez in Seville. 
 In 1656 he had a company and represented autos in Madrid, and 
 in 1657 an d ^58 his company performed at the Teatro de la Cruz. 
 
SPANISH ACTORS AND ACTRESSES 481 
 
 In 1659 he was with Sebastian de Prado; in 1660 with Juana de 
 Cisneros, while in 1665 he represented autos in Madrid. In 1671 
 his company acted at La Monteria in Seville and produced an auto; 
 in 1675, 1676, and 1680 he was first barba in Manuel Vallejo's 
 company, and in 1679 he was with Jose Garcia de Prado. In 1657 
 the wife of Francisco Garcia was Isabel de Galvez. According to 
 Cotarelo, Migajas del Ingenio, p. 205, Garcia married a third wife, 
 Maria de Vallejo, sister of Carlos and Manuel Vallejo, el Mozo. 
 This was some time before 1672. He died at Torrelaguna in 1689. 
 In 1674 a Francisco Garcia and his wife Antonia Maria were mem- 
 bers of the company of Magdalena Lopez in Seville. Whe- 
 ther this was one and the same person, I have no means of deter- 
 mining. 
 
 Garcia (Jeronimo), actor, joined the Brotherhood of the 
 Novena in 1653. He was a gracioso, and married Bernarda 
 Manuela, called Rabo de Vaca. He was in the company of Jose 
 Garcia de Prado in 1679, autor de comedias in 1680, when he rep- 
 resented an auto in Madrid, and in the company of Juan Antonio 
 de Carvajal in 1681. 
 
 Garcia (Juan), actor in Seville in 1658, in the company of 
 Jose de Prado. 
 
 Garcia (Lorenzo) played third parts in the company of Anto- 
 nio de Escamilla in 1 67 1. He seems to have been with Manuel 
 Vallejo in 1670, playing quartos. (Migaxas del Ingenio, fol. 57.) 
 He died in 1682. 
 
 Garcia (Manuel), actor in the company of Francisca Lopez 
 in Seville in 1660. There was a Manuel Garcia, called Asadurilla, 
 who, after Lorenzo de Prado's death (1649?), married his widow, 
 Manuela Mazana. Perhaps this is the same person. 
 
 Garcia (Melchor), actor in the company of Manuel Vallejo 
 in 1674. 
 
 Garcia (Miguel), actor in the company of Magdalena Lopez 
 in Seville in 1674. 
 
 Garcia (Roque), member of the company of Juan Martinez 
 for one year from March 2, 1633. He was to act, dance, sing, 
 write, and prompt for 3 reals per day, besides 3 reals daily for 
 maintenance. 
 
 Garcia (Rufina), "famosa," played third parts in the company 
 of Pedro de Ortegon in Seville in 1635. This was undoubtedly 
 
482 SPANISH ACTORS AND ACTRESSES 
 
 Rufina Justa, the daughter of Ana Garcia and Pedro Garcia de 
 Quintanilla, maestro de armas. The above explains why in a 
 loa by Quinones de Benavente, represented by Fernandez in 1636, 
 she calls herself "Rufina, la de Ortegon." See Rosell, Vol. I, 
 p. 298, and also ibid., pp. 55, 288, 433 ; on the latter page begins 
 the jdcara that was represented by Ortegon's company in 1635. 
 Rufina was in the company of Tomas Fernandez, as we see from 
 the above, in 1636, and also in 1637; m 1 650, at Corpus, she was 
 in Antonio de Prado's company. She died in 1 668. 
 
 Garcia (Teresa), actress in the company of Juan Rodriguez 
 de Antriago in 1637. There was a Teresa Garcia in the company 
 of Luis Lopez in Seville in 1650. 
 
 Garcia Carril (Juan), actor for one year from Sept. 24, 1637, 
 in the joint company of Juan Rodriguez de Antriago. 
 
 Garcia Flores (Gabriel), lessee of the theaters of Madrid in 
 i64o( ?). (Nuevos Datos, p. 325.) 
 
 Garcia de Guevara (Pedro) played second parts in the com- 
 pany of Bartolome Romero in 1637-38. 
 
 Garcia de Prado, v. Prado. 
 
 Garcia de Salinas (Pedro), noted gracioso in the company 
 of Alonso Riquelme in Jan., 1619 (residing in Zaragoza in that 
 year). On Feb. 15, 1619, he and his wife Jeronima de Valcazar 
 agreed to act in the company of Hernan Sanchez de Vargas for 
 two years from Shrovetide till Shrovetide, 1621. He was in the 
 company of Manuel Vallejo in 1631-32. His wife Jeronima de 
 Valcazar was in the same companies, and both appeared in Lope de 
 Vega's El Castigo sin Venganza in 1 632. v. also Rosell, Vol. I, 
 p. 277. 
 
 Garcia de Toledo (Francisco), actor in a joint company 
 called Los Andaluces in 1605—06. 
 
 Garcia de Vergara (Pedro) and his wife Francisca Maria de 
 Valdivia were members of the company of Francisco Solano from 
 Aug. io, 1637, till Shrovetide, 1638; in the following year he was 
 in the company of Juan de Malaguilla (March 9, 1638). (N. D., 
 p. 287.) 
 
 Garrote (Antonio) [or Saviote?] played old men's parts in 
 the company of Bartolome Romero in Seville in 1642-43. 
 
 Gasque (Juan or Juan Salvador), actor in the company of 
 Baltasar Pinedo in March, 161 1. At Corpus of this year he acted 
 
SPANISH ACTORS AND ACTRESSES 483 
 
 in Madrid in the company of Tomas Fernandez. On Jan. 7, 1614, 
 when he describes himself as a native of Orihuela then residing in 
 Zaragoza, he agreed to join the company of Pedro de Valdes for 
 one year. He was then in the company of Morales. (N. D„ 
 p. 136.) On March 13, 1614, he contracted to join Baltasar 
 Pinedo's company for one year, and on June 19 of the same year 
 he joined the company of Andres de Claramonte, till Shrovetide, 
 1615. (Ibid., pp. 142, 145.) 
 
 Gevaro (Francisca), wife of Pedro de Castro; both were in 
 Domingo Balbin's company in Seville in 161 3. 
 
 Gevaro (Juan de), actor in Balbin's company in 1613. v. also 
 Guevara (Juan). 
 
 Gil (Isidro), actor in the company of Francisco Solano in 
 1637-38. On March 21, 1639, he and his wife Jeronima Rodri- 
 guez agreed to act in the company of Damian de Espinosa. Ten 
 days after this he joined the company of Francisco Velez de Gue- 
 vara, Pedro de Cobaleda, and Francisco Alvarez. 
 
 Gil de Cordoba (Juan), actor in the company of Cristobal de 
 Avendano in 1623. 
 
 Gobia (Gaspar de) played first and second galanes in the 
 company of Andres de la Vega in 1638-39. 
 
 Godinez (Felipe) played parts of barba in Pedro de Ortegon's 
 company in Seville in 1635. 
 
 Godos (Matias) , actor in the company of Felix Pascual in 167 1. 
 
 Godoy (Juan Diaz), native of Fuentes del Ebro, actor in the 
 company of Gaspar de Porres for two years from Feb. 15, 1592. 
 
 Godoy (Mateo de) of Granada was in a joint company headed 
 by Juan Rodriguez de Antriago (April 6, 1639), and took part 
 in the Corpus festival at Borox in the same year. In 1643 he was 
 in Bart. Romero's company in Seville, and in 1644 with Antonio 
 de Rueda, also in Seville. In 1659 he was with Diego Osorio; 
 in 1660 he seems to have been with Pedro de la Rosa (S.-A., 
 P- 330-) ! m 1 66 1 he was barba in Antonio de Escamilla's company; 
 1662 with Sebastian de Prado; 1663, 1664, 1665, 1670, and 1671 
 again with Escamilla. His first wife was Damiana de Arias; his 
 second was Isabel Bazan, who died in Seville in 1658. For the 
 company in which he appeared in 1655, v. Solis, Poesias, Madrid, 
 1692, p. 173. He is the author of the entremes El Desafio, pub- 
 lished in Ramillete de Sainetes escogidas, etc. (Zaragoza, 1672.) 
 
484 SPANISH ACTORS AND ACTRESSES 
 
 Gomez, actor in "una compania muy humilde" with Rojas and 
 Arze before 1600. See Rojas, Viage, pp. 9, 11. 
 
 Gomez (Alonso) took the part of El Emperador Valente in 
 Lope's La gran Columna fogosa (1629). 
 
 Gomez (Bartolome), actor in the company of Jose de Prado 
 in Seville in 1658. 
 
 Gomez (Magdalena), widow of Pedro Alonso de las Cuevas, 
 had charge of dances at Corpus in Madrid in 1 592. 
 
 Gomez Varela (Diego) and his wife Micaela Lopez were in 
 the company of Manuel Vallejo in 1625. 
 
 Gongora (Atanasio de), actor for one year from March 11, 
 1632, in the company of Bartolome Romero. 
 
 Gongora (Francisca de), mother of Isabel de Gongora, q. v. 
 Both were in the company of Cristobal de Avendano in March, 
 1632, when they were received into the Cofradia de la Novena. 
 
 Gongora (Isabel de), well-known actress. She and her hus- 
 band Juan Vizcaino were in the company of Cristobal de Avendano 
 in 1632; in Feb., 1636, she is described as the widow of Juan 
 Vizcaino and was then in the company of Pedro de la Rosa (for 
 one year), playing second parts and dancing. In 1637-38 and 
 1639-40 she was again in Pedro de la Rosa's company, also taking 
 second parts. Previous to this, perhaps between 1633 and 1636, 
 she had been in the company of Antonio de Prado. See Entremeses 
 de Benavente, ed. Rosell, Vol. I, pp. 97, 174, 322. She afterward 
 married Juan Coronel, a hidalgo of Jadraque. In 1641 and 1650 
 she was again in the company of Pedro de la Rosa, and died, it is 
 said, in April, 1669. See Schack, Nachtrage, p. 72. 
 
 Gonzalez (Bernarda) , wife of Juan de Angulo in Jan., 1619, 
 when both agreed to act for one year in the company of Tomas 
 Fernandez. 
 
 Gonzalez (Hernan), early actor (1580) in Madrid. 
 
 Gonzalez (Juan) of Seville, a silversmith and clothes dealer 
 (platero y tratante en ropa), brought out autos at Seville at Corpus 
 in 1582, 1587, I590, IS9I. and 1592. 
 
 Gonzalez (Juan), gracioso in the company of Pedro de 
 Valdes in 1625-26. 
 
 Gonzalez (Juan) and his wife Polonia Maria were in the 
 company of Tomas Diaz in Seville in 1643, and in Lorenzo 
 
SPANISH ACTORS AND ACTRESSES 485 
 
 Hurtado's company in 1645. In 1648 both were in the company 
 of Esteban Nunez in Seville, when he is called Juan Gonzalez 
 Valcarcel. In 1660 he was in the company of Pedro de la Rosa, 
 and in 1661 in that of Antonio de Escamilla. Perhaps it was he 
 who appeared (about 1635?) m the anonymous comedia Paciencia 
 en la Fortuna. v. Restori, Studj, p. 143. Whether he was the 
 Juan Gonzalez, called Zapizurri, who died in Calatayud in June, 
 1667, I do not know. See the following. 
 
 Gonzalez (Juan), actor in the company of Diego Osorio in 
 1659; segundo galan in the company of Ant. de Escamilla in 
 1661, 1663, 1664, and 1665; in the company of Juan de la Calle 
 and Simon Aguado in 1662. He seems to have been still acting in 
 1670-75. v. Migaxas del Ingenio, fol. 79, v. 
 
 Gonzalez (Jusepe) and his wife Luisa Benzon agreed to act 
 for two years, from March 5, 1595, in the company of Alonso de 
 Cisneros and Melchor de Villalba. 
 
 Gonzalez (Matias), lessee of the profits received by the hos- 
 pitals of Madrid in 161 8. 
 
 Gonzalez (Pedro) and his wife Micaela Ortiz were in the 
 company of Jose de Prado in Seville in 1658. In 1655 a Pedro 
 Gonzalez was gracioso in the company of Antonio Lavella, and 
 died in 1684. Perhaps the same. The name also appears in the 
 cast of Lope's La gran Columna fogosa ( 1629). 
 
 Gonzalez (Sebastian) and his wife Catalina Tellez were in 
 the company of Domingo Balbin from Sept. 1, 1623, till the 
 following Shrovetide. On Oct. 14, 1623, he acted with the 
 Madrid company called Los Conformes, in the comedia La Morica 
 garrida, by Juan de Villegas at Leganes. We hear of him again in 
 1632 in the company of Francisco Lopez, representing the autos at 
 Madrid, and in Nov., 1635, he had a company of players, when 
 his wife was Maria Manuela, and his company agreed to give fifty 
 representations in Valencia, beginning in December. (N. D., 
 p. 242.) A Gonzalez and also a Catalina were once in Prado 's 
 company. See Rosell, Vol. I, p. 394. 
 
 Gonzalez, called el Granadino and el Meon, actor in 1632- 
 1636 ( ?) . His wife was Eugenia Maria. 
 
 Gonzalez Camacho (Alonso), native of Membrilla 
 (Toledo), musician in the company of Roque de Figueroa in 163 1- 
 
486 SPANISH ACTORS AND ACTRESSES 
 
 1632, and in that of Hernan Sanchez de Vargas in 1633. See 
 Rnsell, Vol. I, p. 224, and Cotarelo, Tirso, p. 206. 
 
 Gonzalez Flores (Gabriel), lessee of the theaters of Madrid 
 in 1623. 
 
 Gorriz (Cristobal), played minor parts in the company of 
 Ant. de Escamilla in 1675, 1676, 1677, and 1678. 
 
 Grajales or Graxal (Juan de) and his wife Catalina de 
 Peralta were in a joint company in March, 1604; both were in the 
 company of Alonso de Villalba in Feb., 1614. On March 28, 1614, 
 both agreed to join the company of Andres de Claramonte for 
 one year. In 1626 he was in the company of Juan de Morales 
 Medrano. Both appeared in Lope de Vega's La Conpetencia en los 
 Nobles (1628). Grajales is mentioned by Rojas among the actors 
 who were also playwrights. {Viage, p. 131.) See Barrera, Cata- 
 loffo, p. 179. 
 
 Grajales, v. Martinez de Grajales. 
 
 Gran Sultana (La), v. Cordoba (Maria de). 
 
 Gran Turco (El), v. Vega (Andres de la). 
 
 Granada (Miguel), dancer in the company of Tomas Fernan- 
 dez. He died in 1636. 
 
 Gran ado (Diego), el Vie jo , had charge of the dances at Corpus 
 in Madrid in 1577, 1579, 1584, and 1587. 
 
 Gran ado or Gran ados (Juan), one of the best known of the 
 older Spanish autores. On Nov. 29, 1579, his company and that 
 of Jeronimo Galvez gave the first representation in the new Corral 
 de la Cruz. His company appeared several times in that year, and 
 in 1580 and 1581. See Appendix A. A Juan Granado, son of 
 Diego Granado, el viejo, had charge of the dances called Rada- 
 mante, Reinaldos, Oliveros, and Montesinos at Corpus in Madrid 
 in 1584, also the dances in 1589, 1593-95, 1598, 1599, and 1604. 
 This was probably the same person. In 1605 the wife of Juan 
 Granado was Luisa Martinez. (N. D., p. 355.) See the inter- 
 esting list of theatrical costumes which he bought in this year from 
 Baltasar Pinedo, Bull. Hisp. (1907), p. 369. 
 
 Granado or Gran ados (Luis) of Medina del Campo and his 
 wife Jeronima de Aguilar were in the company of Diego de San- 
 tander in Dec, 1594. He was again in Santander's company in 
 June, 1597, and had a company in 1606-13. Probably a brother 
 of Antonio. 
 
SPANISH ACTORS AND ACTRESSES 487 
 
 Gran ados (Alonso), minstrel in the company of Jeronimo 
 Ruiz, Francisco de Vera, and Alonso de Morales in Madrid 
 in 1592. 
 
 Granados (Antonia), known as la divina Antandra, was the 
 wife of D. Pedro de Castro y Salazar (q. v.), and the mother 
 of Matias de Castro y Salazar. ( Sanchez- Arjona, p. 430, n. ; 
 Schack, Nachtrage, p. 31.) She had three children, and died 
 giving birth to a daughter Susana. Her children were brought up 
 by her brother, the celebrated Antonio Granados. 
 
 Granados (Antonio), one of the most famous of Spanish 
 autores de comedias, was born at Madrid in 1570, and was an 
 actor in the company of Alonso Velazquez in Seville in 1598. 
 He managed a company in 1602, and was one of the eight autores 
 authorized by the decree of 1603, and one of the twelve authorized 
 by the decree of 1615. Granados first represented Lope's Los 
 Esclavos libres (before 1604), as we learn from the Peregrino. 
 Lope calls him "Gallardo galan, gentil hombre, y de la tierra del 
 Peregrino." He also first represented Lope's El cuerdo Loco 
 (1602) and La gallarda Toledana, and in the autograph of Lope's 
 El Cordobes valeroso Pedro Carbonero, dated at Ocana, Aug. 26, 
 1603, in the list of characters we find Granados (who managed the 
 company) in the role of Pedro Carbonero, and Villegas in the part 
 of the king. In 1604 Granados resided in Medina del Campo, 
 and in the same year (in April-July) he was in Valladolid, and 
 again in 1607. In 1605 he represented autos at Seville, and again 
 in 1615 and 1618. He was in Zaragoza in 1607 and in Oct., 1608; 
 in Jaen in July, 1610, and in Malaga in Nov., 1610; in Murcia 
 in May and June, 161 1 ; in Granada in Dec, 1615; in Lisbon in 
 Sept. and Oct., 1617, and in Sept., 1621. In 1618 he was in Zara- 
 goza and came to Seville, where he represented Lope's auto Obras 
 son Amores and Poyo's Las Fuerzas de Sanson. He was in Madrid 
 in Dec, 1620, and Aug., 1621, and in 1623 took his company to 
 Lisbon. In July, 1626, he represented two comedias before the 
 King. He was received into the Cofradia de la Novena in 1632. 
 His will is dated June 8, 1641, shortly after which date he probably 
 died. His wife, who survived him, was Catalina de Azores y 
 Avila. He left no children or other heirs. 
 
 Granados (Maria de), actress in the company of Diego Lopez 
 de Alcaraz in 1603, and daughter of Luisa de Aranda. On May 
 
488 SPANISH ACTORS AND ACTRESSES 
 
 24, 1604, they gave a power of attorney to Gaspar de Porres to 
 sell a house they owned in Valladolid. El Maestro Vicente Espinel 
 was a witness to this instrument. 
 
 Grifona (La), v. Bernada Manuela. 
 
 Guardia, actor who appeared in the cast of Tirso's La Tercera 
 de la Sancta J nana, 1 6 14. 
 
 Guebara (Andres de) and his wife Ines de Ulloa y Sotomayor 
 were in the company of Hernan Sanchez de Vargas in March, 1626; 
 he was in the company of Pedro de Ortegon in Seville in 1635, 
 taking principal parts. His full name seems to have been Andres 
 Gutierrez de Guevara. (S.-A., p. 298, n.) 
 
 Guerma (Gregoria de), wife of the autor de comedias Gaspar 
 de los Reyes in 1602. 
 
 Guevara (Antonio de), brother of Luisa and Francisco de 
 Guevara; actor under twenty-five years of age in 1631, in the 
 company of Juan Martinez. In 1658 he was in Jose de Prado's 
 company in Seville. 
 
 Guevara (Diego de) and his wife Maria de Zaballos were in 
 the company of Manuel Vallejo in 1631; in 1632 they were in 
 Antonio de Prado's company, acting in the entremes Las Duenas. 
 (Rosell, Vol. I, p. 322.) 
 
 Guevara (Francisca Luisa de), wife of Juan de Campos; 
 both were members of Manuel Vallejo's company in 1631. v. also 
 Gevaro (Francisca). 
 
 Guevara (Francisco de), brother of Antonio and Luisa, and 
 actor in the company of Juan Martinez in 1631. This is un- 
 doubtedly Francisco Velez de Guevara, q. v. 
 
 Guevara (Isabel de), wife of Diego Osorio de Velasco, gra- 
 cioso. Both were in Pedro de Ortegon's company in Seville in 1635. 
 
 Guevara (Juan de), member of a joint company of actors, 
 with Pedro Bravo and others, in Madrid in 161 4. A Juan de 
 Gevaro or Guevara was in Balbin's company in Seville in 1613. 
 
 Guevara (Luis de) played galanes in the company of Tomas 
 Fernandez in 1636-37. His wife was Ana Coronel. 
 
 Guevara (Luisa de), wife of Pedro de Cobaleda, and sister of 
 Antonio and Francisco de Guevara. She played third parts and 
 first musical parts in the company of Juan Martinez in 1631, "and 
 if the second parts be assigned to her, she is to play them." 
 
 Guevara (Mariana de), wife of Juan Catalan in Jan., 1606, 
 
SPANISH ACTORS AND ACTRESSES 489 
 
 when both agreed to act in the company of Alonso Riquelme for 
 one year from Shrovetide, 1606, to Shrovetide, 1607. In Feb., 
 1609, there is mentioned a Mariana de Guevara, wife of Bartolome 
 de Robles. 
 
 Guevara (Pedro), v. Cerezo de Guevara. 
 
 Guevara, v. Cerezo de Guevara. 
 
 Gutierrez (Francisco) and his wife Maria Lopez were in 
 the company of Luis Lopez at Corpus in Seville in 1650. He was 
 a native of Loratan, near Valladolid. They had two children: 
 Luis and Juana Gutierrez. Francisco afterward married a Valen- 
 cian woman named Timotea. He had a company in Seville in 
 1661, 1668, and 1669. In 1672 he was segundo barba in the com- 
 pany of Ant. de Escamilla, and in 1673 in that of his son-in-law 
 Matias de Castro. For his company in 1668, v. Sanchez- Arjona, 
 
 P- 447- 
 
 Gutierrez (Juana), daughter of Francisco Gutierrez and 
 Maria Lopez, and second wife of Matias de Castro y Salazar, 
 whom she married in Valencia (before 1662) and by whom she 
 had fourteen children. She was in the company of Juan Perez de 
 Tapia in Seville in 1662, and in her father's company in 1668. 
 See Sanchez- Arjona, p. 460. 
 
 Gutierrez (Mariana) and her husband Antonio de Sampayo 
 Were members of the company of Antonio de Villegas in Feb., 161 2. 
 {B.H. (1907), p. 377-) 
 
 Gutierrez (Simon), actor in Ricardo de Turia's La belligera 
 Espanola (printed in 1 616). v. Restori, Stud), p. 92. In the cast 
 of Tirso's Celos con Celos se curan (1625) the part of Cesar was 
 taken by Gutierrez. 
 
 Gutierrez (Tomas) brought out carros at the Corpus festival 
 in Seville in 1582, 1584, and 1585. Rodriguez Marin, Rinconete 
 y Cortadillo, p. 134, says that Tomas Gutierrez afterward aban- 
 doned the theatrical profession and kept an inn at Seville in the 
 Calle de la Bayona, where Cervantes lodged in 1585. In a ballad 
 entitled "Trato de las Posadas en Seuilla," we read : 
 
 Lo primero, si llegares 
 aquella braua posada 
 que esta en calle de Bayona, 
 donde los Principes paran, etc. 
 
 (Revue Hispanique, 1905, p. 137.). 
 
490 SPANISH ACTORS AND ACTRESSES 
 
 This, in all probability, was not the inn where Cervantes stopped. 
 If it was, the experience of lodging with Princes seems never to 
 have been repeated in his after-life. According to Suarez de 
 Figueroa's Plaza Universal, Tomas Gutierrez was deceased in 
 1615. 
 
 Gutierrez de Olivares (Andres or Antonio) and his wife 
 Ana Romera were acting in Oct., 1603, apparently in the com- 
 pany of Baltasar Pinedo. 
 
 Guzman (Alejandro), actor? His wife was Paula de 
 Medina. 
 
 Guzman (Juan de) of Ayamonte, musician and actor in 1602, 
 for two years in the company of Pedro Ximenez de Valenzuela. 
 "He is to receive 220 ducats, the necessary food, and have his 
 clothes washed." 
 
 Guzman (Pedro de), actor in the company of Nicolas de los 
 Rios in 1609, and in the company of Manuel Vallejo in Madrid 
 in 1622. 
 
 Guzman Morales (Francisco de), autor de comedias in 
 Valladolid in 1644. (M. y M., p. 566.) 
 
 Guzman Rueda (Maria de), "legitimate mother" of Mariana 
 Galindo; both were in the company of Juan Acacio in Seville in 
 1644. 
 
 Haedo (Juan Bautista de), actor? His wife D" Maria 
 Morote played first parts at the Corpus festival in the villa del 
 Escorial in 1636. 
 
 Haro (Alfonsa de), wife of Bartolome de Robles in 1643; 
 both were in the company of Tomas Diaz in Seville in that year. 
 
 Haro (Luis de), actor in the company of Pedro de Plata from 
 March 24, 1587, till Shrovetide, 1588. 
 
 Henriquez, actor, apparently in the company of Nicolas de 
 los Rios in 1 601. (Rojas, Viage, p. 13.) 
 
 Herbias (Mariana de), wife of Luis Alvarez; both were 
 members of the company of Alonso Riquelme in 1 610. She took 
 the place of Lucia de Salcedo, "and is to act in all the latter's parts 
 in the company, and in the new comedias is to share the principal 
 parts with another actress." She was in Baltasar Pinedo's company 
 from Shrovetide, 1614-15, but at the Corpus festival of 1614 the 
 Municipality of Madrid requested that she and Maria de los 
 
SPANISH ACTORS AND ACTRESSES 491 
 
 Angeles be removed from Pinedo's company and that two other 
 actresses be engaged in their stead. (Bull. Hisp. (1907), p. 379.) 
 
 Herbias y Flores (D a Jacinta de), widow in March, 1639, 
 and a member of the company of Antonio de Rueda in 1638 (?), 
 1639, and 1640, playing second parts, singing, and dancing, v. San- 
 chez-Arjona, pp. 334-337. Probably before this (in 1636-37?) 
 she was in the company of Alonso de Olmedo. (Rosell, Vol. I, 
 p. 90.) In Jan., 1640, she was the wife of the autor de comedias 
 Luis Lopez de Sustaete. See text, p. 127. 
 
 Heredia (Alonso de), autor de comedias in 1603; his wife in 
 1604 was Maria de Rojas. He represented autos in Madrid in 
 1609. (B. H. (1907), p. 375), and in this year, on Aug. 15, he 
 produced at Getafe Lope's D. Juan de Austria en Flandes. In his 
 company in 1 614 were: Ant. de Navarrete, Pedro de Avila, Manuel 
 Simon, Sebast. de la Fuente, Gabriel Ehiarte, Luis Candau, Pedro 
 de Espana, Antonio Pinero and Santiago Valenciano. He had a 
 company in 1619, and was one of the managers authorized by the 
 decree of 1615. He was, it seems, still living in 1638. (JV. £)., 
 p. 290.) 
 
 Heredia (Ana de), actress in the company of Hernan Sanchez 
 de Vargas in the autos at Seville in 1 62 1, when she received a 
 gratuity of 100 reals. 
 
 Heredia (Andres de), actor in the company of Nicolas de los 
 Rios in Aug., 1606. He had a company at least as early as 1601, 
 when he represented the autos at Corpus in Seville, receiving 700 
 ducats, and seems to have had a company in Toledo in Aug., 1602. 
 (N. D., p. 97.) He and his company represented an auto at 
 Zamora in 1607 so badly that they were expelled from the city. 
 He was again in the company of Rios in Seville in 1609. In the 
 following year he was in the company of Alonso de Villalba( ?). 
 (N.D.,p. 116.) 
 
 Heredia (Blas de), actor in the company of Damian de Es- 
 pinosa in Aug., 1638. 
 
 Heredia (Jeronimo de), actor in the company of Alonso de 
 Olmedo in 1621 (Bull. Hisp. (1908), p. 244), in the company 
 of Domingo Balbin in 1622, and with Cristobal de Avendano for 
 one year from April 25, 1623. His wife was Catalina Osorio. 
 
 Heredia (Jeronimo de), son of Tomas and Maria de Heredia 
 (S.-A.), and famous in the role of galan. He was in the company 
 
492 SPANISH ACTORS AND ACTRESSES 
 
 of Francisca Lopez in Seville in 1660; in Jose Carrillo's com- 
 pany in Madrid at Corpus and in Valencia in 1663, and with 
 Simon Aguado in 1674. His wife was Josef a Lopez, sister of the 
 autora Francisca Lopez. He died of dropsy in 1676. See Cota- 
 relo, Migajas del Ingenio, p. 206, who says that the wife of Here- 
 dia was Jeronima Lopez. 
 
 Heredia (Juan de), autor de comedias in Granada in Sept., 
 1585. For his letter to the autor Juan de Limos, see Cotarelo, 
 Lope de Rueda, p. 54. 
 
 Heredia (Juan Jeronimo de), actor in 1643, when he was 
 imprisoned for debt in Madrid. 
 
 Heredia (Maria de), famous actress, wife of Tomas de Here- 
 dia. In 1626 both were in the company of Andres de la Vega and 
 Maria de Cordoba, and took part in Calderon's auto El Pintor de 
 su Deshonra, in Madrid at Corpus. She was in her husband's com- 
 pany in 1627-28, appearing in Lope de Vega's Del Monte sale 
 quien el Monte quema, and in the company of Antonio de Rueda 
 in 1638 and 1639. She apparently failed to keep her agreement with 
 Rueda in 1639, and he executed a power of attorney to Francisco de 
 Alegria on July 27, to recover the amount advanced to her. 
 (N. D.j p. 319; Rosell, Vol. I, p. 366.) In the latter year she 
 appeared as Dona Beatriz in Calderon's La Desdicha de la Voz. 
 (Schack, Nachtrage, p. 87.) Cotarelo (Tirso, p. 208) recounts 
 some of the scandals connected with her, and for one of which she 
 was imprisoned in 1642, and afterward condemned to the galleys. 
 See also Gallardo, Ensayo, II, Appendix, p. 73, and Barrionuevo, 
 Avisos, Vol. Ill, p. 215. Her son (by Luis Lopez) was married 
 in Madrid in 1657; sne died in Naples in 1658. 
 
 Heredia (Tomas de), see the preceding. He was a gracioso in 
 the company of Rueda and Ascanio in 1638. See Rosell, Vol. I, 
 p. 366, and p. 369, where Maria de Heredia says that they had 
 had a company in Lisbon of which Arias was a member. 
 
 Hernandez (Catalina), v. Hernandez de Verdeseca. A 
 much later actress named Catalina Hernandez acted under the 
 name of Eufrasia Maria de Reina, q. v. 
 
 Hernandez (Diego), actor in the company of Juan de Tapia, 
 Luis de Castro, and Alonso de Paniagua from March, 1602, for 
 one year, and in Domingo Balbin's company in Seville in 1613. 
 
SPANISH ACTORS AND ACTRESSES 493 
 
 Hernandez (?) (Domingo), actor in the cast of Lope's La 
 gran Columna fogosa (1629). The name is not legible with cer- 
 tainty. 
 
 Hernandez (Isabel), la Vetera, wife of Miguel Jeronimo 
 Pinzon or Punzon, and primera dama in Roque de Figueroa's 
 company in 1631-32. See Rosell, Vol. I, pp. 169, 224; and 
 Cotarelo, Tirso, p. 206. She afterward retired from the stage and 
 entered a convent. In his Para Todos (1632) Montalvan says of 
 his auto Escanderbec, "que represento La Belera con grande 
 vizarria, espiritu, y acento" (fol. 179, ed. of 1645). 
 
 Hernandez (Tomas), actor in the company of Esteban Nunez 
 in Seville in 1654. 
 
 Hernandez Galindo (Francisco) and his wife Isabel de 
 Torres were in Claramonte's company in 161 4. 
 
 Hernandez Pinzon (Cristobal) took part in the Corpus 
 festival at Seville in 1559 and 1570. 
 
 Hernandez de Verdeseca (Catalina), wife of the autor 
 Gaspar de Porres, is first mentioned in 1591. In the autos at 
 Seville in 1594, in which she acted in the company of her husband, 
 she received a gratuity of 1100 reals for the beauty and costliness 
 of the silk-embroidered costumes which she wore. (S.-A., p. 86.) 
 She is called "widow of Gaspar de Porres, vecino que fue de 
 Toledo," in July, 1623. She was still living at the close of 
 March, 1625. Her sons were Dr. Mathias de Porres, the friend 
 of Lope de Vega, and Juan de Porres. 
 
 Herrera, mentioned as an antiguo autor by Rojas, Viage entre- 
 tenido (1603), and as a musico, apparently in the company of 
 Rios in 1601. (Ibid., p. 14.) Perhaps this was Melchor de 
 Herrera, q. v. 
 
 Herrera (Alonso de), danzante and autor de comedias, re- 
 ceived 12,000 mrs. for two danzas de Villanos produced in a 
 comedia acted in Madrid in honor of the Peace of Cambray in 1559. 
 
 Herrera (Jeronima de) and her husband Sebastian Zamudio 
 belonged to the company of Manuel Vallejo in 1631. 
 
 Herrera (Juan de), actor in the company of Antonio Grana- 
 dos (when?). An actor Herrera appeared in the cast of Lope's 
 La Discordia en los Casados (1611) and in his El Sembrar en 
 buena Tierra (1616). See RoselL Vol. II, p. 336. A Juan de 
 
494 SPANISH ACTORS AND ACTRESSES 
 
 Herrera de Gamboa, actor and author of Cephalo y Pocris, is men- 
 tioned by Cervantes, Persiles y Sigismunda, Bk. Ill, chap, u. 
 
 Herrera (D a Laura de), lessee of the corral La Monteria in 
 Seville in 1663-69. 
 
 Herrera (Marcos de), musician in the companies of Roque 
 de Figueroa in 1 631 and Cristobal de Avendafio in 1632, and 
 later with Lorenzo Hurtado. He was a native of Membrilla 
 (Toledo). (Rosell, I, p. 231.) See also ibid., p. 168, where he 
 is called "musico nuevo en las tablas," and is highly praised as a 
 singer and player on the guitar. 
 
 Herrera (Maria de), wife of Juan de Ostos; both were in 
 the company Los Andaluces in 1605. 
 
 Herrera (Maria de) and her husband Francisco de Valencia 
 played second parts in the company of Juan Bautista Espinola in 
 
 1633, and in that of Hernan Sanchez de Vargas from March 9, 
 
 1634, for one year. 
 
 Herrera (Melchor de), autor de comedias, took part in the 
 "fiestas de Agosto" in Toledo in 1561. He represented two autos 
 at Corpus in Toledo in 1 5 80, for which he received 140 ducats. 
 (B.H. (1906), p. 78.) 
 
 Herrera (Pablo de), actor in the company of Antonio de 
 Prado in Seville in 1639. 
 
 Herrero y Mendoza, v. Mendoza. 
 
 Hidalgo (Maria), her husband Juan de Urquiza, and their 
 son Pedro were in the company of Roque de Figueroa in 1631-32. 
 
 Hinestroza (Angela Francisca), actress in the company of 
 Manuel Vallejo in 1631, and in that of Lorenzo Hurtado in 
 Seville in 1641 and 1642, playing first parts. She and her sister 
 Beatriz were members of a joint company in Seville in 1642, taking 
 part in the autos with Lorenzo de Prado and others. They had 
 then retired from the stage and were living in Seville. (Sanchez- 
 Arjona, p. 358.) 
 
 Hinestroza (Beatriz) played third parts in the company of 
 Lorenzo Hurtado in 1642. She and Angela were daughters of Ana 
 de Torres, and all three were in Manuel Vallejo's company in 1631. 
 
 Hita (Ines de), wife of Francisco Pinelo. In i632-35(?) 
 (Rosell, Vol. I, p. 29) she and her husband were in Madrid in 
 the company of Tomas Fernandez, and in 1633-34 both were 
 members of the company of Juan de Morales Medrano. She had 
 
SPANISH ACTORS AND ACTRESSES 495 
 
 two daughters, Maria and Juana de Margarita. She was unable 
 to write her name. Perhaps she was the Ynes who appeared as 
 Diana in Tirso's Celos con Celos se curan (1625). 
 
 Hita (Juana Margarita de), daughter of Francisco Pinelo 
 and Ines de Hita, and wife of Antonio Rodriguez (1633); she 
 was confined in a convent in Valladolid por alguna travesura, and 
 was killed by a fall in attempting to escape. See also Pinelo 
 (Juana Margarita). Perhaps this is the Margarita in Lorenzo 
 Hurtado's company (1632-35?). (Rosell, I, p. 29.) See, how- 
 ever, under Margarita. 
 
 Huerta (Gaspar de), actor in the entremes (sixteenth cen- 
 tury) El Hijo que nego a su Padre. See Addenda. 
 
 Hurtado de la Camara y Mendoza (Lorenzo), actor in 
 1 62 1 in the company of Pedro de Valdes. On Oct. 22, 1621, he 
 agreed to join the company of Tomas Fernandez de Cabredo from 
 Shrovetide, 1622, to 1623, to act first parts, "unless Gabriel Cintor 
 be in the same company, when he is to act no less than second 
 parts." In 1623-24 he belonged to the company of Cristobal de 
 Avendano. His wife was Francisca Bazan, and both were in the 
 company of Roque de Figueroa in 1629-30(7). See Rosell, 
 I, p. 169. He had a company at least as early as Oct., 1631, when 
 he gave three representations before the King. On April 26 of 
 this year he entered the Cofradia de la Novena; indeed, he must 
 have been a well-known autor de comedias long before this, as he 
 was one of the five founders of the Cofradia. In 1631-33 he 
 lived in the Calle de Francos, Madrid, and in 1638 in Valladolid. 
 He played first parts in his own company in La Monteria in 
 Seville and at Corpus in 1640, 1641, and 1642 (S.-A., p. 356, for 
 his company in 1642), and again at Corpus in 1645 (for this 
 company, v. S.-A., p. 375). Lorenzo Hurtado was a hidalgo, 
 descendant of Payo Furtado de Mendoza, ennobled in 1489. His 
 company produced (in 1641 ?) Mescua's comedia El Martir de 
 Madrid, as the MS. shows. (Paz y Melia, Cat., No. 2029.) 
 
 Ibanez (Juan), native of Alcaraz, produced the dances and 
 "inventions" for the Corpus festival at Alcaraz in 1554. 
 
 Ines, actress in the "entremes cantado" La Muerte, with Rufina, 
 Maria de Jesus, Antonia Manuela, Juan Matias, Naxera, and 
 Bezon. This was probably Ines de Hita. The company was that 
 
496 SPANISH ACTORS AND ACTRESSES 
 
 of Tomas Fernandez, and the date, in all probability, 1636-37- 
 The name Ines also occurs in the cast of Tirso's Celos con Celos 
 se cur an (1625). 
 
 Infanta (Antonia), celebrated actress, wife of Pedro Ascanio 
 in 1638: see the passage in the entr ernes of Benavente spoken by 
 Antonia. (Rosell, Vol. I, p. 373.) Perhaps she was the Antonia 
 in Pedro de la Rosa's company in i636(?) in the entremes Los 
 Muertos vivos. Both were in the company of Antonio de Rueda 
 in 1639, when she "played third parts, singing and dancing, and 
 the primera parte del saynete" (N. D., p. 304) ; and in the same 
 company in 1640, when she played primer as damas y musica. 
 (S.-A., p. 337.) Prior to this (1636-37?) she was in the com- 
 pany of Alonso de Olmedo. (Rosell, I, p. 90.) See ibid., p. 376, 
 where Antonia sings : 
 
 Dos galanes al dia 
 
 Mi Pedro hace, 
 
 Uno en la comedia 
 
 Y otro en la calle. 
 
 See also the story concerning her in the text (p. 127), and Sanchez- 
 Arjona, p. 335. 
 
 Inza (Juan) and his wife Josef a Maria were in the company 
 of Francisca Lopez in 1663. He was a gracioso, and belonged for 
 a while to the company of Francisco de la Calle. In 1665 he was 
 with Felix Pascual, and died in Cadiz in 1682. 
 
 Inigo [de LoavsaJ , v. under Loaysa. 
 
 Isabel (Dona), actress playing third parts in the company of 
 Tomas Fernandez in Madrid in 1636— 37(?). A Dona Isabel 
 appeared in the cast of Lope's El Voder en el Discreto (1623) 
 in the company of Juan de Morales. 
 
 Isabel, actress in the company of Felix Pascual in i665-68( ?). 
 
 Isabel, la Velera, v. Hernandez. 
 
 Isabel Ana, wife of Bartolome de Arze; both were in the 
 company of Nicolas de los Rios in Seville in 1609, and in the 
 company of Cristobal de Avendano in 1622. In March, 1624, 
 both were in the company of Juan de Morales Medrano. This 
 was probably the Isabel Ana who lived in the Calle del 
 Infante, Madrid, in 1614, and then belonged to the company 
 of Pedro de Valdes, and afterward to that of Pinedo. See Life of 
 Lope de Vega, p. 171 et passim. 
 
SPANISH ACTORS AND ACTRESSES 497 
 
 Isabel Ana, wife of Jusepe Luzon; both were in the com- 
 pany of Jeronimo Sanchez from March, 1623, for one year. She 
 seems to have been in the company of Pedro de la Rosa in 1636; 
 at all events the entremes Los Muertos vivos, in which she ap- 
 peared, seems to have been represented by this company. (Flor de 
 Entremeses, Zaragoza, 1679.) In Oct., 1638, Isabel Ana is desig- 
 nated a widow, and belonged to the company of Juan Roman from 
 Shrovetide, 1639, to 1640. There was an Isabel Ana, wife of 
 Miguel Fernandez Bravo. Perhaps the same. See above under 
 Fernandez (Micaela). 
 
 Isabel Antonia, actress, wife of Antonio Pinero. 
 
 Isabel Maria, "single woman" in the company of Juan Rodri- 
 guez de Antriago in April, 1639. 
 
 Isabel Maria, actress in the company of Hernan Sanchez de 
 Vargas in Seville at Corpus, 1621, when she received a gratuity 
 of 500 reals for excellence in acting and for fine costumes. 
 
 Isabelica, actress in the cast of La Guarda cuidadosa by Miguel 
 Sanchez (1615) and in Como ha de usarse del bien. v. Restori, 
 Studj di Fil. Rom., Fasc. 15, 1891, p. 129. See also Lope's Los 
 Guzmanes de Toral, ed. Restori, p. vii, who thinks that Isabelica 
 was the daughter of Francisco de Sotomayor, q. v. 
 
 Iturrote (Juan de), actor in the company of Bernardo de la 
 Vega in 1672. 
 
 Jacinta, v. Gallego, Herbias, Medina, Osorio, and Velez. 
 
 Jacinta Eugenia, actress, wife of Francisco Garcia, Pupilo; 
 both were in the company of Esteban Nunez in 1648. 
 
 Jalon (Maria Antonia), wife of Pablo Martin de Morales, 
 and a member of his company in Seville in 1678. 
 
 Jaraba (Garcia de), actor in the company of Cisneros and 
 Melchor de Villalba in 1595-96. 
 
 Jaraba (Juan de), member of the company of Alonso 
 Riquelme in 1610. He was lessee of the two theaters of Madrid 
 in May, 1613, for one year, for 8850 reals (N. D., p. 134), and 
 again in 1614-15. He furnished the painting and the properties 
 of the cars at Corpus in 1619 in Madrid. His wife was Lucia 
 Martinez. 
 
 Jerez (Juan de), member of the joint company of Andres de 
 Claramonte in June, 161 4. 
 
498 SPANISH ACTORS AND ACTRESSES 
 
 Jerje (Manuel) and his wife Ana de Torres belonged to 
 the company of Manuel Vallejo in 1 63 1. 
 
 Jeronima, actress in the company of Sanchez de Vargas at 
 Corpus in Seville in 1621, when she received a gratuity of 100 
 reals. 
 
 Jeronima, v. Burgos, Coronel, Herrera, Olmedo, Rodri- 
 guez, Sierra, Valcazar. 
 
 Jeronimo (Juan), v. Valenciano. 
 
 Jeronimo (Miguel), actor in the company of Diego Lopez de 
 Alcaraz in 1603-04; in 1604 in the company of Antonio de 
 Granados; in the company of Riquelme in Seville in 1607, and in 
 Sept., 1623, with the company of Manuel Vallejo. In 1626 he 
 was in the company of Antonio de Prado and appeared as Julio 
 in Lope's Amor con Vista. In 1630-31 he and his wife Isabel 
 Hernandez, la Velera, were in the company of Roque de Figueroa. 
 v. Rosell, I, pp. 168, 169, and ibid., pp. 224, 231 ; Cotarelo, Tirso, 
 p. 206. He is probably the Jeronimo who took the part of 
 Fabricio in Lope de Vega's Sin Secreto no ay Amor (1626). His 
 full name was Miguel Jeronimo Punzon. 
 
 Jesus (Leonor Maria de), actress in the company of Tomas 
 Fernandez in 1636. (Rosell, I, pp. 55, 405.) She was the wife 
 of Inigo de Loaysa, and both were in the company of Pedro de 
 la Rosa in i638-3<j(?). (Rosell, I, pp. 235, 380.) They both 
 appeared in Belmonte's play A un tiempo Rey y Vasallo in 1642. 
 
 Jimenez (Diego) and his wife Jeronima de Coronel were in 
 the company of Tomas Diaz in Seville in 1643, in the company 
 of Juan Acacio in 1644, an< ^ w ' tn Lorenzo Hurtado's company in 
 Seville in 1645. Diego Jimenez died before 1648; at all events, 
 in that year his wife is described as a widow. 
 
 Jimenez (Juan) appeared in the cast of Tirso de Molina's La 
 Tercera de la Sancta Juana (1614-16) in the company of Antonio 
 de Prado. In 1643 he was in Bartolome Romero's company in 
 Seville. 
 
 Jimenez (Jusepe) and his wife Vicenta de Borja were in the 
 company of Baltasar Pinedo in March, 1617, and in the company 
 of Antonio de Prado in March, 1624. A Jusepe Jimenez was a 
 musician and actor in the company of Olmedo in 1635; perhaps 
 the same. Who the "Jusepe" was who appeared in Juan Bautista's 
 company in Lope de Vega's Nueva Victoria de D, Gonzalo de 
 
SPANISH ACTORS AND ACTRESSES 499 
 
 Cordoba (1622) and in his Del Monte sale (1627) I am unable 
 to determine. 
 
 Jimenez (Maria) , actress, wife of Andres de Abadia ; both were 
 members of the company of Manuel Vallejo in Seville in 1633, 
 1640, and 1643. 
 
 Jimenez (Miguel), his wife Bernarda Teloy, and their daugh- 
 ter Bernarda Gamarra were in the company of Manuel Vallejo in 
 1 63 1. In 1632 he lived in the Calle de Francos, Madrid. 
 
 Jimenez de Valenzuela (Pedro), autor de comedias in 
 1 601, when he represented in Valladolid and Madrid; his wife 
 was Maria de Salcedo. He and Gabriel Vaca had a company in 
 1601-02. For their representations in Madrid in 1601, see Ap- 
 pendix. In March, 1602, he had his own company. He was a 
 native of Toledo, and there is record of an instrument dated in 
 that city on Jan. 10, 1602 (when he resided there), in which 
 Jimenez acknowledges a debt of 400 reals to Lope de Vega, evi- 
 dently the price of a comedia. (2V. D., p. 351.) The latest notice 
 of Jimenez that I have found is 1605. 
 
 Jordan (Pedro) belonged to the company of Antonio de 
 Prado in Madrid in 1632 and in i634~35(?), and again in 
 Seville in 1639. See Rosell, I, p. 97. He had two sons who were 
 also in Prado's company in 1632. The name occurs in the cast 
 of Lope's El piadoso Aragones (1626). 
 
 JOSEFA, V. LOBACO, MORALES, ROMAN. 
 
 Josefa Maria, widow in 1639, when she appeared in two 
 comedies in Truxeque. 
 
 Josefa Maria, wife of the actor Juan Inza; both were in the 
 company of Francisca Lopez in Seville in 1663, and in Felix 
 Pascual's company in 1665. 
 
 Juan (Miguel), musician in 1639. 
 
 Juan (Pedro), actor in the company of Juana de Cisneros in 
 Seville in 1660. 
 
 Juan Bautista, actor in 1604, and member of the company 
 of Diego Lopez de Alcaraz in April, 1607; this is probably Juan 
 Bautista de Villalobos, q. v. 
 
 Juan Francisco, v. Francisco. 
 
 Juan Matias, v. Matias. 
 
 Juana (La Senora), actress in the cast of Lope de Vega's 
 Hermosa Ester (1610). 
 
500 SPANISH ACTORS AND ACTRESSES 
 
 Juana Bautista, wife of Miguel de Miranda; both were in 
 the company of Juan Rodriguez de Antriago in 1637—38- 
 
 Juana Bautista, wife of the actor Felipe Lobato or Lobaco, 
 q. v. 
 
 Juana Bernabela, actress, wife of Juan Rodriguez de Antriago 
 and in his company in 1639, playing the principal parts. 
 
 Juanico, son of the gracioso Bernardo, called el Tuerto Lampa- 
 rilla, or Bernardo Medrano, q. v. (Rosell, I, p. 288, and Res- 
 tori's ed. of Lope's Los Guzmanes de Toral, p. x.) There is a 
 Juanico mentioned by Rojas, Viage entretenido, p. 52. 
 
 Juarez, see also under Suarez. 
 
 Juarez (Ana) , singer and dancer in the company of Lorenzo 
 Hurtado in Seville in 1642. 
 
 Juarez (Cristobal), actor, died before Dec. 15, 1616. His 
 widow was D a Maria de Ocampo. 
 
 Juarez (Dionisia), wife of the actor Juan Martinez; both 
 were in Cristobal Ortiz de Villazan's company from Shrovetide, 
 1 61 9, for one year. 
 
 Juarez (Juan), musico in the company of Lorenzo Hurtado 
 in Seville in 1642. 
 
 Juarez (Juana), actress, sister of Juan Roman; both agreed 
 to join the company of Hernan Sanchez de Vargas on June 28, 
 1638, for one year. She was then a widow. On Oct. 6, 1638, 
 she agreed to act for one year, from Shrovetide, 1639, to 1640, in 
 the company of her brother. 
 
 Juliana, actress in the company of Bartolome Romero (1637— 
 1643?). v. Rosell, I, pp. 220, 284. 
 
 Juliana Antonia, second wife (1619) of Tomas Fernandez 
 de Cabredo, q. v. 
 
 Jusepa, primera dama in the company of Ana de Espinosa (la 
 Viuda) in Madrid at Corpus, 1641. v. Schack, Nachtrage, p. 73. 
 v. Necti (Josefa). 
 
 Jusepa Maria, actress in the company of Andres de la Vega 
 in 1635. In March, 1637, she is described as a widow, and acted 
 in three comedias given in Brunete in August of that year. 
 
 Jusepe, actor in the company of Juan Jeronimo Valenciano 
 in 1622, appeared in Lope's Nueva Victoria de D. Gonzalo de Cor- 
 doba; the name also occurs in the cast of Tirso's Celos con Celos 
 se curan (1625) in the part of Mendo. In 1627 he was in 
 
SPANISH ACTORS AND ACTRESSES 501 
 
 Heredia's company, taking part in Lope's Del Monte sale. In 
 1639 he played old men's parts in the company of Andres de la 
 Vega, and appeared in Calderon's La Desdicha de la Voz. The 
 actor in the latter play is almost surely Jusepe de Carrion, as the 
 company was Antonio de Rueda's. v. Rosell, Vol. I, p. 372. 
 Justa (Rufina), v. Garcia (Rufina). 
 
 Labadia (Juan de), actor; his wife Luisa de Robles is de- 
 scribed as a widow on June 19, 1618. (N. D., p. 167.) Sanchez- 
 Arjona, p. 256, says that Juan de la Abadia and his wife Luisa 
 de Robles were acting in the Coliseo at Seville in 1627. See 
 under Olmedo (Alonso de) and under Robles (Luisa de). 
 
 Labana (Manuel de) ; his name was Juan Vela. He mar- 
 ried Angela Garcia and played galanes in the company of La 
 Aquilona in Valencia in 1671. Afterward he played gracioso in 
 Madrid and Valencia in the company of his brother Miguel Vela. 
 
 Labaya (Andres de) and his wife Francisca belonged to the 
 company of Manuel Vallejo in 1631 (Cotarelo). Perhaps this is 
 a mistake for Andres de Abadia or Labadia. 
 
 Ladron de Guevara (Ana), actress in Jacinto Riquelme's 
 company in Seville in 1652. (S.-A., p. 398.) 
 
 Ladron de Guevara (Mariana), la Carbonera{ ?), native of 
 Mondejar, was the second wife of Jeronimo Carbonera. She died 
 shortly after Oct. 3, 1643, the date on which her will was exe- 
 cuted. (Nuevos Datos, p. 330.) v. Reyes (Mariana de los). 
 
 Lamparilla, el Tuerto, well-known gracioso whose real name 
 was Bernardo [Medrano?]. He was in the company of Avendaiio 
 (Rosell, I, p. 214), and afterward with Andres de la Vega in 
 1634, an d in the company of Tomas Fernandez in 1636-37. 
 (Rosell, I, pp. 288, 330.) His wife was named Margarita. 
 (Ibid., II, p. 330.) See also under Bernardo. 
 
 Lara (Ines de), wife of the famous autor de comedias Nicolas 
 de los Rios in 1607. She was living at the time of his death, 
 March 29, 16 10. 
 
 Lara (Juan de) , actor in the company of Juan de Tapia from 
 March 4, 1602, for one year. 
 
 Lara (Salvador de), actor, married Maria Candau after the 
 death of her first husband, Cristobal de Avendano (1635?). 
 Thereafter he headed Avendano's company, which represented 
 
502 SPANISH ACTORS AND ACTRESSES 
 
 in La Monteria, in Seville, in the same year. (S.-A., P- 294.) 
 See under Avendano. 
 
 Laredo (Gregorio) and Francisco Malhelo had a company of 
 Spanish players in Naples in 1630 and 1 631. (Croce, / Teatri di 
 Napoli, p. 91.) 
 
 Larrea (Diego de), actor in Madrid in 1584. 
 
 Laso (Antonio), musician in the company of Alberto Naseli, 
 alias Ganassa, in Madrid in 1581-82. (Revista de Archivos 
 (1908), p. S3-) 
 
 Lastra (Andres de la), actor indicted in 1606 for a quarrel 
 with an alguacil. The name occurs in the cast of Turia's comedia 
 La belligera Espanola (printed in 1616). (Restori, Studj, p. 92.) 
 
 Lastra (Diego de) of Toledo had charge of one of the dances 
 at Corpus in Madrid in 1587. 
 
 Latras (Maria de), actress in the company of Manuel Vallejo 
 in i632( ?). (Rosell, Vol. I, p. 277.) 
 
 Leal (Antonio), dancer, singer, and actress in the company 
 of Manuel Vallejo in Seville in 1640. 
 
 Leal (Luis), member of the company of Tomas Fernandez de 
 Cabredo in 1619 for one year, from Shrovetide. 
 
 Ledesma (Isabel de), wife of Luis de Castro; she acted at 
 the Corpus festival of 1602 at the villa of Borox, in the company 
 of her husband and Juan de Tapia. On June 18, 1603, both 
 became members of a joint company. 
 
 Leon, musician and actor in the company of Alonso Riquelme 
 in Seville in 1607. 
 
 Leon (Angela de) had a company of players in Valencia in 
 1676. 
 
 Leon (Catalina de), wife of Juan Fernandez; she was in the 
 company of Juan Martinez from March, 1631, for one year. 
 
 Leon (Cristobal de). We first read of him as an executor 
 of the will of Juan Ruiz de Mendi in November, 1596. In 1610 
 he was in the company of Lopez de Alcaraz. He had a company 
 in 1615-22. He and Baltasar Pinedo represented the autos at 
 Madrid in 1617. {Bull. Hisp. (1907), p. 382.) There was a 
 "Leon," evidently a musico, in the cast of Lope's El piadoso Ara- 
 ffones (1626). 
 
 Leon (Diego de), actor in 1638. In 1639, 1640, and 1644. 
 
SPANISH ACTORS AND ACTRESSES 503 
 
 he was in the company of Antonio de Rueda, playing third parts 
 and dancing. In 1639 he appeared in Calderon's La Desdicha de 
 la Voz. On May 19, 1638, Lucia Bravo withdrew an accusation 
 she had made against Diego de Leon for complicity in the death of 
 her son Francisco Vicente. One Diego Leon was the lessee of the 
 Corral de Dona Elvira in Seville in 1619. (S.-A., p. 196.) 
 
 Leon (Francisco de), autor de comedias, "que es el mas anti- 
 guo de los que hay en este Reyno y tiene su compafiia hecha de 
 representantes espanoles," represented in Naples in March, 1621. 
 See Croce, / Teatri di Napoli, p. 91. The only Leon antiguo, to 
 my knowledge, is Melchor de Leon, q. v. 
 
 Leon (Francisco de), actor in the company of Andres de la 
 Vega for one year from Feb. 25, 1638. A Francisco de Leon had 
 a company representing the autos at Seville in 1674. 
 
 Leon (Juan de), actor and musician. He died in the Calle de 
 Cantarranas, near the Posada Nueva, in 1645. There was a Juan 
 Acevedo de Leon in Antonio de Prado's company in 1632; perhaps 
 the same. 
 
 Leon (Luis de), lessee of the corrales of Seville in 1617. See 
 Lesa (Luis de). 
 
 Leon (D a Maria Antonia de), wife of the celebrated actor 
 Alonso de Olmedo, el Mozo, q. v. 
 
 Leon (Melchor de), one of the early autores de comedias. 
 He had a company in 1586 and represented two autos in Seville 
 in 1590 and 1597, and in the former year his company represented 
 a number of times in Madrid, beginning Dec. 6. See Appendix A. 
 His wife was Maxima [Mariana?] Ortiz, and in April-Dec, 
 1 601, he was in the company of Pedro Jimenez de Valenzuela and 
 Gabriel Vaca. (Bull. Hisp. (1907), p. 366.) He had a company 
 in Aug., 1602, and was one of the eight autores authorized by the 
 decree of 1603, in January of which year his company was in 
 Medina del Campo. In 1606 he represented two autos at Seville, 
 receiving 700 ducats, and in 1607 performed autos at Toledo, his 
 company including: Pedro Rodriguez and Maria Flores, his wife, 
 Pedro de Zurita, Juan de Avila, Juan Bravo, Juan de Valdiviesso, 
 Miguel Ruiz and his wife Baltasara de los Reyes, and Bartolome 
 Sanchez. In 161 1 he is called Melchor de Leon Diez de Vas- 
 cones. He first represented Lucinda perseguida, one of Lope's 
 
5<H SPANISH ACTORS AND ACTRESSES 
 
 earliest comedias, and in 1620 first produced Tirso's Villana de 
 Vallecas. He visited Brussels with his company in Sept., 1629. 
 
 (n: d., p . 218.) 
 
 Leon (Nicolas), Spaniard(?), was a joueur de farces in the 
 service of the King of Navarre in 1579. (Baschet, Corned. It., 
 p. 87, n.) 
 
 Leonardo (Antonio), actor in Valencia in the company of 
 Antonio de Ordaz in 1664; in 1670 in the company of Antonio 
 de Escamilla; in 1672 with Manuel Vallejo, playing fourth parts; 
 in 1673 with Felix Pascual; in 1676 he played segundos galanes 
 in the company of Hipolito de Olmedo, and in 1681 with Agustin 
 Manuel. He was originally a musician and married Lucia Fer- 
 nandez. He afterward married a niece of Maria de Cordoba, 
 and died in Madrid in 1698. 
 
 Leonor Maria, wife of Cristobal de Montoya; both were of 
 Granada and belonged to the company of Juan Acacio in Seville 
 in 1619. 
 
 Lerma (Isabel de), actress, married Juan de Avifion in Valla- 
 dolid in 1605, when both were in the company of Rios. 
 
 Lesa (Luis de), lessee of the Corral de Dona Elvira in Seville 
 in 1 619. (Nuevos Datos, p. 174.) Sanchez- Arjona, p. 180, says 
 the lessee was Luis de Leon. 
 
 Leyzalde (Domingo de), son of Miguel de Leyzalde and 
 Maria Lopez. He was in the company of Melchor de Leon from 
 Aug. 30, 1586, until Shrovetide, 1587. 
 
 Leyzalde (Miguel de), v. the preceding. 
 
 Lezcano, actor in the company of Avendano. His name occurs 
 in the cast of Tirso's Celos con Celos se curan, the MS., of which 
 bears a censura dated 1625. The name is also in the cast of Lope's 
 El Voder en el Discreto (1624). In 1627 he was in the company 
 of the Valencianos. (Barrera, N. B., p. 442.) 
 
 Limos (Juan de), autor de comedias in Madrid in 1583-84, 
 and in Seville in 1585. (Cotarelo, Lope de Rueda, p. 54.) His 
 wife (1586) was Juana Manzano. (B. H. (1906), p. 366.) 
 
 Limos (Sebastian de), actor in the company of Pedro de 
 Saldana in 1585 (before June), v. Bonilla, Anales, p. 150. 
 
 Linares (Pedro de), actor in the company of Andres de la 
 Vega, March 20, 1638. He is mentioned as an autor in the same 
 year, when he represented the autos at Estremera. Prior to this, 
 
SPANISH ACTORS AND ACTRESSES 505 
 
 in 1634-36 ( ?), he was a member of the company of Antonio de 
 Prado. (Rosell, Vol. I, pp. 29, 97, 322.) In Dec, 1638, he 
 played old men's parts in the company of Luis Lopez. 
 
 Linan (Domingo), autor who represented one of the autos in 
 Seville in 1633. He was an actor in 1634. 
 
 Loaisa (Jose), actor in the company of Carlos de Salazar in 
 Seville in 1676. 
 
 Loaysa (Fulgencio de), actor in the company of Jeronimo 
 Sanchez for one year from March, 1623. He played fourth parts 
 in a joint company with Gabriel and Antonio Cintor and Luis 
 Bernardo de Bovadilla in Feb., 1638. The name Loaysa (in all 
 probability Inigo) appears in the cast of La Guarda cuidadosa by 
 Miguel Sanchez (1615). See the following. 
 
 Loaysa (Inigo de) and his wife Leonor Maria de Jesus were 
 in the company of Tomas Fernandez in 1 631, when he was re- 
 ceived into the Cofradia de la Novena (S.-A., p. 323), and again 
 in 1636-37. (Rosell, Vol. I, pp. 151, 288.) In i638(?) they 
 acted in an auto entitled El Santo Rey D. Fernando, in Seville, and 
 he was in the company of Luis Lopez and Juana de Espinosa prior 
 to Sept. 30, 1643, when he is mentioned as deceased. (N. D., 
 p. 330.) He was in the company of la Viuda (Ana de Espinosa) 
 at Corpus, 1641, at Madrid. See Schack, ~Nachtr'dge, p. 73. In 
 1642 he and his wife appeared in Belmonte's A un tiempo Rey y 
 Vasallo. (S.-A., p. 295.) He is said to have been stabbed to 
 death in Valencia, in the Calle de la Mayuda, near the Calle de 
 la Olivera, while announcing the play for the following day. 
 Perhaps there is confusion here with Inigo de Velasco, q. v. 
 
 Loaysa (Jose), actor in the company of Jose Carrillo in 1663. 
 
 Loaysa (Pedro de) and his wife (name not given) were in 
 Domingo Balbin's company in Seville in 1613. 
 
 Loaysa (Petronila de), wife of the actor Luis de Toledo; 
 both were in the company of Antonio de Prado, appearing in 
 Tirso's La Tercera de la Sancta Juana (1616?), and in the com- 
 pany of Juan Acacio in Seville at Corpus in 16 19, when she re- 
 ceived a gratuity for acting in the auto La Ninfa del Cielo. 
 
 Lobaco (Ambrosio), actor, died in 1635. He resided in the 
 Calle de San Agustin, Madrid. His son (also an actor?) died in 
 the previous year. (Rosell, II, p. 327.) 
 
 Lobaco or Lobato (Felipe), actor in the company of Fernan 
 
506 SPANISH ACTORS AND ACTRESSES 
 
 Sanchez de Vargas for one year from Feb. 22, 1633. Later 
 (1636-39?) he was in the company of Tomas Fernandez. 
 (Rosell, Vol. I, pp. 293, 381. See also ibid., p. 371.) His wife 
 was Juana Bautista. 
 
 Lobaco (Josefa) and her husband Jose Frutos were in the 
 company of Antonio de Prado in Seville in 1632, i633~35(?), 
 and in the same company in 1639. See also Rosell, Vol. I, pp. 127, 
 174, 193, 270, 322, 351. On the death of her husband she entered 
 the convent of Santa Clara at Illescas, where she died. 
 
 Lobera (Juan), musico in the company of Jeronimo Vallejo 
 in 1660. 
 
 Lobillo (Francisco) and his wife Ana Maldonado, both of 
 Madrid, were in the company of Juan Acacio in Seville in 1619. 
 
 Lobillo, v. Perez Lobillo. 
 
 Lopez (Adrian), autor de comedias in Salamanca and Valla- 
 dolid in 1650. In this (beginning on Dec. 1) and the following 
 year he also represented at Corpus in Seville and in La Monteria. 
 In Jan. and Nov., 1653, his company represented an auto and acted 
 Calderon's La Hija del Aire (in Nov.) privately before the King. 
 In 1657 he played first parts in the company of Diego Osorio, 
 and in 1659 he had a company in Naples (in the Teatro dei 
 Fiorentini) which included his mother, two sisters, and a brother. 
 (Croce, / Teatri di Napoli, p. 146.) He had a company as late 
 as 1 67 1. He was, it seems, a brother of Luis Lopez [de Sustaete?]. 
 v. Averiguador ( 1 871), p. 201. 
 
 Lopez (Andres), actor in the company of Claramonte in 1614 
 till Shrovetide, 1 615. 
 
 Lopez (Antonio), actor in Valladolid in 1644 in the company 
 of Francisco de Guzman Morales. (M. y M., p. 566.) 
 
 Lopez (Beatriz), actress and singer in the company of Pedro 
 de Ortegon in Seville in 1635. There was a Beatriz Lopez, sister 
 of Adrian Lopez, who was upon the stage in 1659 and 1670. 
 v. Lopez (Adrian). 
 
 Lopez (Bernardo), actor in the company of Francisca Lopez 
 in Seville in 1660 and 1663. In 1671 he was second gracioso in 
 the company of Antonio de Escamilla; in 1672 and 1673 he 
 was with Manuel Vallejo; in 1675 again with Escamilla, and in 
 1676 again with Vallejo. Sanchez-Arjona conjectures that he 
 may be the celebrated gracioso Bernardo Lopez del Campo, who 
 
SPANISH ACTORS AND ACTRESSES 507 
 
 afterward retired to Granada, kept a shop, and died there in 
 1705. 
 
 Lopez (Cristobal), lessee of the theaters of Madrid in 1609, 
 1611, 1612, and 1615. 
 
 Lopez (Damiana), actress in Valladolid in 1654. (M. y M., 
 p. 567.) She was in the company of her brother Adrian Lopez 
 in Naples in 1659, and played first parts also in the company of 
 her brother in 1671, and afterward in the company of La Alquilona. 
 She "was distinguished especially for her singular virtue," and died 
 in Barcelona. 
 
 Lopez (Diego), actor in the cast of Lope's La gran Columna 
 fogosa (1629). 
 
 Lopez (Fernando), actor in same play as the preceding. 
 
 Lopez (Francisca). It appears that more than one actress 
 bore this name. There was a Francisca Lopez who, we are told, 
 was famous in the play La Nina de Gomez Arias, and who was the 
 sister of Luisa and Jose Lopez and the wife of Gaspar de Segura. 
 She managed a company of players in Seville in 1660, 1661, 1663, 
 and 1664. (Sanchez-Arjona, p. 424 et passim.) In March, 1662, 
 her company was acting in Granada. (Barrera, Catdlogo, p. 341.) 
 It is said that she was formerly in the company of Pedro de 
 Ortegon. If this be so, it must have been before 1636. In 1663 
 Francisca Lopez is called "widow of Gaspar de Segura"; and in 
 1677 she is in the company of Agustin Manuel de Cast ilia. (Cal- 
 deron Documentos, p. 350.) That this Francisca Lopez and 
 Francisca Lopez de Sustaete, daughter of Luis Lopez de Sustaete, 
 are one person is proved by a note appended, to the manuscript of 
 Montero de Espinosa's play En el Dichoso es merito la Culpa. 
 See Paz y Melia, Catdlogo, Nos. 1070, 2583. The latter shows 
 that Francisca had a company in 1668. There was also a Fran- 
 cisca Lopez, wife of Luis Lopez [de Sustaete?] and mother of 
 Luisa Lopez. Mother and daughter were acting in the company 
 of Luis Lopez in Seville in 1637 and 1645. (S.-A., pp. 306, 374.) 
 Maria Lopez was in this company in the latter year. It is probable 
 that this Francisca Lopez was the mother of the Francisca first 
 above mentioned. See below, under Lopez de Sustaete (Luis). 
 
 Lopez (Francisco). There seem to have been at least two 
 actors by this name. In 1629 Francisco Lopez, autor de comedias, 
 represented in the Coliseo at Seville, and in 1630 in La Monteria. 
 His wife was Damiana Perez, and his name occurs on the books 
 
508 SPANISH ACTORS AND ACTRESSES 
 
 of the Cofradia de la Novena in 1632, 1633, a °d 1635, in which 
 latter year he was in Valencia (S.-A., p. 261). This is, in all prob- 
 ability, the Francisco Lopez whose company represented several 
 comedias privately before the King in June, 1632, and in 1633. 
 On May I of the latter year he produced Lope's Si no vieran 
 las Mugeres (v. Averiguador, Vol. I), and in the previous year 
 (1632) he and Manuel Vallejo represented the autos in Madrid. 
 Among the members of his company were Diego de Robledo, Sebas- 
 tian Gonzalez, and Francisco de Velasco. {N. D., p. 225.) He 
 died in 1653. (S.-A., p. 261.) There was a Francisco Lopez 
 who, according to Pellicer (Vol. II, p. 59), married Feliciana de 
 Andrade and died in 1669. We learn from Croce, / Teatri di 
 Napolij p. 125, that Francisco Lopez and his wife Feliciana de 
 Andrade, the mother of Josefa Lopez, called Pepa la hermosa, 
 were in Naples in 1639. There was also a Francisco Lopez who 
 played fourth parts in the company of Antonio de Rueda in 1640, 
 his wife Isabel Lopez playing third parts and the harp in the same 
 company. (S.-A., p. 337.) Both are said to have been previously in 
 the companies of Juan Bautista and Pedro de la Rosa. {Ibid., 
 p. 261.) In 1656 Francisco Lopez was in the company of Antonio 
 de Castro. {Ibid., p. 410.) He had a company in Granada in 
 May, 1662. (Paz y Melia, Catdlogo, No. 2427.) Averigiielo el 
 discrete. 
 
 Lopez (Gabriel), actor at a Corpus festival at the villa of 
 Borox in 1602, in the company of Juan de Tapia, Luis de Castro, 
 and others. 
 
 Lopez (Hernando), member of the company of Felix Pascual 
 in Seville in 1665. A Fernando Lopez appeared in the cast of 
 Lope's La gran Columna fogosa (1629). 
 
 Lopez (Isabel) played third parts in the company of Antonio 
 de Rueda in Seville in 1640. Her husband Francisco Lopez 
 played fourth parts in the same company. 
 
 Lopez (Jacinto) played in the company of Luis Bernardo de 
 Bovadilla for one year from Feb. 4, 1637. In 1639 he had 
 charge of the music ("cantar y poner los tonos") at the Corpus fes- 
 tival in Valdemoro. 
 
 Lopez (Jeronimo), autor de comedias. v. Lopez de Sustaya 
 (Jeronimo). 
 
SPANISH ACTORS AND ACTRESSES 509 
 
 Lopez (Jose), actor in the company of Matias de Castro in 
 Seville in 1673. He was a brother of Francisca Lopez. 
 
 Lopez (Josefa), sister of the autora Francisca Lopez, and wife 
 of Jeronimo de Heredia. She was the daughter of Francisco 
 Lopez and Feliciana de Andrade, and was called Pepa la hermosa. 
 She was in the company of her father in Naples in 1639, and in 
 that of Francisca Lopez in 1660, and she and her husband were 
 in the company of Jose Carrillo in 1663. In 1668 she belonged to 
 the company of Francisco Gutierrez. 
 
 Lopez (Juan), second gracioso and harpist in the company of 
 Jose Garceran in Seville in 1657; his wife Ana de la Paz playing 
 fifth parts in the same company. He afterward married Maria 
 de Medina, daughter of the autor Francisco de Medina, and was 
 gracioso in Medina's company in Seville in 1670, and in that of 
 Carlos de Salazar in 1675 and 1676. In the former year he was 
 indicted for wounding Maria de Figueroa, wife of Juan Francisco 
 de Ribera, of the same company. At the close of the seventeenth 
 century there was another actor named Juan Lopez, who married 
 Maria Bernardez and played second barbas and third galanes. 
 
 Lopez (Juan), actor in the company of Bartolome Romero in 
 1638-39, and in all probability the same Juan Lopez who was in 
 Figueroa's company (in 1630-31?) and who was called "el gran 
 Juan Lopez." (Rosell, Vol. I, p. 168, and p. 224, in the Loa 
 segunda, which seems to have been represented by Figueroa in 
 1632.) In the Libros de la Cofradia a Juan Lopez, el Terrero, is 
 mentioned, who died in 1658; perhaps the same. 
 
 Lopez (Luis), v. Lopez de Sustaete. 
 
 Lopez (Luis), second gracioso in the company of Pablo Mar- 
 tin de Morales in Seville in 1678. 
 
 Lopez (Luisa), daughter of Luis Lopez [de Sustaete] and 
 his wife Francisca Lopez, was well known as an actress in Seville 
 in 1637, while in the company of her father. She married Vicente 
 Domingo and was again in her father's company in 1645 and in 
 the company of Juan Perez de Tapia in Seville in 1662. She was 
 then living in Cadiz and came to Seville to take part in the autos, 
 receiving 11 00 reals. In 1673, then a widow, she was again upon 
 the stage in the company of Matias de Castro, acting in La Mon- 
 teria in Seville. In 1680 she was in the company of Jeronimo 
 
5io SPANISH ACTORS AND ACTRESSES 
 
 Garcia. (Calderon Documentos, I, p. 365.) According to Pelli- 
 cer, II, p. 145, she died in 1699. See also Sanchez-Arjona, Andes, 
 PP- 306, 374. 
 
 Lopez (Magdalena), wife of the actor Pedro Camacho, played 
 quartos damas in the company of Jeronimo Vallejo in Madrid in 
 1660. She (then a widow) had a company in Seville in 1674, 1675, 
 and 1677. Perhaps Pedro Camacho is a mistake for Juan Camacho, 
 who was also in Vallejo's company in 1660. 
 
 Lopez (Maria), mother of the actor Domingo de Leyzalde 
 (1586). 
 
 Lopez (Maria), or Maria Lopez Ferrer, actress, took part in 
 four comedias in 1619 in the villa de Buendia. 
 
 Lopez (Maria), daughter of Luis Lopez de Sustaete and wife 
 of Francisco Gutierrez (1645); both were in the company of 
 Luis Lopez de Sustaete in that year and in 1650. Her first hus- 
 band (1633) was Diego de Santiago, autor de comedias. She died 
 in 1 65 1, leaving two children: Luis and Juana Gutierrez, q. v. 
 For her Calderon wrote the entremes El Sacristan mujer. (Paz y 
 Melia, Catdlogo, No. 2974.) 
 
 Lopez (Martin), actor in the company of Pedro de Ortegon 
 in 1635. 
 
 Lopez (Matias), actor? witness to the marriage of Lopez de 
 Alcaraz and Catalina de Carcaba on Dec 19, 1 6 10. 
 
 Lopez (Micaela), wife of the autor de comedias Pedro de 
 Ortegon ; she played first parts in his company in Seville in 1635. 
 
 Lopez (Micaela), wife of Bartolome de Robles (1621). 
 They took part in the Corpus festival at Madrid in that year. In 
 February, 1625, a Micaela Lopez was the wife of the actor Diego 
 Gomez Varela, and both were in the company of Manuel Vallejo. 
 
 Lopez (Paula) played second parts in the company of Juan 
 Antonio Carvajal in 168 1. According to Gallardo, I, p. 680, she 
 was his wife. 
 
 Lopez (Rosendo), actor in the company of Agustin Manuel de 
 Castilla in 1677, 1678; with Jose Garcia de Prado in 1679 and 
 Juan Antonio de Carvajal in 1681. 
 
 Lopez ( Vicenta) , wife of Francisco de Sotomayor. Both were 
 in the company of Cristobal de Avendano from Jan. 18, 1626, for 
 one year. She had a daughter Isabel (v. Isabelica) ; all were 
 members of the company of Roque de Figueroa in 1631-32. 
 
SPANISH ACTORS AND ACTRESSES 511 
 
 (Cotarelo, Tirso, p. 206. Rosell, Vol. I, p. 224.) Vicenta Lopez 
 played segundas damas. {Ibid., p. 232.) 
 
 Lopez de Alcaraz (Diego), native of Cuenca and well-known 
 autor de comedias. He was an actor in the company of Rodrigo 
 Osorio in July, 1594, but had a company as early as 1596 (indeed, 
 in Feb., I594i he is called autor de comedias. Bull. Hisp. (1907), 
 p. 360), and first produced Lope de Vega's comedia El Soldado 
 Amante. About this time he married Magdalena Osorio, daughter 
 of Rodrigo de Osorio, and represented two autos at Madrid in 
 1598 and one in 1599. In March, 1601, he lived in Madrid, in 
 the Calle de Francos, when he agreed to act for one year in the 
 company of Gabriel Vaca and Jimenez de Valenzuela, receiving 
 28 + 6 reals daily. To free himself of debt he was finally obliged 
 to sell his theatrical wardrobe to Juan de Tapia, Luis de Castro, 
 and Alonzo de Paniagua on March 4, 1602, for 2683 reals. In 
 1605 he represented two autos at Valladolid, and in July gave a 
 comedia before the Duke of Lerma; in the following year he pro- 
 duced Lope's Duque de Alba en Paris at Borox. He was one of 
 the eight autores authorized by the decree of 1603, and one of the 
 twelve authorized in 1615. On Dec. 19, 1610, he married Dona 
 Catalina de Carcaba in Madrid. For his early representations in 
 Madrid, v. Appendix A. The latest mention of him is in March, 
 1622. 
 
 Lopez Basurto (Diego), gracioso in the company of Alonso 
 Riquelme in 1606, receiving 3 reals for maintenance and 3 reals 
 for each performance. He was again in Riquelme's company in 
 1607 and 1 610, in which latter year he appeared in the cast of Lope 
 de Vega's La buena Guarda. 
 
 Lopez del Campo (Bernardo), gracioso in the company of 
 Francisco de la Calle in 1660. He died in Granada in 1705. He 
 was the author of a number of bailes mentioned by Cotarelo 
 (Migajas del Ingenio, p. 207). 
 
 Lopez Cautivo (Juan) had charge of the dances at the Corpus 
 festival in Madrid in 1582. 
 
 Lopez Maldonado (Juan), ministril (player of wind-instru- 
 ment) in the company of Jeronimo Ruiz and others in Madrid 
 in 1592. 
 
 Lopez de Pintarroja (Juan), actor in the company of Felix 
 Pascual in Seville in 1665. 
 
512 SPANISH ACTORS AND ACTRESSES 
 
 Lopez de Quiros (Bartolome), born in Toledo, autor de 
 comedias in Madrid in 1586, when he began his representations on 
 Jan. 12; he brought out the auto La Apocalipsis de S. Juan at 
 Seville in 1586, and had a company in Valencia in 1588—89. See 
 Perez Pastor, Proceso de Lope de Vega, p. 9. He is mentioned 
 by Rojas, Viage entretenido, p. 362, as a well-known actor. 
 
 Lopez de Sustaete (Luis), native of Segovia, and his wife 
 Angela Corbella were in the company of Pedro de Ortegon in 
 Feb., 1632, when they were received into the Cofradia de la 
 Novena. ( Sanchez- Arjona, p. 288.) He was an autor de come- 
 dias in 1634 m Seville at Corpus, and also in 1637, 1640, 1645, 
 1646, 1649, and 1650. He was in Madrid in 1638 and repre- 
 sented thirty times in Toledo in 1639, beginning at Easter, and 
 again in 1640, and in the latter year his company acted privately 
 before the King in the royal palace and Buen Retiro, while his 
 company and that of Damian Arias represented at Corpus in 
 Madrid. In 1642 he was again in Madrid, and in 1643 he agreed 
 to give fifty or sixty representations in Valencia. In this year he 
 and Ana de Espinosa had a company jointly. By his wife Angela 
 Corbella he had the following children: Maria, Luisa or Josefa 
 Luisa, Micaela Francisca, and Francisco Manuel Lopez. (San- 
 chez- Arjona, p. 287.) This statement conflicts with what is stated 
 above, under Francisca Lopez. Moreover, we are told that in 
 1640 the wife of Luis Lopez was Jacinta de Herbias. (Averi- 
 guador, I, p. 125.) There is documentary evidence, however, to 
 prove that Angela Corbella was the wife of Luis Lopez de Sustaete 
 on Dec. 21, 1641. (Nuevos Datos, p. 328.) We have seen above 
 that in 1645 Francisca Lopez was the wife of Luis Lopez, and 
 that she and her daughter Luisa acted in his company in that year. 
 (S.-A., p. 374, where a list of his company is given.) Perhaps we 
 are dealing here with two actors named Luis Lopez. I am unable 
 to clear up the matter. 
 
 Lopez de Sustaya (Jeronimo) and his wife Isabel Rodriguez 
 of Madrid, autores de comedias, belonged to the company of Anto- 
 nio Granados for two years from March 5, 1602, when Jeronimo 
 Lopez was to give to Granados the following comedias: San Rey- 
 mundo, Los Caballeros nuevos, La Fuensanta de Cordoba, and El 
 Trato de la Aldea, "which he has bought from the poets who wrote 
 them." Prior to this, from Jan. 4 to Jan. 29, 1602, his company 
 represented in Madrid. Suarez de Figueroa, Plaza Universal 
 
SPANISH ACTORS AND ACTRESSES 513 
 
 (1615), p. 336, mentions him as still living. The censura of this 
 work, however, is dated April 4, 161 2. According to Pellicer, 
 he died in 1610. On May 21, 1603, he belonged to the company 
 of Juan de Morales Medrano. 
 
 Lorenzo (Gaspar), actor? witness to the marriage of Jusepa 
 Vaca and Juan de Morales on Dec. 27, 1602. An actor named 
 Lorenzo appeared in Tirso's La Tercera de la Sancta Juana 
 (licensed in 161 6) and in the cast of La Guar da cuidadosa by 
 Miguel Sanchez (printed in 1615). Both plays were evidently 
 represented by the same company. Could this Lorenzo be Lorenzo 
 Hurtado? The name also occurs in the cast of Lope's El piadoso 
 Aragones (1626). 
 
 Losa (Juan de) had a company of "volatines" in La Monteria 
 in Seville in March, 1632. 
 
 Loya (Francisco de), actor in the company of Diego Lopez 
 de Alcaraz in 1607. 
 
 Loyola of Toledo, actor mentioned by Rojas, Viage, p. 362, 
 among the best known at that time (1603). He also says that 
 he was the author of the comedia Audalla (ibid., p. 126), a play 
 that seems to be lost. Barrera gives the author's name as Juan 
 Bautista de Loyola. 
 
 Lucia, actress in the cast of Lope's El Sembrar en buena Tierra 
 (1616). Perhaps Lucia de Salcedo, q. v. See also Lucia Sevi- 
 llano. 
 
 Luciana. She was a sister of Antonia del Pozo {La Patata). 
 See under Patata (La). 
 
 Ludena (Hernando de), actor in the company of Cisneros in 
 Sept., 1587. 
 
 Luis, actor in the company of Alonso Riquelme in 16 10. 
 
 Luis (Juan) bought out one of the carros at Corpus in Seville 
 in 1577. 
 
 LUISA, V. BORDOY, BORJA, CRUZ. 
 
 Luisa, la musica, in the company of Antonio de Prado in 
 1639. Perhaps this is Luisa de Borja. 
 
 Luisa Ambrosia, widow, actress in the company of Juan Roman 
 in 1639. 
 
 Luisa Antonia, wife of Vicente Domingo; both were in the 
 company of Francisco Gutierrez in Seville in 1668. 
 
 LUJAN, V. LUXAN. 
 
514 SPANISH ACTORS AND ACTRESSES 
 
 Luna (Hernando de), autor in charge of the auto Las Cortes 
 de Cristo in Seville in 1592. 
 
 Luque? (Miguel), actor in the company of Antonio de Rueda 
 in Seville in 1644. 
 
 Luxan (Micaela de), famous actress and amiga of Lope de 
 Vega, who celebrates her in his sonnets under the name of Lucinda 
 or Camila Luzinda. She was the mother of several of his children. 
 Of these Mariana and Angelilla, then quite young, were living 
 with their mother in Toledo in 1603 ; what became of them we do 
 not know. A daughter, Marcela, was born in 1605, who became 
 a nun and died in 1688, and a son, Lope Felix, born in 1607, who 
 became a soldier and died in 1634. Lope's relations with Micaela 
 de Luxan were continued until about 161 4; after that we hear 
 nothing of her. She must have been a famous actress, for Suarez 
 de Figueroa mentions her in his Plaza Universal (161 5) among 
 the most celebrated comediantes then living. Despite this fact the 
 name Micaela de Luxan occurs nowhere in the theatrical annals 
 that have been preserved. See my Life of Lope de Vega, passim. 
 
 Luzon (Jusepe) and his wife Isabel Ana were in the company 
 of Jeronimo Sanchez from March 27, 1623, for one year. 
 
 Llorente (Pedro) and his wife Maria de Morales were in 
 the company of Tomas Fernandez for one year from Nov. 12, 
 161 1. They received 8 reals for maintenance daily and 20 reals 
 for each performance, besides traveling expenses for the couple 
 and one servant. His company represented in Salamanca in 1614 
 during the Christmas vacation. Both took part in the Corpus 
 festival at Seville in 1 61 7. Llorente lived in the Calle del Infante, 
 Madrid, where he died on Jan. 30, 1621. He was one of the 
 twelve autor es authorized by the decree of 161 5. 
 
 Macana, v. Mazana. 
 
 Madera (Antonio de), stage manager and machinist in the 
 company of Luis Bernardo de Bovadilla for one year from March 4, 
 1637- 
 
 Madrid (Juan de), actor in the cast of Tirso's La Tercera de 
 la Sancta Juana, dated 1614. 
 
 Maire (Francisco) and his wife Jacinta Velez took part in the 
 Corpus festival at the villa de Algete in 1636, she playing first parts. 
 
SPANISH ACTORS AND ACTRESSES 515 
 
 Malaguilla (Juan de), actor in a joint company with Fernan 
 Sanchez de Vargas and others in March, 1634; he had a com- 
 pany in 1636-39. There was a Juan de Malaguilla who played 
 third and fourth parts in the company of Sebast. de.Prado and 
 Juan de la Calle in 1659; he was harpist in the company of 
 Escamilla in 1664, 1665, 1670, 1675, and 1676; in 1674 with 
 Simon Aguado and in 1 68 1 with Manuel Vallejo. 
 
 Malaguilla (Valerio de), harpist in the company of Agustin 
 Manuel in 1677 and 1678; with Jose Antonio de Prado in 1679, 
 with Jeronimo Garcia in 1680, and with Manuel Vallejo in 1681. 
 
 Maldonado (Alonso), member of the company of Andres de 
 la Vega from March 1, 1638, for one year. 
 
 Maldonado (Ana), wife of Francisco Lobillo; both were of 
 Madrid, and belonged to the company of Juan Acacio in Seville 
 in 1619. 
 
 Maldonado (Gaspar), ministril (player of wind-instrument) 
 in Madrid in 1584. 
 
 Maldonado (Juan de), actor in Madrid in 1631; on 
 March 24, 1639, he agreed to play old men's parts in the com- 
 pany of Juan Roman, and on April 6, 1639, joined the company 
 of Juan Rodriguez de Antriago until Shrovetide, 1640. 
 
 Maldonado (Juan Lopez), ministril in the house of D. Garcia 
 de Mendoza, Viceroy of Peru, at Lima, in 1588, receiving 200 
 ducats per year. He is first mentioned in 1577. 
 
 Maldonado (Dona Melchora), widow of the ministril 
 Alonso de Morales (1577-1624). She was the daughter of Juan 
 Lopez Maldonado, ministril, and was still living at the death of 
 her husband, on Feb. 22, 1624. 
 
 Maldonado (Pedro), autor de comedias in March, 161 1, 
 when he lived in the Calle de Cantarranas with his wife Magdalena 
 de Chaves. From Shrovetide, 161 5, to 1616, he was in the com- 
 pany of Tomas Fernandez. In March, 1621, he and his wife 
 Jeronima Rodriguez were in the company of Juan de Morales 
 Medrano. His name appears in the cast of La belligera Espanola 
 (printed in 1616). v. Restori, Stud), p. 92. 
 
 Maldonado, v. also Martinez Maldonado. 
 
 Maluenda (Jacinto), alcaide of the theater at Valencia in 
 1628-43. v. Barrera, Catdlogo. 
 
516 SPANISH ACTORS AND ACTRESSES 
 
 Mancarea (Antonia), actress in the company of Felix Pas- 
 cual, 1670-71? 
 
 Manso (Bartolome) and his daughter Francisca Manso be- 
 longed to the company of Andres de la Vega in Feb., 1636. He 
 was probably in Manuel Vallejo's company in 1630. (Bull. Hisp. 
 ( 1908), p. 256.) He died in the Calle de Cantarranas on July 26, 
 1652. In the partida de difuncion his wife is called Maria 
 Torrada. 
 
 Manso (Francisca), daughter of Bartolome Manso and 
 Angela de Torrado, played third parts in the same company in 
 1636. She played primeras damas, apparently in the same year, 
 in the company of Tomas Fernandez. (Rosell, I, p. 288.) 
 
 Manuel, actor in Lope de Vega's Nueva Victoria de D. Gon- 
 xalo de Cordoba (1622). Is this perhaps Pedro Manuel? 
 
 Manuel (Jacinto), actor in the company of Francisco 
 Gutierrez in Seville in 1668. 
 
 Manuel (Juan), segundo barba in the company of Manuel 
 Vallejo in 1672, and in Simon Aguado's company in 1674. 
 
 Manuel de Castilla (Agustin), v. Castilla. 
 
 Manuel de Castilla (Pedro), v. Castilla. 
 
 Manuel Francisco, v. Francisco. 
 
 Manuela Bernarda, called Rabo de Vaca, wife of Jeronimo 
 Garcia, played segundas damas in the company of Antonio de Esca- 
 milla in 1663. (Perez Pastor, Calderon Documentos, Vol. I, 
 p. 297.) In Gallardo, I, p. 679, she is called Bernarda Manuela. 
 
 Manzano (Juana), wife of the autor de comedias Juan 
 Limos in 1586. (Bull. Hispanique (1906), p. 366.) 
 
 Manzanos, gracioso representante mentioned in Guzman de 
 Alfarache, Part II, Book I, chap. ii. 
 
 Marcos, actor in the cast of Lope de Vega's La Conpetencia en 
 los Nobles (1628) and Del Monte sale (licensed in 1628). He 
 and his wife Josef a were in Avendano's company in i63i-32(?). 
 (Rosell, I, pp. 84-200.) The name Marcos also occurs in the 
 cast of Tirso's Celos con Celos se curan (1625). See also under 
 Herrera. 
 
 Margarita, la Portuguesa, actress in the entremeses of Bena- 
 vente. (Rosell, Vol. II, p. 339.) v. Hita (Juana Margarita 
 de). The name Margarita occurs among the players in Lorenzo 
 Hurtado's company (1632-35?). She was, it seems, the wife 
 
SPANISH ACTORS AND ACTRESSES 517 
 
 of Bernardo, the gracioso. (Rosell, Vol. I, p. 29. On the follow- 
 ing page she addresses him, an actor in the same company, with 
 the words: "jAy, marido de mi vida!") 
 
 Maria Angela, wife of Gregorio de Morales, was in the com- 
 pany of Francisco Solano in 1637-38. 
 
 Maria Flores, actress, daughter of Maria de Salinas. 
 
 Maria Francisca, actress in the company of Francisca Lopez 
 in Seville in 1663, and with Manuel Vallejo in 1679-81. 
 
 Maria Gabriela or Marigraviela, actress in the company of 
 Alonso Riquelme in Seville in 1607, and in that of Andres de 
 Claramonte from June 19, 1614, till Shrovetide, 1615. She had a 
 daughter, Francisca Maria. 
 
 Maria Imperia, wife of the Italian actor Maximiliano Mili- 
 mino, who was killed in a brawl in Madrid in Nov., 1582. 
 
 Maria Laura, actress in the company of Jeronimo Garcia in 
 1680. 
 
 Maria Manuela, wife of Sebastian Gonzalez, autor de come- 
 dias in Nov., 1635. 
 
 Maria Paula, wife of Juan de Cardenas; both were in the 
 company of Magdalena Lopez in Seville in 1677. 
 
 Mariana appeared in Lope's La buena Guarda (1610) in 
 Riquelme's company. 
 
 Mariana Jacinta of Madrid, widow, singer in the company 
 of Ortiz de Villazan in Seville in 16 19. 
 
 Mariflores, v. Flores (Maria de). 
 
 Marin (Antonio), gracioso in the company of Manuel Vallejo 
 in Seville in 1640. Prior to this, in Feb., 1632, he belonged to 
 the company of Juan Ruiz, and in 1642 was in the company of 
 Pedro de la Rosa. In 1644 he appeared in the cast of Calderon's 
 Troya abrasada. In 1652 he and his wife Teresa de Garay were 
 acting in La Monteria, Seville, in the company of Jacinto 
 Riquelme. His daughter was also an actress in 1642. (S.-A., 
 p. 295.) He died in 1655. {Ibid., p. 341.) 
 
 Marin (Juan), escultor, took part in the dances and in the 
 auto El Martirio de S. Esteban in Seville in 1569. 
 
 Marina, v. Munoz (Marina) . She was Maria or Marina de 
 Aguilar. 
 
 Maritardia, v. Tardia (Maria). 
 
518 SPANISH ACTORS AND ACTRESSES 
 
 Marroquin (Rafael) played the tamboril in the dance El Rey 
 Don Alonso at Corpus in Madrid in 1611. 
 
 Martel (Bernardo), lessee of the theater in Alcala de 
 Henares in 1638. 
 
 Martin (Vicente), actor in the company of Alonso Velazquez 
 in 1598, at Corpus, in Seville. 
 
 Martin de Morales (Pablo), autor de comedias in Seville in 
 1678-79. His wife was Maria Antonia Jalon. 
 
 Martinazos, autor de comedias, praised by Rojas, Viage en- 
 tretenido, p. 91. Solano (Augustin) and Nicolas de los Rios were 
 in his company. 
 
 Martinelli (Angela), famous Italian actress, wife of 
 Drusiano Martinelli, acting in Madrid in 1587, in her husband's, 
 company, / Confidents. See Baschet, Les Comediens Italiens a la 
 Cour de France, Paris, 1882, p. 194 et passim. 
 
 Martinez (Alonso), actor in the company of Jeronimo Velaz- 
 quez in 1590; he was in Baltasar Pinedo's company in Seville at 
 Corpus, in 1603. Cervantes in his comedia La gran Sultana, 
 Act III (Comedias, ed. 1794, Vol. II, p. 98), speaks of Martinez 
 as already deceased (probably some time before 1615), and says 
 of him that he was the inventor of the danzas cantadas, which he 
 introduced in place of the entremeses. 
 
 Martinez (Ambrosio [Duarte?]), a Portuguese, and famous 
 musician and composer, about 1630. His wife Maria de Prado 
 was the daughter of Antonio de Prado. v. Duarte. 
 
 Martinez (Ana), sister of Alonso Martinez, and member of 
 Pinedo's company in 1603, she and her brother receiving a gratuity 
 of 400 reals in that year. She was the wife of Miguel Ruiz in 
 Nov., 1607, and both were in Pinedo's company in Feb., 161 1. 
 Perez Pastor, Bibliografia Madrileha, Vol. Ill, p. 325. 
 
 Martinez (Angela), actress in the company of Juan Perez de 
 Tapia at Corpus in Seville in 1662. 
 
 Martinez (Antonio), husband of Isabel de Cordoba, and 
 father of the famous Maria de Cordoba y de la Vega. He was 
 an autor de comedias in Madrid in 1619. In 1621 he is styled 
 alquilador de hatos, i.e., a hirer-out of costumes. He brought out 
 a dance in the Corpus festival at Madrid in 1628, and is again 
 mentioned in 1632. He seems to have been deceased on Feb. 1, 
 1632. (N. D., p. 223.) 
 
SPANISH ACTORS AND ACTRESSES 519 
 
 Martinez (Cebrian), actor, in charge of wardrobe in the 
 company of Bartolome Romero for one year from Feb., 1 63 1. In 
 1639 he belonged to the company of Antonio de Prado in Seville. 
 
 Martinez (Francisco), actor in the company of Alonso 
 Riquelme in Seville at Corpus, 1607. 
 
 Martinez (Francisco), member of the company of Andres de 
 la Vega in 1638 and 1639. There was a Francisco Martinez in 
 the company of Magdalena Lopez in Seville in 1674. 
 
 Martinez (Jeronimo), actor in Madrid in 1584. 
 
 Martinez (Jeronimo), member of the company of Jeronimo 
 Sanchez in 1623, and in 1639 in the company of Juan Roman. 
 
 Martinez (Juan) and his wife Dionisia Suarez or Xuarez 
 were in the company of Cristobal Ortiz de Villazan in 1619-20 
 (Shrovetide to Shrovetide), and previously in 1619. He was an 
 autor de comedias, "of those named by his Majesty," from 1623 to 
 1636. In 1624 he represented in Valencia. On July 11, 1633, 
 he represented a comedia privately before the King, and in 1636 . 
 represented eight comedias before Philip IV. Juan Martinez ap- 
 peared as Satan in Lope's La gran Columna fogosa (1629). 
 
 Martinez (Juan), segundo gracioso in the company of Mag- 
 dalena Lopez in Seville in 1677. 
 
 Martinez (Lucia), wife of Juan de Jaraba, lessee of the 
 corrales of Madrid in 1 613 -1 5. 
 
 Martinez (Luis), autor de cotnedias in Madrid in 1586, and 
 in Valladolid in 1588. 
 
 Martinez (Luisa), wife of the autor de comedias Juan 
 Granado in April, 1605. 
 
 Martinez (Maria), mother of Juan Francisco Ruiz and wife 
 of Damian Ruiz. All were in the company of Manuel Vallejo in 
 1631. 
 
 Martinez (Miguel), dancing-master in charge of dances at 
 Corpus in Madrid in 1603. 
 
 Martinez (Miguel), actor in the company of Baltasar Pinedo 
 in 1613; in 1619 and 1620 he was in the company of Tomas 
 Fernandez. He and his daughter (name not given) were in the 
 company of Jeronimo Sanchez for one year from March 27, 1623. 
 
 Martinez de Grajales (Pedro), actor in the company of 
 Gaspar de Porres, May, I597~99- 
 
520 SPANISH ACTORS AND ACTRESSES 
 
 Martinez Maldonado (Francisco), actor in the company of 
 Alonso Riquelme for one year from Jan., 1606. 
 
 Martinez de Mora (Diego) and his daughter Mariana took 
 part in Gaspar de Avila's Las Fullerias de Amor at Leganes in 
 1629. (Paz y Melia, Cat., No. 1340.) They both acted in 
 Brihuega in 1636. See also under Mora (Diego de). 
 
 Mata (Ana Maria de la), wife of Diego Casco y Rojas; 
 both were members of the company of Hernan Sanchez de Vargas 
 from Jan., 1633, till the end of Oct., she sharing the second parts 
 with Dona Francisca de Vargas, daughter of the autor. 
 
 Mata (Antonio de) and his wife Josef a Nieto were members 
 of the company of Jacinto Riquelme in Seville in 1652. 
 
 Mateo, actor in the cast of Lope's El piadoso Aragones (1626), 
 taking the part of Raymundo de Luna. 
 
 Matias (Juan) or Juan Matias Molina was harpist in the 
 company of Avendano in 1632. His wife was Ana de Molina, 
 in the same company. ( Cotarelo, Tirso, p. 203 ; Rosell, Vol. I, 
 p. 86.) In 1636-38 he was in the company of Tomas Fernandez. 
 In 1640 he was segundo barba and musical director in the company 
 of Antonio de Rueda in Seville. His name occurs in the cast of 
 Calderon's Troy a abrasada (censura of 1644). There was a 
 Matias who appeared as Gascon in Tirso's Celos con Celos se 
 cur an (1625) : perhaps the same actor. 
 
 Matos (Juan de) of Seville, actor and bailarin in the company 
 of Antonio de Prado, apparently in 1634-36. See Rosell, Vol. I, 
 pp. 97, 101. I presume that the loa of Benavente's in which Matos 
 appeared belongs to about this date from the fact that Malaguilla 
 {ibid., p. 99) had a company at that time. 
 
 Max" (Maximiliano( ?) ), actor in the cast of Lope's El 
 piadoso Angonis (1626), taking the part of D. Juan de Beamonte. 
 The name also appears in Prado 's company in 1632-35 (?). 
 v. Rosell, I, p. 322. The latter is perhaps Maximiliano de Morales. 
 
 Maxara (Miguel de), actor in the company of Pedro de 
 Ortegon in Seville in 1635. 
 
 Maynel or Mainel (Jeronimo), actor in the company of 
 Jeronimo Velazquez in 1590. He is mentioned by Suarez de 
 Figueroa as being deceased before 161 5. 
 
 Mayo (Juan Bautista), autor de comedias in Valladolid in 
 1640. (M. y M., p. 566.) 
 
SPANISH ACTORS AND ACTRESSES 521 
 
 Mazana (Antonia), v. Mazana (Manuela Antonia). 
 
 Mazana (Juan) and his wife Dorotea de Sierra appeared in 
 Lope de Vega's El Brazil restituido (1625) in the company of 
 Andres de la Vega. v. Modern Lang. Review, Jan., 1906. He 
 was in Antonio de Prado's company, with his daughter (called la 
 Nina de Mazana, or la Nina de Dorotea), about 1634-35. 
 v. Rosell, Vol. I, pp. 97, 322, 351. He was again in Prado's com- 
 pany in Seville at Corpus in 1639 and in Sept., 1642. He was 
 probably divorced from Dorotea de Sierra before May 30, 1642, 
 when he was a musico in Prado's company and is described as 
 the former husband of Dorotea de Sierra. (N. D„ p. 329.) The 
 name Juan Manzano (sic) appears in the cast of La Paciencia en la 
 Fortuna (about 1640). (Restori, Stud], p. 143.) 
 
 Mazana (Jusepa), sister of Manuela Antonia Mazana, 
 actress in the company of Antonio de Prado in Seville in 1639. 
 
 Mazana (Manuela Antonia), daughter of Juan Mazana 
 and Dorotea de Sierra, and wife of Lorenzo de Prado. Both be- 
 longed to the company of Manuel Vallejo in 1640, and to the 
 company of Lorenzo Hurtado in Seville in 1642, she playing second 
 parts at the Corpus festival. In both these cases she is called 
 Manuela Macana. Lorenzo de Prado died of the pest in i649( ?), 
 after which she married Manuel Garcia, called Asadurilla. 
 (Rosell, Vol. II, p. 340.) According to the MS. of the Libros de 
 la Cofradia, partly published in Gallardo, Ensayo, Vol. II, p. 676, 
 Manuela afterward married Diego de Santa Cruz Caballero. Cer- 
 tain it is that Diego de Caballero and his wife Antonia (sic) 
 Mazana were in the company of Francisco Gutierrez in Seville in 
 1668, in Agustin Manuel and Felix Pascual's in 1671, and in the 
 company of Matias de Castro in 1673; here she is called Manuela 
 Mazana. ( Sanchez- Arjona, p. 460.) The name M a Macana oc- 
 curs in the cast of Calderon's Troya abrasada (1644). 
 
 Mazo (Alejandro), actor? His widow Mariana de Alarcon 
 of Valencia was in the company of Diego Vallejo in Seville in 1619. 
 
 Medina (Catalina de), wife of Francisco de Salas; both were 
 in the company of Manuel Vallejo in 1631. See under Salas. 
 
 Medina (Diego de), cobrador in the company of Antonio de 
 Prado in 1632, and in the same company in Seville in 1639. 
 His wife Magdalena Fernandez also acted in Prado's company 
 in 1632. 
 
522 SPANISH ACTORS AND ACTRESSES 
 
 Medina (Francisca de), wife of Jose de Mendiola; both 
 belonged to the company of Magdalena Lopez in Seville in io77- 
 
 Medina (Francisco de), actor in the company of Alonso de 
 Olmedo on Oct. 29, 163 1, when he was received into the Cofradia 
 de la Novena. He was with Juan Acacio in Seville at Corpus in 
 1644; with Lorenzo Hurtado in 1645, and with Luis Lopez de 
 Sustaete in 1650. In 1652 he was with Jacinto Riquelme, also 
 in Seville, and in 1670 he had a company in La Monteria, Seville. 
 He had three daughters: Maria, Josefa, and Paula, and a son 
 Cristobal. 
 
 Medina (Jacinta de), actress in the company of Luis Lopez 
 de Sustaete in Seville at Corpus, 1645. 
 
 Medina (Jeronimo de), actor in the joint company of Juan 
 Roman from Shrovetide, 1639, to 1640. He furnished costumes 
 to the company, receiving 2j4 reals extra per day. 
 
 Medina (Josefa de), daughter of Francisco de Medina; she 
 died in Seville in i67o(?), "despenada de una tramoya.'' (San- 
 chez- Arjona, p. 452.) 
 
 Medina (Maria de), actress in the company of Antonio 
 Granados in Seville at Corpus in 1618, when she received a 
 gratuity of 100 reals for excellence in the auto Las Fuerzas de 
 Sanson, by Poyo. She was in Domingo Balbin's company from 
 Sept. 1, 1623, till Shrovetide, 1624. 
 
 Medina (Maria de), daughter of Francisco de Medina and 
 wife of Juan Lopez, gracioso, in 1676, when both belonged to the 
 company of Carlos de Salazar in Seville. 
 
 Medina (Paula de), sister of the preceding; she married Ale- 
 jandro Guzman. 
 
 Medina (Pedro de) took part in the Corpus festival at Seville 
 in I559> I S6o, and 1569. 
 
 Medrano (Bernardo de), first gracioso in the company of 
 Luis Bernardo de Bovadilla from Feb., 1637, i° T one year. In 
 Feb., 1638, he was in the company of Alonso de Olmedo and Luis 
 Bernardo de Bovadilla, also for one year. There was a Bernardo, 
 gracioso, in the company of Lorenzo Hurtado about 1632-35 (?). 
 v. Rosell, Vol. I, p. 29. Perhaps this was Medrano. He was also 
 in Avendano's company. {Ibid., p. 62.) v. Lamparilla and 
 Bernardo. 
 
 Medrano (Juan de), son of the preceding, and in the same 
 
SPANISH ACTORS AND ACTRESSES 523 
 
 company in 1637 and 1638. He is probably the "Juanico, hijo 
 de Bernardo," in Rosell, Vol. I, pp. 288, 330. The date of the 
 loa on p. 288 is probably 1636. 
 
 Mejia [Antonio?], actor in the cast of Belmonte's play A un 
 tiempo Rey y Vasallo in 1642. The name Mexia occurs in the cast 
 of Calderon's Troya abrasada ( 1644) . See also Mexia and Messia. 
 
 Melocoton (Jose), musico in the company of Antonio de Esca- 
 millain 166 1 and 1663. 
 
 Mencos (Ana Maria de), wife of Diego de Mencos; both 
 appeared in Heredia's company in Lope de Vega's Del Monte sale 
 (1628), and both were in the company of Cristobal de Avendano 
 in 1633. 
 
 Mencos (Diego de), gracioso famoso y solfista in the company 
 of Cristobal de Avendano in March, 1632, and Feb., 1633. In 
 1635 he belonged to the company of Alonso de Olmedo. In 
 Feb., 1638, he and his second wife Francisca Paula joined the 
 company of Bartolome Romero for one year. In 1639 he went to 
 Lisbon to act for twenty-four days, beginning in Lent, taking the 
 part of vexete, and his wife playing third parts. In Feb., 1640, 
 both were again in Romero's company, until the end of the octave 
 of Corpus. 
 
 Mendi (Juan Ruiz de) , v. Ruiz. 
 
 Mendi (Maria de), sister of Juan Ruiz de Mendi of Madrid, 
 and legatee under his will, dated Nov. 24, 1596. 
 
 Mendiola (Jose) played third parts in the company of Magda- 
 lena Lopez in Seville in 1677. His wife was Francisca de Medina. 
 
 Mendoza (Antonia Herrero de) and his wife Francisca de 
 Figueroa were in Avendano's company in 1632. 
 
 Mendoza (Bartolome de) of Jaen, autor de comedias, repre- 
 sented two autos in Alcaraz in 1588, receiving 40 ducats. In 1589 
 he represented two comedias a lo dlvino in the same town. (B. H. 
 (1906), p. 368.) 
 
 Mendoza (Francisco de), actor in the company of Diego de 
 Santander in Dec, 1594. In June, 1614, he joined the company 
 of Andres de Claramonte, till Shrovetide, 161 5. 
 
 Mendoza (Juan de), actor in the company of Juan de Tapia, 
 Luis de Castro, and Alonso de Paniagua, from March, 1602, for 
 one year. In 1604 he took part in the autos at the villa de Borox. 
 
 Mendoza (Juana de), daughter of Manuel Jerje and Ana de 
 
524 SPANISH ACTORS AND ACTRESSES 
 
 Torres. She was a member of the company of Manuel Vallejo 
 in 163 1. 
 
 Mendoza (Luis de), actor in Antonio de Prado's company in 
 1650; in 1662 with Sebastian de Prado; in 1663 he was gracioso 
 in Jose Carillo's company, in 1664 second gracioso with Bartolome 
 Romero and Juan de la Calle, in 1665 with Francisco Garcia, and 
 in 1670 and 1677 w ' tn Escamilla. He was a Portuguese and died 
 in 1684. 
 
 Meneses (Juan) played first and second parts in the company 
 of Juan Roman from March 23, 1639, for one year. 
 
 Mesa (Baltasar de), "famoso por el ingenio y por la repre- 
 sentacion." (Claramonte, Letania moral.) Rojas, Viage, p. 131, 
 mentions "Mesa" among the actors who had written farsas, loos, 
 etc. 
 
 Mesa (Gaspar de), member of the company of Diego Lopez 
 de Alcaraz in April, 1607. 
 
 Messia (Antonio). The daughter of Antonio Messia, name 
 not given, was an actress in Madrid in 1650, in Prado's company. 
 (Perez Pastor, Calderon Documentos, I, p. 170.) v. Mejia [An- 
 tonio]. 
 
 Mexia (Damian), actor in the company of Alonso de Villalba 
 in 1614. 
 
 Micaela, v. Fernandez, Gadea, Lopez, Luxan, Ortiz. 
 
 Miguel Juan, musico in Madrid in March, 1639, who took 
 part in two comedias at Penalver in that year. 
 
 Milimino (Maximiliano), Italian actor killed in a brawl, 
 Oct. 19, 1582, in Madrid. He headed a company of Italian players 
 which was in the pay of the King of Navarre in 1578. (Baschet, 
 Les Comediens Ital., p. 87, where the name is written Massimiano 
 Milanino.) His wife was Maria Imperia. 
 
 Millan (Isabel), actress in the company of Antonio de Rueda 
 in Seville in 1644. 
 
 Minano (Juan), actor in Juan Roman's company from Shrove- 
 tide, 1639, to 1640. The name occurs in the cast of ha Guarda 
 cuidadosa by Miguel Sanchez. 
 
 Mirabete (Mariana de), actress, wife of Diego de Avila in 
 Feb., 1619. Both appeared at the Corpus festival at the villa de 
 Mostoles in that year. 
 
SPANISH ACTORS AND ACTRESSES 525 
 
 Miralles (Juan) belonged to the company of Francisco 
 Gutierrez in Seville in 1668 and 1669. 
 
 Miralles (Luis de) of Valencia, actor in the company of Felix 
 Pascual, died in Valladolid in 1672. (M. y M., p. 567.) 
 
 Miranda (Beatriz de), "single woman" in the company of 
 Bartolome Romero from Feb. 26, 1638, for one year. On 
 March 30 of the same year she contracted to act for one year in 
 the company of Andres de la Vega. 
 
 Miranda (Juan de), actor in the company of Pedro Ximenez 
 de Valenzuela and Diego Lopez de Alcaraz in 1602. 
 
 Miranda (Miguel de) and his wife Juana Bautista were mem- 
 bers of the company of Juan Rodriguez de Antriago from Shrove- 
 tide, 1637, till Shrovetide, 1638; "she to play second parts and 
 he to receive one real less per day than his wife." 
 
 Molina (Agustin), singer and actor in Manuel Vallejo's 
 company in 1633. 
 
 Molina (Ambrosio de), segundo musico in the company of 
 Jeronimo Vallejo in 1660. 
 
 Molina (Ana de), wife of Juan Matias de Molina, was in the 
 company of Crist, de Avendano in 1632. 
 
 Molina (Juan de), actor in the company of Roque de Figueroa 
 in 1631. 
 
 Molina (Juan Matias de), harpist, v. Matias (Juan). 
 
 Molina (Luis), actor in the company of Juan Limos in 1583- 
 84. 
 
 Molina (Miguel de), lessee of La Monteria in Seville from 
 1636 for six years. 
 
 Monroy (Juan Antonio de) played second parts in the com- 
 pany of Jose Garceran in Seville in 1657 ; l" s wife Jeronima Muniz 
 played fourth parts in the same company. 
 
 Monsalve (Catalina de) and her husband Pedro de Ribera 
 were members of the company of Alonso de Olmedo in 1621. 
 (Bull. Hisp. (1908), p. 244.) 
 
 Monserrate (Diego de) of Madrid and his wife Mariana 
 Rodriguez acted in the company of Alonso Riquelme for one year 
 from March 7, 1602, and in the company called Los Andaluces 
 from March, 1605, till Shrovetide, 1606. 
 
 Montemayor(Juan DE)and his wife Ana Maria de Ulloa were 
 
526 SPANISH ACTORS AND ACTRESSES 
 
 acting in Lisbon prior to Feb. 13, 161 7, when they agreed to join 
 the company of Fernan Sanchez de Vargas for one year. In 
 1632-33, with their daughter Beatriz de Velasco (Beatricica), they 
 were in the company of Cristobal de Avendano. (Cotarelo, Tirso, 
 p. 203 ; Rosell, Vol. I, pp. 62, 84.) His name and Ana Maria's 
 occur in the cast of Tirso's La Tercera de la Sancta J nana (writ- 
 ten in 1614 and licensed in 1616), and the names Montemayor 
 and Ana Maria are found in a MS. of La Guarda cuidadosa by 
 Miguel Sanchez; he also appeared in Lope's Del Monte sale 
 (1628), apparently in the company of Heredia. In 1645 he was 
 in the company of Luis Lopez in Seville. 
 
 Montemayor (Sebastian de) and his wife Ana de Velasco 
 are mentioned as members of a company of actors in Madrid in 
 1584. He was an autor de comedias in 1589 and 1601. Perhaps 
 Beatriz de Velasco was the daughter of Sebastian and not of Juan, 
 though the chronology seems to oppose this. 
 
 Montesinos (Maria de), wife of Diego de Ordonez; both 
 were in a joint company in June, 1603. On June 19, 1614, she 
 was the wife of Fernando Perez, and acted with him in the com- 
 pany of Claramonte until Shrovetide, 1615. 
 
 Montiel (Pedro de), actor in the company of Lope de Rueda 
 in 1554. (Cortes, Un Pleito de Lope de Rueda.) He wrote the 
 auto Los Desposorios de Crista con la Naturaleza humana, in 
 which he also acted at the Corpus festival at Seville in 1575. It 
 was expressly stipulated that he was to appear in person on the 
 car which he brought out. He also produced autos in Seville in 
 1574 and 1576. 
 
 Montoya (Cristobal de) and his wife Leonor Maria, both of 
 Granada, were members of the company of Juan Acacio in Seville 
 in 1619. 
 
 Montoya (Isidro de), actor in the company of Agustin Manuel 
 de Castilla in 1678. 
 
 Montoya ( Jeronima de) , wife of Andrez Pizarro ; both were 
 in a joint company with Pedro Bravo and others in July, 1614. 
 
 Montoya (Juan de), native of Orgaz, over twenty-five years 
 old in 1 61 7, when he seems to have been in the company of Pedro 
 de Valdes (N. D., p. 163) ; actor in the company of Diego 
 Vallejo in Seville in 1619, and in the company of Manuel Vallejo 
 
SPANISH ACTORS AND ACTRESSES 527 
 
 in 1622, 1623, and 1631; in the latter year his wife la Senora 
 Antonia acted in the same company. 
 
 Monzon (Luis de), dancing-master, arranged the dances for 
 the Corpus festivals in Madrid in 1603, 1606, 1 608 -1 2, and 
 called autor de comedias in 1614. In 1619 he and Gabriel de la 
 Torre presented five dances at Corpus. In Sept., 1623, he was one 
 of the lessees of the theaters of Madrid, and in 1628, with others, 
 again had charge of the dances at Corpus. A "Monzon" is men- 
 tioned by Rojas, Viage, p. 51. 
 
 Mora (Diego de), actor? witness to the marriage of Luis 
 Quinones and Isabel de Velasco on Sept. 20, 161 4. This is proba- 
 bly the Diego Martinez de Mora who entered into an obligation, 
 for himself and his daughter Mariana, to sing and act at Leganes 
 in Gaspar de Avila's Fullerias de Amor in 1629. (Paz y Melia, 
 Cat., No. 1340.) 
 
 Morales (Alonso de), ministril, mentioned as early as 1577, 
 when his wife was Dona Melchora Maldonado, daughter of the 
 ministril Juan Lopez Maldonado. (N. D., pp. 10, 33.) In 1588 
 he entered the service of D. Garcia de Mendoza, Viceroy of Peru, 
 as a musician, and died in Madrid on Feb. 22, 1624, his wife 
 surviving him. {Ibid., p. 205.) 
 
 Morales (Alonso de), brother of Juan de Morales Medrano 
 (N. D., p. 217), and a famous actor. He was called el Divino, 
 and is mentioned as an actor as early as 1584. He had a com- 
 pany in Madrid in April, 1592, together with Jeronimo Ruiz and 
 Francisco de Vera. In Oct., 1594, he was a member of the com- 
 pany of Diego de Santander, and also in 1596, taking part in the 
 Corpus festival at Seville. He represented two autos and the 
 comedia Don Alvaro de Luna at the Corpus festival in Getafe in 
 1601. Claramonte, in his Letania moral (printed in 1612), says 
 of him: "Alonso de Morales, principe de los representantes, que 
 merecio en sus dias llamarse el Divino, por el ingenio y por la 
 representacion," implying that Morales was then deceased. He is 
 also mentioned by Suarez de Figueroa in his Plaza Universal 
 (1615) among the famous actors then dead. Perez Pastor, how- 
 ever, publishes a document dated Oct. 31, 1626, in which Alonso 
 de Morales, vecino de Salmeron, pledges some landed property in 
 that town as surety for Juan de Morales Medrano. (N. D., 
 p. 212.) The latter, moreover, seems to have inherited this very 
 
528 SPANISH ACTORS AND ACTRESSES 
 
 property in Salmeron, which was probably the seat of the family. 
 (N. D., p. 217.) Rojas, Viage, p. 131, mentions Alonso de 
 Morales among the actors who had written farsas, has, etc., and 
 says (p. 127) that Morales was the author of the comedia El Conde 
 loco, but whether this was Alonso or Pedro de Morales is uncertain. 
 As to the Conde loco, see Barrera, Catdlogo, p. 5 1 7, col. I , and p. 527. 
 Pellicer (Vol. I, p. 117) ascribes the following plays to "Morales": 
 El legitimo Bastardo, El Renegado del Cielo, and La Toma de 
 Sevilla por el Santo Rey Fernando. 
 
 Morales (Bartolome de), actor in Nov., 1605, and appar- 
 ently a relative of Juan de Morales Medrano. 
 
 Morales (Cristobal de), actor in the company of Jeronimo 
 Velazquez in 1583, and in July, 1614, in the company of Clara- 
 monte. In March, 1619, he belonged to the company of Tomas 
 Fernandez. In 1621 he and his daughter were in the company of 
 Alonso de Olmedo. (Bull. Hisp. (1908), p. 244.) 
 
 Morales (Felipe de), native of Cordoba, married Catalina 
 Sanchez of Jaca in 1650. Both were then members of the company 
 of Adrian Lopez in Valladolid. (M. y M., p. 567.) 
 
 Morales (Gaspar de) played third parts in the company of 
 Pablo Martin de Morales in Seville in 1678. 
 
 Morales (Geronimo de) played second parts in the company 
 of Pedro de Ortegon in Seville in 1635. 
 
 Morales (Gregorio de) and his wife Maria Angela were in 
 the company of Francisco Solano from March, 1637, till Shrove- 
 tide, 1638. 
 
 Morales (Ignacia Petronila de), "single woman," actress 
 in the company of Pablo Martin de Morales in Seville in 1678. 
 
 Morales (Jeronimo) played second galanes in the company of 
 Sebastian de Prado in 1659—62; barbas in the company of Juan 
 de la Calle and Bartolome Romero in 1664; he was with Fran- 
 cisco Garcia in 1665, with Escamilla in 1670 and 1677, with Felix 
 Pascual in 1673, and with Manuel Vallejo in 1672. See above, 
 Jeronimo de Morales, perhaps the same person. His daughter 
 was in Seb. de Prado's company in 1 660. 
 
 Morales (Josefa de) and her husband Francisco de la Calle 
 were in the company of Felix Pascual in i665~7o( ?), and in that 
 of Magdalena Lopez in Seville in 1674; in 1680 she played 
 segundas damas in the company of Jeronimo Garcia, and in 1681 
 
SPANISH ACTORS AND ACTRESSES 529 
 
 primeras damas in the company of Carvajal. She had a son, Salva- 
 dor de la Calle. Pellicer, Vol. II, p. 64, says that she first ap- 
 peared upon the stage in the company of Juan de Nieva, in 1632 ( !) , 
 and died in Madrid in 1684. 
 
 Morales (Juan de), actor in the company of Nicolas de los 
 Rios in March, 1590. He died before April 10, 1595, when Juana 
 de Villalba is designated as his widow. He died by violence, and 
 on the date just mentioned his widow withdrew an accusation 
 that she had made against Jeronimo de Aguilar for killing her hus- 
 band. The widow afterward (before 1597) married Baltasar 
 Pinedo. 
 
 Morales (Juan de), actor in the company of Antonio de 
 Castro in Seville in 1656, and played third parts in the company 
 of Jose Garceran in the following year. 
 
 Morales (Maria de) and her husband Pedro Llorente were 
 members of the company of Tomas Fernandez for one year from 
 Nov. 12, 161 1. She was in her husband's company in Dec, 1614, 
 and in Seville at Corpus in 1617, when they received a gratuity of 
 220 reals. She outlived her husband, who died on Jan. 30, 1621. 
 She is mentioned by Suarez de Figueroa (1615) as a famous 
 actress, and appeared in Tirso's La Tercera de la Sancta Juana 
 (licensed in 1616) on its first representation. She seems also to 
 have produced the first part of this comedia in Valladolid, in 
 Feb., 1 61 5. See Sanchez-Arjona, p. 165. 
 
 Morales (Maria de), daughter of Francisco de Arteaga and 
 Maria Perez ; all were received into the Cofradia de la Novena on 
 April 26, 1631. In 1633-34 she and her father were members of 
 the company of Juan Bautista Espinola. (AT. D., p. 229.) 
 
 Morales (Mariana de) or Mariana Vaca de Morales, daugh- 
 ter of Juan de Morales Medrano and Jusepa Vaca, who were 
 married in 1602. She was acting in her father's company in 
 Seville at Corpus, 161 8, and was then about fifteen years old. On 
 this occasion she and her mother received a gratuity of 300 reals 
 for excellence in the auto La Serrana de la Vera. She seems to 
 have belonged to her father's company till 1624, except in 1622, 
 when she was in the company of Manuel Vallejo at Corpus. 
 Her name occurs in the cast of Lope de Vega's El Poder en el 
 Discreto (1623), and she was doubtless the autora taking the part 
 
53Q SPANISH ACTORS AND ACTRESSES 
 
 of Lisena in the cast of Lope's Amor con Vista (1626), for it was 
 represented by the company of Antonio de Prado. She was the 
 second wife of Antonio de Prado, and was still acting in his com- 
 pany in 1650. They were living in the Calle de las Huertas, 
 Madrid, at the time of Prado's death on April 14, 1651. In 1649 
 she had received a gratuity for acting in the Corpus festival at 
 Madrid, and in the following year she was in the company of her 
 husband. (Perez Pastor, Calderon Doc, I, p. 169.) She was still 
 acting in 1658, when she belonged to the company of her son Jose 
 Garcia de Prado in Seville. She also had a son Diego, and died 
 in Madrid in 1673. 
 
 Morales (Maximiliano or Maximiliano Eustorquio de), 
 actor in the company of Antonio de Prado in 1632, and played 
 second parts in the company of Juan Bautista Espinola in Feb., 
 1633-34. He seems to have been in Prado's company in 1634- 
 i636( ?). (Rosell, I, p. 97.) In Sept., 1637, he was in the com- 
 pany of Bartolome Romero, and in 165 1 in that of Carlos de Tapia. 
 (M. y M., p. 567.) He was a nephew of Juan de Morales 
 Medrano, and was called el del escopetazo. He died in the hospital 
 at Murcia in 1658. v. Gallardo, Ensayo, Vol. I, p. 671, and 
 Cotarelo, Tirso, p. 216, where the name is given as if there were 
 two actors Max. and Eustorquio. 
 
 Morales (Pedro de), actor and autor de comedias, was a wit- 
 ness, in April, 1599, to a contract made by Luis de Vergara. On 
 Dec. 27, 1602, he witnessed the marriage contract of Juan de 
 Morales Medrano and Jusepa Vaca. Lope de Vega, in his Peregrine 
 (1604), calls him "cierto, adornado y afectuoso representante." 
 He first produced Lope's comedia Los Amantes sin Amor before 
 1604, and is mentioned by Rojas, Viage, p. 131, among the actors 
 who had written farsas, loas, etc. Whether he is the Morales, 
 author of the play El Conde loco, is uncertain. See Barrera, Cata- 
 logo, pp. 274, 275, 517, col. 1, and 527. In his Viage del Parnaso 
 Cervantes says : 
 
 The next, who is the Muses' chief delight, 
 
 Their grace, their charm, their wisdom, all in one, 
 Who bears the palm for goodly wit at sight, 
 
 Is Pedro de Morales, true-born son 
 Of courtly taste, the sure retreat always 
 My poor luck finds that else might be undone. 
 
SPANISH ACTORS AND ACTRESSES 531 
 
 "The man to whom Cervantes consecrates this short eulogium, one 
 of the most delicate and touching in the poem, was a famous come- 
 dian and a writer of comedies. He seems to have befriended Cer- 
 vantes in the deepest hour of his need, and Cervantes was not the 
 man to forget either a friend or a kindness. He represents him 
 further on as being one of the few who welcomed him on his return 
 from Parnassus: 
 
 My heart and hand I gave and warm embrace 
 To Pedro de Morales. . . ." 
 
 Morales was still alive in 1636 to throw a little flower on Lope's 
 grave, in the shape of a touching sonnet contributed to Montalvan's 
 "Fama Postuma de Lope de Vega." See Cervantes, Journey to 
 Parnassus, translated by James Y. Gibson, London, 1883, p. 349, 
 an excellent work in every way, which deserves to be better known. 
 
 Morales (Sebastian de), actor in the company of Gaspar de 
 Porres in 1604-05, from Shrovetide to Shrovetide, and in the 
 company of Diego Lopez de Alcaraz in April, 1607. 
 
 Morales (Segundo de) and his wife Leocadia de Torres were 
 members of the company of Diego Vallejo in Seville at Corpus 
 in 1 6 19. In 1630 he is called "alquilador de libreas y apariencias." 
 {Bull. Hisp. (1908), p. 256.) He was an autor de comedias in 
 1637 and 1638. 
 
 Morales Medrano (Juan de), one of the most famous of 
 Spanish theatrical managers, was an actor at least as early as 
 1595. He married the no less celebrated actress Jusepa Vaca de 
 Mendi on Dec. 27, 1602, and was one of the eight autor es author- 
 ized by the decree of 1603, and one of the twelve permitted by the 
 decree of 1 61 5. Some time prior to Sept. 13, 1602, Morales had 
 agreed to act in the company of Antonio Granados for one year, 
 but broke the contract, for which Granados had him put in prison, 
 but released him on the payment of 450 reals and Morales's agree- 
 ment to act with Granados for one month. (B. H. (1907), 
 p. 367.) In Aug., 1603, Morales represented two comedias pri- 
 vately before the Queen at Valladolid, receiving 600 reals. (Ibid., 
 p. 368.) In 1604 his company represented the autos in Seville, 
 and also appeared in Madrid, producing Mescua's comedia La 
 Rueda de la Fortuna. v. Life of Lope de Vega, p. 153. In 1606 
 he represented the comedia El Caballero de Olmedo (ibid., 
 
532 SPANISH ACTORS AND ACTRESSES 
 
 p. 165, n.)i and also inaugurated the Casa de Comedias at Zamora. 
 (There was, however, a theater in Zamora some years before this. 
 See S.-A., p. 109, n.) In June, 1608, he represented the comedia 
 San Luis Bertran in Valencia, receiving 2500 reals. (Cang. de la 
 Acad, de los Nocturnos, ed. Grajales, Pt. II, Valencia, 1905, p. 202.) 
 He was also in Valencia in 1630 (Jan. and Feb.). In 1609 he rep- 
 resented autos in Toledo. He again represented the autos in Seville 
 in 1610, 1615, 1616, and 1618, receiving each time 700 ducats. In 
 1606, 1608, 1612, and 1614 his company represented autos at 
 Madrid. His daughter Mariana de Morales became the wife of 
 Antonio de Prado; father, mother, and daughter were acting in 
 the company of Manuel Vallejo in 1622. (N. D., p. 297.) In 
 May and June, 1623, his company represented six comedias pri- 
 vately before the King, and the autos in Madrid in 1623, 1624, 
 and 1625. In 1623 he produced Lope's El Poder en el Discreto. 
 In 1625 he petitioned to have a house that he was building in the 
 Calle del Principe exempt from taxation because he had served 
 the Queen for twenty-two years and because he had eight children. 
 (Bull. Hisp. (1908), p. 251). Between this date and 1635 his 
 company often performed before Philip IV. v. Averiguador, 
 pp. 8 et seq. He was one of the few Spanish theatrical managers 
 whom fortune favored, and in 1614 owned houses in the Calle del 
 Principe, and in 1627-29 in the Calle del Lobo, the Calle del 
 Prado, corner of the Calle del Leon, and others in the Calle del 
 Nino. He was a hidalgo, and when sued for debt in 1634, in 
 Madrid, he claimed the privileges of hidalguia by virtue of letters 
 patent granted in Valladolid on Sept. 1, 1627. (N. D., p. 239.) 
 The date of his death is not known. For his company in 1624, 
 see ibid., p. 207. 
 
 Moreno (Baltasar) and his wife Catalina Moreno were 
 members of Avendano's company in 1632; both names occur in the 
 cast of Tirso's Celos con Celos se curan; the MS. bears a censura 
 dated 1625. 
 
 Moreno (Juan), actor in the company of Antonio Granados 
 in Dec, 1613. The name Moreno occurs in the cast of Tirso's 
 Celos con Celos se curan (1625). 
 
 Morote (D a Maria), wife of Juan Bautista de Haedo; she 
 played first parts in the Corpus festival at the villa del Escorial 
 in 1636. 
 
SPANISH ACTORS AND ACTRESSES 533 
 
 Mosquera (Antonio) played terceras partes in the company of 
 Agustin Manuel and Felix Pascual in 1671. 
 
 Mosquera (Manuel de), native of Valladolid and originally 
 a painter by profession, then actor in the company of Manuel 
 Vallejo in 1670; he also played third galanes in 1672, and barbas 
 in 1673, 1674, 1676, 1679, and 1681 in the same company; in 
 1671 he was with Felix Pascual; in 1677 and 1678 he was with 
 Escamilla. He married Antonia del Pozo and afterward (in 
 1676?) Maria de Cisneros. 
 
 Moya (Ana de) appeared as Dona Juana in Lope's La Conpe- 
 tencia en los Nobles in i628( ?). 
 
 Moya (Bartolome de), actor in the company of Diego Lopez 
 de Alcaraz in 1603-04. 
 
 Moya (Melchor de) and his wife Ana Maria de la Canal 
 were in the company of Nicolas de los Rios in 1605 in Valladolid 
 and in 1609 in Seville. 
 
 Mozo (Roque) of Zaragoza, actor in the company of Juan 
 Acacio in Seville in 161 9. 
 
 Mudarra (Francisco de) belonged to the company of Nicolas 
 de los Rios in Seville in 1609. He had a company in 161 7 and 
 1619, in the former year with Francisco Ortiz. In this year, in 
 Sept., he represented at Vallecas. He is the author of a comedia, 
 Nadie diga mal del dia hasta que la luz se acabe, dated 1617. 
 v. Paz y Melia, Catdlogo, No. 2275. 
 
 Mudarra, v. Castillo (Pedro Manuel de). 
 
 Munilla (Diego), member of the company of Fernan Sanchez 
 de Vargas for one year from March 10, 1634. 
 
 Muniz (Jeronima) played fourth parts and the harp; she was 
 the wife of Juan Antonio de Monroy, and both were in the com- 
 pany of Jose Garceran in Seville in 1657. 
 
 Muniz (Juan Bautista) and his wife Euxenia Osorio were 
 in the company of Baltasar Pinedo in Feb., 1613, and in the com- 
 pany of Tomas Fernandez in April, 1619, when they paid 2400 
 reals for a costume. Both were in the company of Alonso de 
 Olmedo in 1621. {Bull. Hisp. (1908), p. 244.) 
 
 Munoz (Ana), celebrated actress, and wife of Antonio de 
 Villegas in June, 1593. v. Rojas, Viage, p. 51. She is mentioned 
 by Suarez de Figueroa in his Plaza Universal. Her name occurs in 
 the cast of Lope's Quien mas no puede (1616). v. Luis Fer- 
 
534 SPANISH ACTORS AND ACTRESSES 
 
 nandez-Guerra, D. Juan Ruiz de Alarcon, p. 1 86. She had a son 
 (Rojas, Viage, p. 48), Juan Bautista de Villegas, q. v., besides 
 Francisco, the dramatist, and two daughters, Maria and Ana. Her 
 husband died on May 29, 1613, after which she managed his com- 
 pany for some time. (Bull. Hisp. (1907), p. 378.) Whether the 
 Ana Munoz whom we find as the wife of Pedro Cebrian on Sept. 4, 
 1616, was the widow or the daughter of Villegas, I do not know. 
 
 Munoz (Antonio), actor in the company of Juan Roman in 
 1639-40, and in Felix Pascual's company in Seville in 1665. 
 
 Munoz (Francisca), wife of Francisco Elguero in Feb., 1636, 
 when they appeared at the Corpus festival at Truxeque. In July, 
 1637, they represented comedias in the village of Hita. 
 
 Munoz (Francisco), actor in 1589. In June, 1603, and 
 March, 1604, he and his wife Marina de Aguilar were in a joint 
 company, and in 1607 both were members of Alonso Riquelme's 
 company in Seville. In March, 1614, he was in Alonso de Here- 
 dia's company. 
 
 Munoz (Isabel), actress in the company of Hernan Sanchez 
 de Vargas in Valladolid in 1619. (M. y M., p. 566.) 
 
 Munoz (Jeronimo), prompter in the company of Tomas Diaz 
 in Seville in 1643. 
 
 Munoz (Juan), actor in the company of Antonio Granados in 
 Dec, 1613. 
 
 Munoz (Miguel) and his wife Angela de Toledo were in the 
 company of Juan Bautista Valenciano in March, 1623. (Bull. 
 Hisp. (1908), p. 248.) 
 
 Munoz (Pedro), member of the company of Cristobal de 
 Avendano in March, 1623. 
 
 Munoz (Sebastiana), wife of Francisco Rodriguez; both were 
 in Juan Roman's company from Shrovetide, 1639, to 1640. 
 
 Munoz de la Plaza (Antonio), actor in the company of 
 Alonso de Villalba for one year from Feb. 24, 1614. 
 
 Murillo, famous actor, mentioned by Suarez de Figueroa, 
 Plaza Universal (1615), as being then deceased. 
 
 Muzio, Italian actor in Spain in 1538. 
 
 Najera (Tomas de), actor and musico in the company of 
 Tomas Fernandez in 1636-39. v. Rosell, Vol. I, pp. 55, 381. 
 His name occurs in the cast of Calderon's Troya abrasada( 1644). 
 He died in Barcelona. See also under Naxera. 
 
SPANISH ACTORS AND ACTRESSES 535 
 
 Narbaes, actor in 1623, appearing in Lope's La nueva Victoria 
 de D. Gonzalo de Cordoba. 
 
 Narbaes (Francisca), actress in the company of Antonio de 
 Rueda in Seville in 1644. 
 
 Navala (Maria), dancer in the company of Juan de Morales 
 Medrano at the Corpus festival in Seville in 161 5, when she re- 
 ceived a gratuity of 10 ducats for excellence in the bailes. 
 
 Navarrete (Alonso Diaz) and his wife Antonia de Victoria 
 were in the company of Avendano in 1632. 
 
 Navarrete (Antonio de), actor in the company of Alonso 
 de Heredia in March, 1614. A "Nauarete" appeared in Tirso's 
 La Tercera de la Sancta Juana (licensed in 1616) ; a "Nabarrete" 
 in Lope's La Conpetencia en los Nobles (1628) ; "Nabarete" in the 
 cast of Paciencia en la fortuna, of which there is an Osuna MS. 
 dated 1615 (v. Restori, Studj, p. 143), and in Como ha de usarse 
 del bien {ibid., p. 129), and in La Guar da cuidadosa by Miguel 
 Sanchez, printed in 1 61 5. 
 
 Navarrete (Bartolome de), member of the company of Cris- 
 tobal Ortiz de Villazan for one year from Feb. 17, 1 6 19. In the 
 list of this company he is called a musico, and was from Granada. 
 
 Navarrete (Blas de), actor in the company of Juan Perez de 
 Tapia in Seville in 1662; he and his wife Feliciana de Ayuso 
 were in the company of Francisco Gutierrez at Seville in 1668. 
 In 1671 and 1672 he was in the company of Ant. de Escamilla; 
 in 1673 with Felix Pascual, and in 1674, 1675, and 1676 with 
 Manuel Vallejo. He is probably the Fernando Ignacio Bias de 
 Navarrete who was in Antonio de Castro's company in 1656. 
 
 Navarrete (Juan Antonio), musico in the company of 
 Manuel Vallejo in 1673. His wife Paula was in the same com- 
 pany. 
 
 Navarrico of Toledo, actor. Rojas, Viage, p. 362, mentions 
 him among the best actors of his day. 
 
 Navarro (Diego), actor in the company of Abagaro Francisco 
 Valdes in 1583-84. {B. Hisp. (1906), p. I53-) 
 
 Navarro (Jose), musician in the company of Pablo de Morales 
 in Seville in 1678. 
 
 Navarro (Juanico), member of the company of Jose Ant. 
 Garcia in 1679. 
 
 Navarro (Pedro), antiguo autor, mentioned by Rojas, Viage 
 entretenido, p. 361, and also by Cervantes in the Prologue to his 
 
536 SPANISH ACTORS AND ACTRESSES 
 
 Comedias; Lope de Vega also calls him a famous actor (Comedias, 
 Part XVI, 1622, Prologue). He is doubtless the "Unico Poeta y 
 Representante Navarro," author of the Comedia muy exemplar de 
 la Marquesa de Saluzia, llamada Griselda, published in 1603. See 
 the reprint by C. B. Bourland, Revue Hispanique, 1905. Rojas, 
 Viage, p. 132, says: Nauarro of Toledo "fue el primero que 
 inuento teatros." 
 
 Navarro Oliver (Juan), actor, and his second wife Jeronima 
 de Olmedo were in the company of Avendaiio in 1632. He was 
 in the company of Antonio de Rueda in 1644 (see the list of the 
 company in S.-A., p. 371, where he is called simply Juan Navarro), 
 and was still living in 1678. He and his wife were with Jose 
 Carrillo in Valencia in 1662, and with Manuel Vallejo in 1674, 
 and he was with Escamilla as barba in 1675—78. This was proba- 
 bly the Juan Navarro who had a company of Spanish players in 
 London in Dec, 1635, when he received £10 "for himself and the 
 rest of the company for a play presented before his Majesty, 
 Dec. 23." (Malone, Historical Account of the English Stage, 
 Basil, 1800, p. 131, n.) 
 
 Navas (Juan de), actor in the company of Esteban Nunez in 
 Seville in 1654. 
 
 Naxera (Andres de), autor de comedias in 1593, when he 
 managed a company jointly with Gabriel Nunez. In 1606 he 
 had charge of the dances at Corpus in Madrid, and in 1609 of a 
 danza de cascabel entitled "The dance of Don Gayferos and 
 rescue of Melisendra." In 161 1 with Gabriel de la Torre he 
 brought out at Corpus the dance El Rey don Alonso. He repre- 
 sented other dances in 16 15 -18. 
 
 Necti (Josefa), wife of Francisco Alvarez de Victoria in 1630; 
 both were in the company of Tomas Fernandez before 1639. 
 
 Negrilla (La), actress playing second parts in the company of 
 Ana de Espinosa in Madrid at Corpus, 1641. v. Schack, Nach- 
 trage, p. 72. 
 
 Neyra (Juan de) brought out one of the dances at Corpus in 
 Madrid in 1628. 
 
 Nicolas (Catalina de), first wife of the autor de comedias 
 Pedro de la Rosa in Feb., 1636. v. Rosa (Catalina de la.) 
 
 Nieto (Josefa), wife of Antonio de Mata; both were in 
 Jacinto Riquelme's company in Seville in 1652. In 1677 and 1678 
 
SPANISH ACTORS AND ACTRESSES 537 
 
 she was in the company of Escamilla, and in 1679-81 in the com- 
 pany of Manuel Vallejo. 
 
 Nieto (Juan), member of a joint company in Madrid in 
 March, 1604. 
 
 Nieva (Juan de), autor in charge of one of the autos at 
 Seville in 1628; his company was to represent in La Monteria, 
 Seville, in 1633, but the performances did not take place. (S.-A., 
 p. 284.) He was a brother-in-law of Damian Arias. 
 
 Nobles of Toledo, well-known actor in 1602, mentioned by 
 Rojas, Viage entretenido, p. 362. 
 
 Noguera (Antonio de), actor in the company of Andres de 
 la Vega for one year from March, 1639. 
 
 Nolasco (Pedro), actor in the company of Jose Garcia de 
 Prado in 1658. 
 
 Nunez (Alonso), musician and dancer in the company of Juan 
 Acacio in Seville in 16 19. 
 
 Nunez (Esteban), el Polio, actor in the company of Lopez de 
 Salazar, Mahoma, in 1633, and in that of Juan Acacio in Seville 
 in 1644. His first wife was Josefa de Salazar (1644), who was in 
 the same company, and both were in the company of Lorenzo 
 Hurtado in Seville in 1645. In 1648 and 1654 ne had his own 
 company in Seville, Cadiz, and other cities, his wife Josefa Salazar 
 being a member of his company. His second wife is said to have 
 been Juliana Candau, widow of Pedro Diaz( ?). Juliana was the 
 wife of Pedro de Urquiza in 1644, when both were in the company 
 of Antonio de Rueda in Seville. 
 
 Nunez (Francisco), member of the company of Diego de 
 Santander in 1594, and in Domingo Balbin's company in 1613. 
 In Feb., 1619, he was in Pedro Cebrian's company. 
 
 Nunez (Gabriel), autor de comedias in Madrid in 1593 and 
 1603. In Aug., 1593, he performed the comedias Los Comenda- 
 dores (Lope de Vega) and Los Enredos de Benetillo (by Lope?), 
 "con los dichos entremeses in cada de las dichas comedias con su 
 musica de biola y guitarras," at Nava del Carnero. (N. D., 
 p. 36.) He represented at Corpus in Barajas in 1603. 
 
 Nunez (Juan), dancer, of Madrid, was in the company of 
 Cristobal Ortiz de Villazan in Seville in i6ig(?). In 1626 he 
 was in the company of Jose de Salazar in Seville, and in 1632 
 in Antonio de Prado's company. In 1637 ne was with Luis Lopez 
 
538 SPANISH ACTORS AND ACTRESSES 
 
 in Seville, when he received a gratuity of 3750 mrs. for the hand- 
 some costume he wore. In 1645 he was with Bartolome Romero 
 in Valladolid. (M. y M., p. 567.) 
 
 Nunez de Luna (Diego), musician in the employ of D. Gar- 
 cia de Mendoza, Viceroy of Peru, in Lima, in 1588. 
 
 Nunez de Prado (Juan), actor in the company of Cristobal 
 de Leon in Aug., 1620, and with Pedro de la Rosa in 1639 in 
 Seville. Perhaps the same as Juan Nunez, above. 
 
 O (Maria de la), widow of the autor de comedias Luys de 
 Vergara in 1 61 7. (Perez Pastor, Bibliografia Madrilena, Vol. II, 
 
 P-437-) 
 
 O (Maria de la), wife of Antonio de Andrade, el Gallego, in 
 1 63 1, when she, her husband, and her daughter Luisa de Andrade 
 were members of the company of Manuel Vallejo. In Feb., 1633, 
 Maria de la O and her husband Juan de Samaniego engaged to 
 act for one year in the company of Juan Bautista Espinola, and at 
 Corpus of 1637 they took P art in the representation of an auto 
 and two comedias in the villa de Zedillo. 
 
 O (Maria de la), actress in the company of Jose Carrillo in 
 1663. (Perez Pastor, Calderon Documentos, p. 296.) There was 
 a Maria de la O de la Berruga, an actress of a later date, who was 
 the daughter of Toribio de Bustamante and the wife of Juan de 
 Flores and mother of Alfonso de Flores, harpist, of Madrid. 
 
 Ocampo (D a Maria de), widow of the actor Cristobal Juarez 
 in Dec, 1616. The inventory of his effects was filed on Dec. 15, 
 1616. 
 
 Ocana (Pedro de), of Murcia, musician and actor in the com- 
 pany of Alonso de Cisneros in Dec, 1589. His wife was Agustina 
 de Vega, and both were in the company of Gaspar de Porres from 
 March 27, 1593, for one year. 
 
 Ochoa (Mariana), v. Ochoa (Salvador de). 
 
 Ochoa (Pedro de), actor in the company of Juan de Limos 
 from March, 1583, till Shrovetide, 1584. He was to receive 3 reals 
 at the end of each performance, besides board, lodging, travel- 
 ing expenses, and to have his shirts washed. (B. H. (1906), 
 p. 153.) He acted in the company of Antonio de Villegas in June, 
 
 I593- 
 Ochoa (Salvador de) and his wife Mariana were in the 
 
SPANISH ACTORS AND ACTRESSES 539 
 
 company of Nicolas de los Rios in Seville in 1609. In March, 
 161 1, Ochoa was in Pinedo's company, and at Corpus in the same 
 year he acted with the company of Tomas Fernandez in Madrid, 
 while in Feb., 1613, we find Salvador de Ochoa and his wife 
 Jeronima Rodriguez in Baltasar Pinedo's company. 
 
 Ochoa (Salvadora), wife of Juan de Exea; both were in the 
 company of Baltasar Pinedo in 1613. 
 
 Ochoa de Arroyo (Domingo), actor in the company of Anto- 
 nio de Prado in Seville in 1639. (S.-A., p. 325.) He appears 
 under the name Arroyo in the Entremeses of Benavente, also in 
 Prado's company, as vejete about 1633-36 (?). v. Rosell, Vol. I, 
 pp.97, 174, 322, 351. 
 
 Ojeda (Felipa Maria de), actress in the company of Luis 
 Lopez in Seville in 1650. 
 
 Ojeda (Maria Valba) played second parts in the company of 
 Pedro de Ortegon in 1635. 
 
 Oliva (Francisco), ministril in the company of Alonso de 
 Morales and others in April, 1592. 
 
 Olivares (Antonio de), actor in the company of Alonso 
 Riquelme( ?) for one year from March, 1602. 
 
 Olivares (Lorenzo de), nephew of the preceding, and actor 
 in Riquelme's company in 1602-03. 
 
 Olivares .(Mariana de), wife of the celebrated autor de come- 
 dias Roque de Figueroa; both were in the company of Domingo 
 Balbin from Sept. 1, 1623, till Shrovetide, 1624. She acted in her 
 husband's company in 1631-32. (Cotarelo, Tirso, p. 206.) She 
 had two children: Miguel de Figueroa, who died in Milan as a 
 captain of cavalry, and Gabriela de Figueroa (q. v.), who married 
 the actor Jose Garceran. 
 
 Olmedo y Tofino (Alonso de), famous actor and autor de 
 comed'ms, was the son of the Mayordomo of the Count of Oro- 
 pesa, and was born in Talavera de la Reina, where he served 
 the Count, as a page. He is said to have fallen in love with an 
 actress, Luisa de Robles, a member of a traveling company which 
 visited his native town. Luisa was then the wife of Juan Laba- 
 dia, an actor; some time thereafter she received the news that her 
 husband had been drowned, whereupon she is said to have married 
 Olmedo. Some three years after this, being then in Granada 
 with his company, Olmedo was surprised one day by the sudden 
 
540 SPANISH ACTORS AND ACTRESSES 
 
 reappearance of Luisa's former spouse. We are told that Olmedo 
 accepted the situation with admirable resignation; that he imme- 
 diately shared his possessions with Luisa and bade her farewell. 
 See the story, told with some detail by Sanchez- Arjona, p. 223. 
 While this story of Luisa de Robles in its main incidents may 
 be true, she was certainly not the siren who first lured Olmedo 
 upon the stage. In a petition to the town council of Seville (ibid., 
 p. 224), dated 1640, Olmedo says that he had served the King 
 at the Corpus festivals for forty years, and that he had been 
 manager of a company for twenty-four years. This would place 
 the beginning of his theatrical career in the year 1600, and his 
 beginning as an autor in 1616. What we know of Luisa de Robles 
 is briefly this: in June, 161 8, she is described as the widow of 
 Juan Labadia (N. £)., p. 167) ; at Corpus in 1621 she was in 
 Olmedo's company in Madrid; in Sept., 1623, she is designated 
 a single woman over twenty-five years old, and belonged to Manuel 
 Vallejo's company (ibid., p. 201) ; in 1624 she was in Antonio de 
 Prado's company in Madrid, and in 1627 she and her husband 
 Juan de Labadia were in -Manuel Simon's company in Seville. If 
 the Enoch Arden episode ever took place, it must have occurred 
 about 1618 (or rather before that date, as we shall see) ; but at 
 that time Olmedo had been upon the stage for many years. His 
 career was a long one. His name occurs in the cast of Lope's Los 
 Guzmanes de Toral, written before 1604. v. Restori's edition, p. ix, 
 n. 2, where Obredo = Olmedo. In 1610 he acted in Riquelme's 
 company and appeared in Lope's La buena Guarda.- On July 11, 
 1613, he agreed to act in the company of Ana Munoz, widow of 
 Antonio de Villegas, until Shrovetide, 1615, receiving 18 reals 
 daily, besides 6 reals for maintenance and 30 ducats for Corpus. 
 (B. H. (1907), p. 378.) His company in 1621 comprised: Cris- 
 tobal Ortiz and Ana Maria, his wife; Juan Muniz and Eugenia, 
 his wife ; Cristobal de Morales and daughter ; Pedro de Ribera and 
 Catalina de Monsalve, his wife; Francisco de Arteaga and his 
 daughter Maria Alvarez; Juan de Benavides, Pedro Aguado, 
 Francisco Vicente, Pedro de Espafia, Lorenzo Salvador; Jeronimo 
 de Heredia and Catalina de Osorio, his wife ; Luisa de Robles and 
 Alonso de Olmedo. (Bull. Hisp. (1908), p. 244.) On Nov. 21 
 of this year he agreed to take his company to Seville and represent 
 every day except Saturday, till Shrovetide of 1622 (ibid., p. 245), 
 
SPANISH ACTORS AND ACTRESSES 541 
 
 producing two new comedias each week, and also half the Corpus 
 festival, and to have the exclusive right of representing during this 
 time. His company represented autos at Madrid in 1620 and in 
 Seville in 1622, 1623, 1630, 1635, and 1636. In 1631 he entered 
 the Cofradia de la Novena. In Jan., 1632, he represented before the 
 King the comedia Si el caballo vos han muerto, and in 1636 
 represented six comedias before Philip IV. Olmedo married be- 
 fore 1 618 Jeronima de Ornero, daughter of the Mayordomo of 
 the Count of Sastago; she acted in his company, together with her 
 daughter Maria de Olmedo, in 1635, Olmedo playing old men's 
 parts in his own company. For a list of this company, v. S.-A., 
 p. 297. He had six children, several of whom were members of 
 his company at different times. In 1638, on Shrove Tuesday, his 
 company took part in the fiesta in the Buen Retiro, but in 1640 
 we again find him acting in the company of another, Manuel 
 Vallejo. (S.-A., p. 339.) He retired from the stage before 1646. 
 Alonso de Olmedo was a hidalgo, and by a special decree of 
 Philip IV., dated May 20, 1647, all the privileges of his rank 
 were preserved to him, "although he had been an autor de come- 
 dias." He died in Madrid in 165 1. 
 
 Olmedo (Alonso de), el Mozo, son of the preceding, was a 
 Bachiller en canones in the University of Salamanca, but aban- 
 doned his studies for the stage. In Gallardo, Ensayo, Vol. I, 
 p. 674, we read that he was admitted into the Cofradia in 1631, 
 "being then in the company of his father." This does not neces- 
 sarily imply that he was then old enough to appear upon the stage. 
 The first notice that we have of him as an actor is in 1640, when 
 he belonged to the company of Manuel Vallejo. Sanchez-Arjona 
 says that he acted and danced in his father's company in the pre- 
 ceding year in Seville (p. 223). He was famous in the role of 
 galan, acting for years in rivalry with Sebastian de Prado. In 
 1659 he was first galan in the company of Diego Osorio; in 1660 
 he was with Pedro de la Rosa and appeared in Montero's play 
 A mar sin favorecer; in 1 661 with Ant. de Escamilla; 1662 with 
 Simon Aguado and Juan de la Calle; 1663, 1664, 1665, 1670, 
 1671, 1672, 1675, 1676, 1677, and 1678 with Escamilla; 1673, 
 1674, 1679, 1680, and 1 68 1 with Manuel Vallejo, and died in 
 1682, in Alicante, while a member of Escamilla's company. His 
 wife was Maria Antonia de Leon of Velez-Malaga, who, it is said, 
 
542 SPANISH ACTORS AND ACTRESSES 
 
 was kidnapped a few days after her marriage by hirelings of the 
 tenth Admiral of Castile, D. Juan Gaspar Enriquez de Cabrera, 
 and her husband never saw her again. Olmedo was a galan both 
 on and off the stage; he had a son named Gaspar de Olmedo by 
 the actress Maria de Anaya, before the latter married Jose Antonio 
 de Prado. The parents of Maria de Anaya, to break off her rela- 
 tions with Olmedo, had sent her to Paris with Sebastian de Prado's 
 company in 1660, where her son Gaspar was born. He also had a 
 son by the celebrated Manuela de Escamilla, named Alonso de 
 Olmedo, who also followed the stage and acted gracioso parts with 
 much applause. (Cotarelo, Migajas del Ingenio, p. 210.) Olmedo 
 was the author of a number of bailes and entremeses, a list of which 
 is given by Restori, Piezas de Titulos de Comedias, p. 181, n. 
 
 Olmedo (Gaspar de), actor in Manuel Vallejo's company in 
 1 68 1. He was the son of Alonso de Olmedo, el Mozo, and Maria 
 de Anaya. 
 
 Olmedo (Hipolito de), actor (in 1650?) ; his real name was 
 Zorrilla. He was manager of a company in 1676. 
 
 Olmedo (Jeronima de), daughter of Alonso de Olmedo and 
 Jeronima de Ornero. She and her husband Juan Navarro Oliver 
 were in Avendano's company in 1632. (Cotarelo, Tirso, p. 203.) 
 In 1638—39 she was in the joint company of her father and Luis 
 Bernardo de Bovadilla. In 1640 she was in Vallejo's company in 
 Seville; in 1659 with Diego Osorio; in 1662 with Jose Carrillo; in 
 1666 she acted in Paris, and in 1674 with Manuel Vallejo. She 
 died in Madrid on Jan. 19, 1703, more than eighty years of age. 
 
 Olmedo (Maria de), sister of the preceding, took fifth parts 
 and played the harp in her father's company in Seville at Corpus, 
 1635; m Feb., 1638-39, she was in the company of her father 
 and Luis Bernardo de Bovadilla. In 1640 she was segunda dama 
 in the company of Manuel Vallejo. She is said to have married 
 the autor Juan Perez de Tapia (S.-A., pp. 340, 359) ; if this be 
 so she must have married him after Nov. 15, 1640, for at that date 
 Tapia's first wife, Ana Maria Rodriguez, was still living. (N. D., 
 p. 327.) According to Sanchez-Arjona she was the wife of Juan 
 Perez in 1653, when both were received into the Cofradia de la 
 Novena (p. 359), and was understudy in the company of Esteban 
 Nunez in 1657 (P- 34o). She died in Madrid, in April, 1668 
 (ibid., p. 340), or in Seville! or Granada! (ibid., p. 360). 
 
SPANISH ACTORS AND ACTRESSES 543 
 
 Olmedo (Maria de), wife of the actor Tome de Olmedo; both 
 -were in the company of Esteban Nunez in Valencia in 1654. 
 There was a Maria de Olmedo in the company of Nunez in 
 Valencia in 1657. See the preceding article. 
 
 Olmedo (Tome de), v. the preceding. 
 
 Olmedo (Vicente de), actor and dancer, husband of Fran- 
 •cisca Bezon (1650?). In 1659 both were in the company of Diego 
 Osorio; according to Gallardo, I, p. 673, he was residing in Madrid 
 in 1717. He was a son of Alonso de Olmedo. 
 
 Olmos (Dona Maria de), "single woman," actress in the 
 Corpus festival at the villa de Zedillo in April, 1637. 
 
 Onez (Angela de), actress( ?) in 1596. v. N. D., p. 45. 
 
 Oracio Cartagines (Nicolas) and his wife Beatriz de 
 Espinosa were in the company of Diego Lopez de Alcaraz in 1603. 
 
 Orbaneja (Jeronimo de) produced one of the autos in Seville 
 in 1559. 
 
 Ordaz (Antonio de) , actor in the company of Juana de Cisne- 
 ros in Seville in 1660. He had a company in Valencia in 1664. 
 
 Ordaz (Juan), actor in the company of Antonio de Escamilla 
 in 1670. 
 
 Ordonez (Alejandro) and his wife Francisca de Bustamente 
 were in the company of Bernardo de la Vega in Seville in 1672. 
 
 Ordonez (Diego) and his wife Maria de Montesinos were 
 members of a joint company in 1603. The name Ordonez occurs 
 in the cast of Tirso's Celos con Celos se curan (licensed 1625), in 
 Avendano's company, together with Maria de Montesinos. 
 
 Ordonez (Felipe) agreed on Feb. 25, 1638, to play "whatever 
 may be commanded, but no less than third parts," in the company 
 of Alonso de Olmedo and Luis Bernardo de Bovadilla for one year. 
 On March 2, 1638, he agreed to play first parts for one year in 
 the company of Alonso de la Vega. In 1673 a Felipe Ordonez 
 was in the company of Matias de Castro in Seville; in 1680 he was 
 cobrador with Jeronimo Garcia. 
 
 Ornero (Jeronima de), second ( ?) wife of Alonso de Olmedo 
 and a member of his company in 1635, was the daughter of the 
 Mayordomo of the Count of Sastago. She died in 1665. 
 v. Olmedo (Alonso de). 
 
 Oro (Ana de), wife of Pedro de Contreras; both belonged to 
 the company of Pedro de la Rosa from March, 1637, f° r one y ear - 
 
544 SPANISH ACTORS AND ACTRESSES 
 
 She appeared in his company in the Entremeses of Benavente. 
 v. Rosell, Vol. I, p. 381. 
 
 Orozco (Jeronimo de), actor in the company of Manuel 
 Vallejo in 1670. 
 
 Orozco (Miguel de), actor in the company of Diego Osorio 
 in 1659; in 166 1 played third parts in Sebastian de Prado's 
 company; in 1662 with Simon Aguado, and in 1663, 1664, 1665, 
 and 1670 with Ant. de Escamilla. 
 
 Ortega (Diego de) and his wife Ana Maria de Peralta (after- 
 ward the wife of Juan Bezon), both natives of La Mota del 
 Cuervo, were in the company of Diego Vallejo in Seville in 1619, 
 and in the company of Manuel Vallejo in Madrid in 1622. 
 
 Ortega (Juan de), el Hijo de la Tierra, was a member of the 
 company of Sebastian de Avellaneda, and joined the Cofradia de la 
 Novena in 1 636. 
 
 Ortega (Luisa de), wife of Juan de Santamaria; both were 
 in the company of Fernan Sanchez de Vargas from March 9, 1634, 
 for one year. 
 
 Ortegon (Pedro de), autor de comedias in Seville in Dec, 
 1630, and in 1 63 1, in the latter year in charge of the company 
 of Damian Arias (S.A., p. 271), and in 1634 took part in the 
 Corpus festival. He was again in Seville in 1635 (for his com- 
 pany in that year, v. S.-A., p. 299). His wife Micaela Lopez 
 played first parts in his company. He died at Madrid in the Calle 
 de Cantarranas in 1636. 
 
 Ortiz (Alonso), actor in the company of Antonio de Rueda 
 in Seville in 1644. There was an Ortiz in Juan Roman's company 
 in 1639-40. 
 
 Ortiz (Ana), widow of the autor Pedro Paez de Sotomayor. 
 Her will is dated Sept. 4, 1596. She is mentioned by Suarez de 
 Figueroa (161 5) as a famous actress. 
 
 Ortiz (Ana) , actress in the company of Antonio de Escamilla 
 in 1670. 
 
 Ortiz (Cristobal), v. Ortiz de Villazan. 
 
 Ortiz (Francisca), wife of Vicente Ortiz; both were mem- 
 bers of a joint company in March, 1604, for one year. 
 
 Ortiz (Francisco), a minor in May, 1600, when he was 
 bound to Gaspar de Porres for four years, "to serve and help him 
 
SPANISH ACTORS AND ACTRESSES 545 
 
 in anything which he may be commanded, in his farces and autos, 
 both public and private, and he is to give him food, drink, clothing 
 and shoes and all necessary things, and to cure him of any ills he 
 may have, and furnish him lodging and clean linen." (N. D., 
 p. 52.) He had a company in Feb., 1617, with Francisco Mudarra, 
 and in 1623 was in the company of Antonio de Prado. 
 
 Ortiz (Francisco) and his wife Ursula de Torres were in 
 Bart. Romero's company for one year from Feb., 1640. He was 
 cobrador. He was also cobrador in Sebastian de Prado's company 
 in 1 65 1. Perhaps the same as the preceding. 
 
 Ortiz (Maria), daughter of Cristobal Ortiz de Villazan and 
 Ana Maria de Ribero. 
 
 Ortiz (Mariana), mentioned by Suarez de Figueroa in his 
 Plaza Universal (1615), among the famous actresses then deceased. 
 I think that she was the wife of Melchor de Leon in 1601, for 
 Maxima Ortiz seems to be a mistake for Mariana Ortiz, v. Leon 
 (Melchor). 
 
 Ortiz (Micaela), sister of Maria Ortiz and wife of Pedro 
 Gonzalez; both were in the company of Jose Garcia de Prado in 
 Seville at Corpus in 1658. 
 
 Ortiz (Vicente), v. Francisca Ortiz, above. He belonged 
 to the company of Alonso Velazquez in Seville in 1598. 
 
 Ortiz de Urbina (Pedro), actor in the company of Manuel 
 Vallejo in 1622 and 1623, and with Bartolome Romero in 1631. 
 In 1636 he was cobrador for the lessees of the theaters of Madrid. 
 He bought a house in the Calle del Amor de Dios, corner of the 
 Calle de Santa Maria, from Bartolome Romero, in March, 1637, 
 and seems to have been connected with the latter's company in 
 1639-40. 
 
 Ortiz de Villazan (Cristobal), famoso representante, as 
 Lope de Vega calls him, was a native of Valladolid. His theatrical 
 career was short ; he was, apparently, in the company of Alonso de 
 Riquelme in 1613, and in Jan., 1614, he was a member of the com- 
 pany of Pedro de Valdes, and he and his wife Ana Maria de Ribero 
 (who were in the same company in the previous year) joined in 
 an obligation for money owed by them. He had a company in 
 the following year, being one of the twelve autores authorized 
 by the decree of 161 5. He represented Lope's El Sembrar en 
 
546 SPANISH ACTORS AND ACTRESSES 
 
 buena tierra (1616) and El Desconfiado (in Sept., 1617), and 
 had a company in Madrid in 161 7 and 161 8, and again in 
 
 1619 and 1623. He took part in the autos at Seville in 1619 and 
 
 1620 (for his company, v. Sanchez-Arjona, p. 204). His wife 
 acted in his company in 1 61 9, and her name and her husband's 
 also appear in the cast of Lope's La Dama boba, written in 1613, 
 and produced by the company of Pedro de Valdes in the course 
 of the same year. In 1621 he and his wife Ana Maria belonged 
 to the company of Alonso de Olmedo. (Bull. Hisp. (1908), 
 p. 244.) In Sept., 1622, he represented three comedias "en el 
 cuarto de la Reina." (Ibid., p. 247.) Ortiz had two daughters: 
 Micaela, wife of Pedro Gonzalez, and Maria. He died in the 
 Calle del Leon, Madrid, on July I, 1626. He first represented 
 Claramonte's(?) El Tao de S. Anton (in 1620-21?) and Tirso's 
 El Arbol del mejor Fruto and El mayor Desengano. 
 
 OSORIO, V. OSORIO DE VELASCO. 
 
 Osorio (Baltasar), "Rey de los Graciosos," was in the com- 
 pany of Juan de Morales Medrano in 1615, when he received a 
 gratuity of 100 reals at the autos of Corpus in Seville. Perhaps 
 this was the Osorio who appeared in Lope's Quien mas no puede 
 (1616), in Cebrian's company. 
 
 Osorio (Catalina), wife of Jeronimo de Heredia, actor, in 
 July, 1623. Both were in the company of Alonso de Olmedo in 
 1 62 1. (Bull. Hisp. (1908), p. 244.) 
 
 Osorio (Eugenia), wife of Juan Bautista Muniz; both were 
 in the company of Baltasar Pinedo in Feb., 1613, in the company 
 of Tomas Fernandez de Cabredo in April, 1619, and in Alonso 
 de Olmedo's in 162 1. 
 
 Osorio (Francisco), autor de comedias as early as 1579, when 
 he represented (June 8 and 9) in the Corral de Valdivieso, and 
 again in the corrales of Madrid in 1581 and 1582. He also repre- 
 sented in March, 1588, Aug.-Dec, 1590, and March, 1592. See 
 Appendix A. He and his brother Rodrigo had a company in 
 Valencia in 1588. He is probably the "Osorio, autor antiguo y 
 famoso," who first represented Lope de Vega's El Soldado Amante 
 and La Ingratitud vengada. 
 
 Osorio (Isabel), v. Osorio de Velasco (Diego) and 
 Guevara (Isabel de). 
 
SPANISH ACTORS AND ACTRESSES 547 
 
 Osorio (Jacinta) and her husband Jusepe de Carrion be- 
 longed to the company of Antonio Granados in 1632. 
 
 Osorio (Juan), actor, indicted in 1606 in Madrid for quar- 
 reling with an alguacil and breaking his staff. 
 
 Osorio (Magdalena), well-known actress, daughter of the 
 autor Rodrigo Osorio and wife of Diego Lopez de Alcaraz, also 
 autor de comedias, before March 28, 1601. Her name is men- 
 tioned, in a complaint made in 1588 to the Inquisition of Valencia, 
 as living in concubinage with the actor Bautista [Juan Bautista 
 de Villalobos?], while both were members of her father's com- 
 pany, v. Cotarelo, Lope de Rueda, p. 30. She must have died 
 after April, 1607, and before Dec. 19, 1610, when Lopez de 
 Alcaraz married Catalina de Carcaba. (N. D., p. 123.) 
 
 Osorio (Micaela), actress (quinta) in the company of Antonio 
 de Escamilla in 1661. 
 
 Osorio (Pedro), actor in the company of Domingo Balbin in 
 1609 and 1613, appearing in the comedia of Godinez, La Reina 
 Ester, in the latter year. 
 
 Osorio (Rodrigo), father of Magdalena Osorio and a well- 
 known autor de comedias from 1588 to 1601. He was an actor 
 in March, 1583, perhaps in the company of Juan Limos. (Bull. 
 Hisp. (1906), p. 153.) In 1588 he had a company in Valencia. 
 It consisted of : Juan Bautista of Seville, Magdalena Osorio, Isabel 
 de Torres (la Granadina), Cristobal de Avendano, Castro and 
 his wife, Juan de Vergara, Bernaldino, Bravo, Gallego, Romero, 
 musicOj and his wife. (Cotarelo, Lope de Rueda, p. 30.) That 
 Osorio was in Valencia in 1588 is certain. (Life of Lope de Vega, 
 P- 39-) The Juan Bautista just mentioned is in all probability 
 Juan Bautista de Villalobos. Osorio is the theatrical manager to 
 whom Cervantes, being in Seville in 1592, promised to furnish six 
 comedias upon such subjects as Osorio might select, and for which 
 he was to receive 50 ducats, if they turned out to be among the 
 best that had been represented in Spain. Rodrigo and his brother 
 Francisco Osorio represented the autos at Toledo in 1592, receiv- 
 ing 500 ducats. At the beginning of 1594 Rodrigo was arrested 
 and his chattels and wardrobe were attached for a debt (60,225 
 mrs.) due in Valladolid. His surety was his son-in-law, Diego 
 Lopez de Alcaraz, who was also his surety in March, 1601, when 
 Rodrigo was imprisoned for debt at the instance of Antonio Perez 
 
548 SPANISH ACTORS AND ACTRESSES 
 
 of Segovia, and released on the promise of Alcaraz to pay a part 
 of the amount due. (Bull. Hisp. (1907), p. 360.) 
 
 Osorio de Velasco (Diego), celebrated gr arioso, and his wife 
 Isabel de Guevara were admitted to the Cofradia de la Novena 
 on April 28, 1634, being then in the company of Juan Bautista 
 Espinola or Espinosa. In 1635 he was segundo gr arioso (Bezon 
 being first) in the company of Pedro de Ortegon in Seville, his 
 wife Isabel Osorio (Isabel de Guevara) playing fourth parts in the 
 same company. He was gracioso in Olmedo's company in i636( ?). 
 v. Rosell, Vol. I, p. 90. In 1638, 1639, 1640, and 1644 he was in 
 Antonio de Rueda's company, and appeared in Calderon's La 
 Desdicha de la Voz (1639). He afterward managed a company 
 and became one of the foremost autores de comedias in Madrid. 
 In 1649 and 1650 he represented autos, and in 1 65 1 represented 
 Calderon's comedias El Eneas de Dios and Antes que todo es mi 
 Dama. In 1652 Moreto wrote for him El Poder de la Amistad. 
 (Paz y Melia, Catdlogo, No. 2648.) He also represented autos 
 from 1653 at Madrid till 1661, and in the latter year his com- 
 pany was acting at the Teatro de la Cruz. On the death of his 
 first wife Isabel, he married Micaela de Andrade. v. Perez Pastor, 
 Galderon Documentos, I, passim. In 1659 he lived in the Calle 
 de Cantarranas. In 1660 he seems to have belonged to the com- 
 pany of Pedro de la Rosa, and appeared as Papagayo in Mon- 
 tero's Amar sin favorecer. (S.-A., p. 330, n.) He belonged to 
 the family of the Constables of Castile (Velasco), and became 
 Governor of Salas de los Infantes, where he died sometime after 
 1661. He had a daughter Catalina, who died in 1658. 
 
 Ostia (Diego de la) of Toledo took part in the "fiestas de 
 Agosto" in Toledo in 1561, and had charge of dances in Madrid 
 in 1570, and a dance at Toledo in 1580. 
 
 Ostos (Juan de) and his wife Maria de Herrera were in the 
 company Los Andaluces in 1605-06. 
 
 Osuna (Alonso de), galan in the company of Antonio de 
 Prado in 1624. (N. D., p. 206.) In 1636 he was in the company 
 of Tomas Fernandez. (Rosell, Vol. I, pp. 288, 290.) Sanchez- 
 Arjona, p. 134, gives the date of representation of this loa as 
 1621-23. This is impossible, for Roque de Figueroa and his wife 
 Antonia Manuela figure in the loa, and they joined the company 
 of Fernandez in April, 1636. (N. D„ p. 251.) In 1638-39 
 
SPANISH ACTORS AND ACTRESSES 549 
 
 (desde Carnaval de 1638 a igual fecha del ano siguiente) he was 
 in the company of Bartolome Romero. {Ibid., p. 275.) Sanchez- 
 Arjona, p. 359, says that Alonso de Osuna figured in the com- 
 pany of Bartolome Romero in 1631, when he was received into 
 the Cofradia de la Novena. This seems to agree with the Segunda 
 Loa of Benavente, ed. Rosell, Vol. I, p. 230. Osuna, then in the 
 company of Roque de Figueroa, says that in the preceding year 
 he was in Romero's company. This would place this loa in the 
 year 1632. In 1642 and 1643 Osuna was again in Romero's 
 company (S.-A., p. 358), and in 1645 in the company of Lorenzo 
 Hurtado (ibid., p. 375). He is probably the Alonso de Osuna, 
 author of the comedia Fingir la propia Verdad and others, men- 
 tioned by Barrera. (Cat., p. 289.) The name Osuna appears in 
 the cast of Cordeiro's El Favor en la Sentencia (MS. dated 1626). 
 
 Otero (Antonio de), actor in the company of Francisco 
 Solano in 1637, an d in the company of Juan Roman from Oct. 19, 
 1638, for one year, playing galanes. 
 
 Oviedo (Cosme de) took part in the Corpus festivals at Seville 
 in 1561, 1579, and 1582. He is said to have been the inventor 
 of theatrical posters. Rojas, Viage entretenido, ed. 1603, p. 132, 
 says: "Cosme de Oviedo, aquel autor de Granada tan conocido, 
 que fue el primero que puso carteles." 
 
 Oviedo (Magdalena de), wife of Cristobal de San Pedro; 
 both were in the company of Diego Lopez de Alcaraz for two 
 years, from Jan. 10, 1610; both also appeared in Prado's company 
 in Tirso's La Tercera de la Sancta Juana, written in 1 614 and 
 licensed in 161 6. 
 
 Paez (Diego) produced the auto La Circuncision del Senor at 
 Corpus in Seville in 1564. He seems to have been afterward 
 (1586-92) a dealer in theatrical costumes. 
 
 Paez (Juan), actor (in the company of Gaspar de Porres?) 
 in Jan., 1597. 
 
 Paez de Sotomayor (Mariana), daughter of Pedro Paez de 
 Sotomayor and Ana Ortiz, and wife of the famous autor de come- 
 dias Alonso de Cisneros. She died in Seville before Jan. 16, 1590, 
 "leaving much property." Suarez de Figueroa mentions her among 
 the celebrated actresses of her day. 
 
 Paez de Sotomayor (Pedro) of Madrid, autor de comedias in 
 
5 so SPANISH ACTORS AND ACTRESSES 
 
 1587. His wife was Ana Ortiz; he died before Sept. 4, 1596, the 
 date of his wife's last will. v. the preceding and N. D„ 
 pp. 19-23, 43. 
 
 Palencia (Francisco de) took part in the Corpus festival at 
 Seville in 1597. 
 
 Palma (Angela de), "single woman"; actress for one year,, 
 from Feb. 27, 1638, in the company of Alonso de Olmedo and 
 Luis Bernardo de Bovadilla. 
 
 Paniagua (Alonso de) of Granada, autor de comedias in 
 1602, with Juan de Tapia and Luis de Castro. His wife Paula 
 Salvadora was a member of his company in that year, and both 
 belonged to the company of Nicolas de los Rios from Shrovetide,. 
 1604, to 1605. 
 
 Paniagua (D a Maria) , wife of D. Diego de Villegas and actress 
 at the Corpus festival in Valdemoro, playing first parts, in 1623. 
 
 Pantaleon (Juan de), actor in the company of Francisca 
 Lopez in Seville in 1660 and 1663; in the company of Francisco 
 Gutierrez in 1668, and in that of Bernardo de la Vega in 1672. 
 
 Pantoja (Agustina de), actress in the company of Lorenzo- 
 Hurtado in Seville in 1645. 
 
 Pascual (Bernardo), son of Felix Pascual and Manuela de 
 Bustamante; he played galanes in Manuel Vallejo's company in 
 1673 and 1674 (second galan) ; with Escamilla in 1676, and 
 with Jeronimo Garcia in 1680, and with Carvajal in 1681. 
 
 Pascual (Felix), autor de comedias, a native of MuchamieL 
 (Valencia), played the guitar, but never acted. He was of a good 
 family; his real name was Jaime Lledo. It is said that, being in 
 Naples, he fell in love with Maria de Heredia, and followed the 
 stage. His first wife was Manuela de Bustamante, la Mentirilla. 
 After her death he married Ana de Andrade, and she having died, 
 he married a relative in Muchamiel, whither he retired and where 
 he died in 1708. (S.-A., p. 441.) He was in the company of 
 Sebastian de Prado in 1661, and musico in that of Simon Aguado- 
 and Juan de la Calle in 1662, and in Jose Carillo's company in 
 1663. He had a company in Seville in 1665 and 1677, and in 
 Madrid in 1669, 1671, and 1673. Sometime between 1665 and 
 1670 his company consisted of the following players: Manuela 
 [de Bustamante], Juan Alonso (first parts), Bernardo, gracioso, 
 Joseph Antonio (second), Josepha de Morales, Toribio de Busta- 
 mante, Miguel Perez, Joseph de Carrion (barbas), Isabel, Fran- 
 
SPANISH ACTORS AND ACTRESSES 551 
 
 cisco de la Calle (second), Polonia and Ana de Dios. {Migajas 
 del Tngenio, p. 81.) In 1671 he and Agustin Manuel had a com- 
 pany. Pascual had a son Bernardo and a daughter Sabina by his 
 first wife. For his company in 1665, v. S.-A., p. 443. See also 
 Alvarez (Maria). 
 
 Pascual (Onofre) belonged to the company of Juan de 
 Morales Medrano in 1624, and to the company of Bartolome 
 Romero in 1631-32 and 1637-38. In 1643 he was in the com- 
 pany of Tomas Diaz in Seville, and in 1644 was with the company 
 of Juan Acacio, also in Seville, and in 1648 with Esteban Nunez. 
 
 Pascual (Sabina), daughter of Felix Pascual and Manuela de 
 Bustamante. She married Manuel de Villalba, and played prime- 
 ras damas. 
 
 Pat ata (Antonia), actress in the company of Tomas Fer- 
 nandez and Pedro de la Rosa in 1637-39. v. Rosell, Vol. I, 
 P. 381. 
 
 Pat ata (La). Her name was Antonia del Pozo, and she was 
 called La Patata, probably because she was the daughter of Antonia 
 Patata. She was a celebrated singer, and in 1659-60, 1670, 1671, 
 and 1672 she was in Manuel Vallejo's company. She was the first 
 wife of the actor Manuel de Mosquera and had a sister Luciana. 
 (Rosell, Vol. II, p. 342; Solis, Poesias, p. 219.) She probably 
 died before 1676. (Cotarelo, Migajas del Ingenio, p. 213.) 
 
 Paula, wife of Juan Antonio Navarrete, musico; both were in 
 Manuel Vallejo's company in 1673. 
 
 Paula Salvadora, actress, wife of Alonso de Paniagua in 
 1602. Both were in the company of Nicolas de los Rios in 
 1604-05. On Feb. 11, 1617, she is mentioned as the wife of 
 the actor Juan Bautista de Villegas; her name occurs again in 
 Nov., 1623, as the wife of Villegas. 
 
 Pavia (Diego), actor in the company of Francisco de Guzman 
 Morales in Valladolid in 1644, in that of Jacinto Riquelme in 
 Seville in 1652, and in the company of Antonio de Castro at the 
 Coliseo in Seville in 1656. His wife (1644) was Juana Vallejo. 
 
 Pavia (Josefa), actress in the company of Antonio de Castro 
 in Seville in 1656, and in the company of Juana de Cisneros 
 in 1660. 
 
 Pavia (Miguel), actor de por medio in the company of Sebast. 
 de Prado and Juan de la Calle in 1659. 
 
 Paz (Alonso de la), autor de comedias, represented Calde- 
 
552 SPANISH ACTORS AND ACTRESSES 
 
 ron's comedia Santa Maria Egipciaca at Torija in 1655. (Perez 
 Pastor, Calderon Documentos, I, p. 226.) 
 
 Paz (Ana de la) played fifth parts and was musician in the 
 company of Jose Garceran in Seville in 1657 ; her husband Juan 
 Lopez was segundo gracioso and harpist in the same company. 
 
 Paz (Maria de la) played segundas damas and music in Gar- 
 ceran's company in 1657. Her husband Esteban de Almendros 
 was harpist in the same company. Their children were Maria 
 de la Paz and Isabel Eugenia Almendros, the latter of whom 
 entered a convent in Cordoba. 
 
 Paz (Sancho de) , autor de comedias, had a company in Naples 
 in 1620 and 1627. v. Croce, / Teatri di Napoli, p. 91. 
 
 Paz (Sebastian a de la), actress at the festival of Corpus at 
 Galapagar in 1619. Her husband was Francisco de Enciso, cloth- 
 shearer (tundidor). 
 
 Paz ( ?), actor in the company of Figueroa in 1635- 
 
 i636( ?) ; his name occurs in the cast of Peligrar en los Remedios, 
 by Rojas Zorrilla (1634), and in Lope's Los Mdrtires del Japan. 
 Alonso de la Paz was an autor de comedias in Madrid in 1655. 
 Perhaps the same person. {Calderon Doc, I., p. 226.) 
 
 Pedro (Juan), actor in the company of Gaspar de Porres in 
 1600. 
 
 Pena (Ana Maria de la), first wife of the autor de comedias 
 Tomas Fernandez; they were married in Valladolid in 1607. 
 (M. y M., p. 566.) She died before June 25, 1634. (S.-A., 
 p. 134.) But see under Fernandez de Cabredo (Tomas). 
 
 Pena (Catalina de), wife of Antonio de Castro; both were 
 in Jacinto Riquelme's company in Seville in 1652. 
 
 Penafiel (Luisa de), daughter of Damian Arias de Penafiel 
 and Luisa de Reinoso, was in Manuel Vallejo's company in 1631. 
 On Nov. 4, 1639, sne married her cousin Diego de Penafiel. 
 
 Penalosa (Juan de), actor in the company of Fernan Sanchez 
 de Vargas for one year from Oct. 23, 1634. He had a company 
 in Aug., 1636, when he represented Lope's Nunca mucho costo 
 poco and Calderon's Casa con dos Puertas mala es de guardar. 
 
 Penarroja (Jeronimo de) played fourth parts in the com- 
 pany of Jose Garceran in Seville in 1657. In 1664, 1665, 1670, 
 and 1 67 1 he was segundo barba with Ant. de Escamilla; in 1672- 
 1676 with Manuel Vallejo, and died in Madrid on Jan. 29, 1704, 
 
SPANISH ACTORS AND ACTRESSES 553 
 
 aged seventy-two. He had a daughter in Escamilla's company 
 in 1677. 
 
 Pen as (Sebastian de las), harpist in the company of Antonio 
 de Prado, 1634-36 ( ?). (Rosell, Vol. I, p. 97.) 
 
 Pen as (Sebastiana de las), actress in the company of Luis 
 Lopez in Seville in 1650, in the autos of that year. 
 
 Pepa, la Hermosa. v. Lopez (Josefa). 
 
 Peral (Jusepe del) of Toledo, musician and dancer in the 
 company of Diego Vallejo in Seville in 1619, and in the com- 
 pany of Manuel Vallejo in 1622. In 1624 he acted in the company 
 of Juan de Morales Medrano, and in 1632 he and his wife Isabel 
 de Vitoria were in the company of Roque de Figueroa in Seville 
 at Corpus. 
 
 Peralta (Ana Maria de), actress, wife of Diego de Ortega; 
 both were natives of La Mota del Cuervo, and were in the com- 
 pany of Diego Vallejo in 1619 in Seville, and in the company of 
 Manuel Vallejo in Madrid in 1622. She afterward married Juan 
 Bezon (q. v.) and was called la Bezona, q. v. 
 
 Peralta (Catalina de), wife of Juan de Grajal or Graxal 
 in March, 1604, when they agreed with Anton Alvarez, Vicente 
 Ortiz, and others to form a joint company for one year. On 
 Feb. 24, 1614, both joined the company of Alonso de Villalba. 
 On March 28, 1614, they agreed to join the company of Andres 
 de Claramonte for one year. In 1628 both appeared in Lope de 
 Vega's La Conpetencia en los Nobles. 
 
 Peralta (Francisco de) produced the auto El Reseat e del 
 Alma in Seville in 1576. 
 
 Peregrin (Isabel), member of the company of Cristobal de 
 Avendafio in 1632. 
 
 Perez (Agustin), actor in Valladolid in 1642. (M. y M., 
 P. 566.) 
 
 Perez (Cosme), known as Juan Rana, famous gracioso in the 
 company of Juan Bautista in 161 7 and 1622; in the former year 
 he appeared as Leonardo in the original cast of Lope's El Desden 
 vengado; in the latter as El Capitan Medrano in Lope's La 
 nueva Victoria de D. Gonzalo de Cordoba. He was in the com- 
 pany of Antonio de Prado in 1623-24, and with Pedro de la Rosa 
 in 1636, when he received 10 reals daily for maintenance and 20 
 reals for each representation, besides 50 ducats for the Corpus 
 
554 SPANISH ACTORS AND ACTRESSES 
 
 festival. Quinones de Benavente wrote an entremes entitled 
 Juan Rana, in which Cosme Perez appeared while in the company 
 of Pedro de la Rosa, to which he belonged for many years. 
 (S.-A., p. 328.) He acted for a while in the company of Tomas 
 Fernandez, and appeared in the entremes La Guardainfante 
 (Rosell, Vol. I, pp. 134, 405), and in 1642 went to Valencia. In 
 1650 he belonged to the company of Antonio Garcia de Prado in 
 Madrid, and took part in the autos. He appeared upon the stage 
 as late as 1665. "On January 5, 1665, here came, among other 
 diversions of sports we had this Christmas, Juan Arana (sic), the 
 famous comedian, who here acted about 2 hours, to the admiration 
 of all who beheld him, considering that he was near upon 80 years 
 of age." (Memoirs of Lady Fanshawe, ed. 1905, p. 187.) "He 
 was a man of exemplary life, and owned houses in the Calle de 
 Cantarranas." He is said to have married Bernarda Ramirez, 
 who was also in Rosa's company in 1639, playing sixth parts (see 
 under Ramirez (Bernarda) ) , but this is probably a mistake. His 
 wife seems to have been Bernarda Manuela, q. v. His second 
 wife was Maria de Acosta. Caramuel calls Cosme Perez the most 
 famous of all the comic actors on the Spanish stage. He died at 
 Madrid in 1673. 
 
 Perez (Cristobal), second gr arioso in the company of Felix 
 Pascual and Agustin Manuel in 1671. 
 
 Perez (Damiana), wife of the actor and autor Francisco Lopez 
 (1629). 
 
 Perez (Fernando) of Zaragoza, actor in the company of 
 Melchor de Leon from Dec, 161 1, for one year. His wife, in 
 June, 1 614, was Maria de Montesinos, and both were in the 
 company of Claramonte till Shrovetide, 1615. In Jan., 1619, 
 he was in the company of Juan de Morales Medrano, and in 
 March of the same year appears to have been in the company of 
 Alonso de Olmedo. (N. £>., p. 179.) His sister was Sebastiana 
 Vazquez. 
 
 Perez (Francisca Paula), widow (1639-40) of Antonio 
 Ponce de Leon, played first parts in the company of Juan de 
 Malaguilla in that year. 
 
 Perez (German), el Bueno, actor in the company of Jose 
 Martinez de los Rios in 1632. (Gallardo, I, p. 669.) 
 
SPANISH ACTORS AND ACTRESSES 555 
 
 Perez (Isabel), sister of Cosme Perez, actress in the company 
 of Pedro de la Rosa in 1636-37. (Rosell, I, p. 419.) 
 
 Perez (Juan), actor for two years, from Feb. 15, 1592, in 
 the company of Gaspar de Porres, "receiving 5700 reals, board, 
 lodging, and clean linen, and a cart in which to carry his belong- 
 ings from place to place." 
 
 Perez (Juan), actor in the company of Juan Bautista Valen- 
 ciano in March, 1623. {Bull. Hisp. (1908), p. 248.) He played 
 galanes in the company of Pedro de la Rosa in 1636. v. Rosell, 
 Vol. I, p. 419. On Feb. 28, 1637, Juan Perez agreed to act for 
 one year in the company of Luis Bernardo de Bovadilla, and on 
 Aug. 21 of the same year he contracted to act until Shrovetide, 
 1638, in the company of Segundo de Morales. (N. D., pp. 260, 
 272.) By this agreement the wife of Juan Perez (name not 
 given) was to take the money at the door (cobradora). On 
 March 24, 1638, he joined the company of Bartolome Romero, 
 and in 1642 played second galanes in the same company in Seville. 
 This Juan Perez and Juan Perez de Tapia seem to be the same 
 person. 
 
 Perez (Juan Manuel), autor de comedias; his company rep- 
 resented at Corpus in Seville in 1675. 
 
 Perez (Maria), wife of the actor Francisco de Arteaga in 
 1 63 1, and then in the company of Manuel Vallejo. 
 
 Perez (Miguel), actor in the company of Felix Pascual in 
 1665-68 (?). 
 
 Perez (Pedro), actor in the cast of Paciencia en la fortuna 
 (Restori, Stud], p. 142) and in Lope de Vega's Los Guzmanes de 
 Toral, ed. Restori, p. ix. 
 
 Perez (Polonia), famous actress, was the first wife of Fernan 
 Sanchez de Vargas. She appeared in the title role of Lope's La 
 hermosa Ester (1610) in her husband's company. Of this play 
 Lope says: "Representola el famoso Sanchez con notable auto- 
 ridad y aplauso." (Part XV.) She died before Jan. 11, 1619, 
 leaving two children, Francisca and Hernando de Vargas, both 
 still minors in 1626, and some property in the town of Hita. 
 Perez Pastor, Nuevos Datos, p. 212, says that she was the second 
 wife of Sanchez de Vargas. 
 
 Perez Lobillo (Francisco) of Granada, died May 4, 1631. 
 
SS& SPANISH ACTORS AND ACTRESSES 
 
 His wife was Ana Cusio, and his children Francisco and Ana 
 Maria Perez Lobillo. 
 
 Perez de Tapia (Juan) , son of Agustin Perez de Tapia. On 
 Nov. 15, 1640, he executed a power of attorney to his wife Ana 
 Maria Rodriguez to recover his inheritance in his father's estate. 
 (N. D., p. 327.) Sanchez-Arjona, p. 340, says that he married 
 Maria de Olmedo. When? Before 1653, at all events, for in 
 that year both were received into the Cofradia de la Novena. 
 (Ibid., p. 359.) In 1650 he was in Antonio de Prado's company 
 in Madrid. (Calderon Documentos, p. 170.) Perez de Tapia 
 became an autor de comedias and visited Seville, appearing in La 
 Monteria in 1654-56, and again in 1659, 1661, and 1662. For 
 his company in the latter year, v. ibid., p. 430. v. Perez (Juan). 
 
 Pernia (Juan Antonio) played third galanes and was bailarin 
 in the company of Roque de Figueroa, 1628—33. v. Rosell, Vol. I, 
 pp. 165, 230. He was the member of the company who patched up 
 the comedias, as we see from Benavente's loa: 
 
 (Sale Pernia.) 
 I No es Pernia este que sale, 
 Que representa, que baila, 
 Que hace versos, que remedia, 
 Si sucede una desgracia, 
 Doce 6 diez y seis colunas 
 De la noche a la man an a? 
 
 (Ibid., pp. 167, 168.) 
 
 See also Cotarelo, Tirso, p. 206. 
 
 Pernia (Juan Antonio), gracioso in the company of Pablo 
 Martin de Morales in Seville in 1678. Perhaps this is the Pernia 
 mentioned in Gallardo, I, p. 680, who married Francisca Correa and 
 died in Madrid in 1707. 
 
 Pernia (Pedro de), actor in the company of Domingo Balbin 
 from Sept. 1, 1623, till Shrovetide, 1624. In 1628 he was in 
 Valladolid, apparently in the company of Figueroa. (M. y M., 
 p. 566.) 
 
 Petra (Gaspar de), autor de comedias in Valladolid in 1603. 
 (M. y M., p. 566.) Perhaps this is a mistake for Gaspar de 
 Porres. 
 
 Petronila (La S r "), actress in the cast of Tirso's La Tercera 
 
SPANISH ACTORS AND ACTRESSES 557 
 
 de la Sancta Juana in Prado's company (1614-16). This was 
 probably Petronila de Loaisa. 
 
 Picano (Jacinto) played segundos galanes in the company of 
 Roque de Figueroa (1629-33?). 
 
 Yo soy Jacinto Picano, 
 Que los galanes primeros 
 Hice con Luis a, y ogano 
 Con segundos me contento. 
 
 Rosell, Vol. I, p. 230. See also Cotarelo, Tirso, p. 206. 
 
 Pimentel (Maria), actress in March, 1638, in Madrid. 
 
 Pineda (Diego) represented the auto El Triunfo de la Verdad 
 in Seville in 1582. 
 
 PlNEDO (Baltasar) , famous autor de comedias, who had a com- 
 pany at least as early as 1596. In March, 1597, his wife was 
 Juana de Villalba (daughter of Alonso de Villalba and Ana 
 Romera), who had been the widow (Jan., 1596) of Juan de 
 Morales. In 1602, 1603, and 1609 he represented autos in Seville, 
 and in 161 3 in Toledo. He was one of the eight autor es authorized 
 by the decree of 1603. On May 22, 1605, in Toledo, in the Salon 
 del Ayuntamiento, he represented Lope's El gallardo Catalan at a 
 festival in honor of the birth of Philip IV. (April 8). His com- 
 pany produced autos in Madrid in 1606, 1607, 1614, 1617, 1618, 
 and 1619. In 1616-18 he and his wife Juana de Villalba lived 
 "in their own house" in the Calle del Amor de Dios, opposite the 
 hospital of Anton Martin. In 1613 he represented the autos in 
 Toledo. Lope de Vega greatly praises him as an actor, in his 
 Peregrino en su F 'atria, ed. 1604, fol. 198. Pinedo first produced 
 Lope's comedia La Santa Liga: "Representola Pinedo, y a Selin 
 famosamente." (Part XV.) In 1621 he represented Tirso's 
 auto El Colmenero divino, and first produced his Como han de ser 
 los Amigos. For his early representations (1601) in Madrid, 
 v. Appendix A. 
 
 Pinelo (Francisco) and his wife Ines de Hita were in the 
 company of Juan de Morales Medrano for one year from Ash 
 Wednesday, 1633, and in Lorenzo Hurtado's company in 1632 
 or 1635 ( ?). v. Rosell, Vol. I, p. 29. 
 
 Pinelo (Juana Margarita), daughter of Francisco Pinelo 
 and Ines de Hita, and wife of Antonio Rodriguez ; both were in the 
 
558 SPANISH ACTORS AND ACTRESSES 
 
 company of Juan Martinez for one year from Feb. 26, 1633. 
 See also Hita (Juana Margarita de). 
 
 Pino (Luis del) of Granada, called el Palomo, was in the 
 company of Miguel Bermudez in Seville in 1654, and in Antonio 
 de Castro's company in 1656. 
 
 Pinto (Luisa de), wife of the autor de comedias Bernardo de 
 la Vega, and in his company in 1672. In 1677 and 1678 she 
 played segundas damas in the company of Antonio de Escamilla. 
 
 Pinzon or Punzon (Miguel Jeronimo), v. Jeronimo 
 (Miguel). 
 
 Pinero (Antonio), actor and musician in a joint company 
 with Alonso de Heredia and others in 1614. In i632-35(?) he 
 was in Lorenzo Hurtado's company. (Rosell, Vol. I, p. 30.) In 
 1637 and 1638, and again in Seville in 1642^43, he was in 
 Bartolome Romero's company. His wife was Isabel Antonia. 
 
 Pizarro (Andres) and his wife Jeronima de Montoya be- 
 longed to a joint company in 1614-15, with Pedro Bravo and 
 others. 
 
 Plana (Domingo de la), actor in the company of Juan Perez 
 de Tapia in Seville in 1662. 
 
 Plata (Pedro de), autor de comedias in 1587 and in 1596. In 
 March, 1598, he was in the company of Gabriel Vaca, while in 
 Dec. of this year he seems to have had a company. (B. H. ( 1907) 
 
 P- 363-) 
 
 Plaza (Francisco de) produced the auto El Nacimiento de 
 
 Moises in Seville in 1575. 
 
 Plaza (Francisco Munoz de la), actor in the company of 
 Alonso de Villalba in 1614-15. He appeared in the cast of Lope's 
 El Sembrar en buena tierra in 1616. 
 
 Poca Ropa. Who the actress was who bore this strange desig- 
 nation, I do not know. See under Romero (Mariana). 
 
 Polonia, actress in the company of Felix Pascual (q. v.) in 
 1665-70. 
 
 Polonia, v. Perez (Polonia). 
 
 Polonia Maria, wife of Juan Gonzalez [Valcarcel] ; both 
 were in the company of Tomas Diaz in Seville in 1643, in Lorenzo 
 Hurtado's company in 1645, and in the company of Esteban Nunez 
 in 1648. 
 
SPANISH ACTORS AND ACTRESSES 559 
 
 Polope (Agustin), musician in the company of Diego Lopez 
 de Alcaraz in 1610, and in Baltasar Pinedo's company in 1613. 
 
 Polope (Blas), member of the company of Diego Osorio in 
 1659; in 1 66 1 and 1676 he was second barba in Escamilla's com- 
 pany; in 1662 with Sebastian de Prado, in 1674 w i tn Simon 
 Aguado, and in 1678 with Agustin Manuel. 
 
 Polope (Damian), actor in the company of Ant. de Escamilla 
 in 1676, and with Jose de Prado in 1679. 
 
 Polope (Pablo), member of the company of Simon Aguado 
 in 1674, in Agustin Manuel's in 1677, and in Jeronimo Garcia's 
 company in 1680. His wife (1675) was Josefa de San Miguel. 
 (M. y M., p. 567.) Perhaps he is the same as Pablo Polope y 
 Valdes, who wrote for the stage, v. Barrera, p. 305. 
 
 Pollo (Jusepe), actor in the company of Juan Acacio in 
 Seville in 1644. 
 
 Ponce (Francisco), gracioso in the company of Felix Pascual 
 and Agustin Manuel in 1671, and in the company of Carlos de 
 Salazar in Seville in 1676. 
 
 Ponce de Leon (Antonio). His widow, in March, 1639, 
 was the actress Francisca Paula Perez. 
 
 Ponce de Leon (Juan), musician in the company of Pedro de 
 la Rosa in 1636-37. 
 
 Porras (Jusepe de), actor at the Corpus festival in 163 1 at 
 Almonacid de Zurita. 
 
 Porres, actor in the cast of Lope de Vega's La hermosa Ester 
 (1610), in the company of Sanchez de Vargas. 
 
 Porres (Gaspar de), one of the best known of the early 
 autores de comedias ( 1585-1623 ?) , and the friend of Lope de Vega, 
 was born at Toledo in 1550. It was Porres who obtained the 
 license to print Part IV of Lope's Comedias in 1613. We first 
 hear of him as manager of a company in 1585, when he represented 
 three autos at Madrid. In 1586-87 Lope de Vega was furnishing 
 to Porres "the comedias that he used to give to Jeronimo Velaz- 
 quez." (Life of Lope de Vega, pp. 30 et passim.) His wife was 
 Catalina Hernandez de Verdeseca, first mentioned in 159 1. In 
 1589 he produced autos at Seville and in 1592 represented two of 
 the autos at Madrid, when he and Rodrigo de Saavedra, who 
 produced the other two autos, were to perform exclusively from 
 
560 SPANISH ACTORS AND ACTRESSES 
 
 Lunes de Quasimodo till Corpus. For this festival the dress-stufis 
 of his company cost 10,350 reals. In 1591 he bought a house in 
 the Calle del Principe (Pinedo owned the adjoining one), and 
 in 1594 represented four autos in Seville, receiving 1200 ducats, 
 his wife also receiving a gratuity of 1 100 reals for the elegance of 
 her costumes. He also represented autos in Madrid in 1593, 
 !595> !599> 1604, 1605, receiving, in 1604, 4000 reals, and again 
 represented the autos in Seville in 1603 and 1607. Porres was 
 one of the eight autores authorized by the decree of 1603. He 
 seems to have taken his company to Lisbon prior to May 25, 1601. 
 (N. D., p. 58.) In 1601 (after July 1) his company visited 
 Valencia. (N. D., p. 59.) From Aug. till the end of Nov., 1604, 
 he represented twelve comedias privately before the Queen, at 
 Valladolid, receiving 3600 reals. (Bull Hisp. (1907), p. 369.) 
 In 1 6 10 he was residing in Toledo. For his early representations 
 ( 1 60 1 ) in Madrid, v. Appendix A. He died before July 20, 1623, 
 when his wife is mentioned as "the widow of Gaspar de Porres, 
 formerly a resident of Toledo." He had two sons, Dr. Matias de 
 Porres, a graduate of Salamanca (1599) and a friend of Lope 
 de Vega, and Juan de Porres, who assisted his father in his theat- 
 rical companies (1603). v. Perez Pastor, Proceso de Lope de 
 Vega, p. 258. He first represented Lope's Jorge Toledano, and 
 doubtless many others of his comedias. 
 
 Porres (Juan de), son of Gaspar de Porres. In June, 1601, 
 he was more than twenty and less than twenty-five years old, and 
 was employed by his father. In 1609 he was alguacil mayor and 
 alcaide of the prison of the town of Atienza. 
 
 Porres (D a Maria de), daughter of Gaspar de Porres; she 
 was married in 1623. 
 
 Pozo (Antonia del), v. Patata (La). 
 
 Prado (D a Angela de), actress in the Corpus festival at the 
 villa of Hita in 1637. 
 
 Prado (Antonio de), or Antonio Garcia de Prado, famous 
 autor de comedias, born in I594( ?) (S.-A., p. 275 ; 1584 is proba- 
 bly nearer the correct date. See below under Lorenzo de 
 Prado), and notable in after years for his obesity. In 1614 he 
 belonged to the company of Juan Acacio in Toledo, and his name 
 occurs in the cast of Tirso's La Tercera de laSanctaJuana (licensed 
 in 1 61 6). Perhaps this was the company of Pedro Llorente. On 
 
SPANISH ACTORS AND ACTRESSES 561 
 
 Dec. 24, 1622, Guillen de Castro finished his famous comedia 
 La Tragedia por los Celos, which he wrote for Antonio de Prado. 
 (Paz y Melia, Catdlogo, No. 3299.) In Jan., Feb., March, 
 and June of 1623 his company represented ten comedias before 
 the King in the palace at Madrid, receiving 200 reals for each 
 performance. In 1623 and 1624 he represented the autos at 
 Corpus in Madrid. For his company in 1624, v. N. D., p. 206. 
 In 1626 his company first represented Lope's Amor con Vista, as 
 the MS. shows. He was in Seville with his company in 163 1, 
 beginning at La Monteria in Oct., when he was imprisoned for 
 debt and his effects were attached. He then lodged in the Calle 
 de Jimios in the posada del Caracol. ( Sanchez- Arjona, p. 274.) 
 In the following year he performed in La Monteria, Seville, from 
 April 12 to June 20, and also represented the autos, which he 
 again produced in 1637 an d J639, and in the former year gave 
 sixty representations in the Coliseo, and in the latter acted at La 
 Monteria. In 1635 he again represented ten comedias before the 
 King, and in 1648 eight comedias. He represented autos in 
 Madrid in 1633, 1635, 1636, 1642. On Oct. 24, 1645, he began 
 to represent once more in Madrid, where we find him in 1647, 
 1648, 1649, and 1650, also representing autos. He died in Madrid, 
 in the Calle de las Huertas, on April 14, 1651, and his company 
 was taken up by his son Sebastian de Prado. Antonio de Prado 
 was twice married, first to Isabel Ana, daughter of a physician of 
 Toledo. She was extremely beautiful and of unblemished repu- 
 tation, and is said to have died by poison. Perhaps her name 
 was Isabel Ana Garces, for in 1631 Dona Luisa Garces is styled 
 mother-in-law (suegra) of Antonio de Prado. (Averiguador, 
 Vol. I, p. 26. ) Isabel Ana had three children : Sebastian, Lorenzo, 
 and Maria. After her death (and before 1634) Prado married 
 Mariana Vaca de Morales (born in 1603?), daughter of Juan de 
 Morales Medrano and Jusepa Vaca, and by her had two children : 
 Jose and Diego. The company of Prado at the close of his career, 
 in 1650, when he represented autos at Madrid, was as follows: 
 Antonio Garcia de Prado, Juan de la Calle, Cosme Perez, Manuel 
 Francisco Martinez (Brillante), Gaspar de Valdes, Antonio de 
 Escamilla, Luis de Mendoza, Francisco de San Miguel, Juan de 
 Tapia, Jose de Prado ; Mariana Vaca, Bernarda Manuela, Rufina 
 Justa, and Maria de Escamilla. {Calderon Documentos, ed. Perez 
 
562 SPANISH ACTORS AND ACTRESSES 
 
 Pastor, p. 170.) For Prado's company in 1632, v. Cotarelo, Tirso, 
 p. 216; for his company in 1639, Sanchez- Arjona, p. 324. 
 
 Prado (Jose Antonio Garcia de), son of Antonio de Prado 
 and Mariana Vaca, was a member of his father's company in 1650. 
 He married Maria de Anaya (after 1658?), and played galanes, 
 and had a company in Seville and represented autos in 1658 and 
 1659, and in Jaen in 1660. In 1674 he was with Simon Aguado; 
 in 1675 and 1676 with Escamilla; 1677 and 1678 with Agustin 
 Manuel; 1680 with Jeronimo Garcia; 1681 with Manuel Vallejo. 
 In 1679 he had a company in Madrid, v. Calderon Documentos, 
 p. 357. He was also a playwright; his comedia Pachecos y Palo- 
 meques was licensed in 1674, while Convertirse el mal en bien, 
 it is said, was finished in Paris on Aug. 1, 1625. This is an im- 
 possible date; perhaps 1652 is intended. (Schack, Nachtrage, p. 60; 
 Barrera, Catdlogo, p. 169.) For his company in 1658, see San- 
 chez- Arjona, p. 415. 
 
 Prado (Juana de), wife of Gabriel Angel, farsante in Madrid 
 in 1583. {Bull. Hisp. (1906), p. 153.) 
 
 Prado (Lorenzo de), son of Antonio de Prado and Isabel 
 Ana [Garces?], was a member of his father's company in 1624 
 and again in 1632. (N. D., p. 206; Cotarelo, Tirso, p. 216.) In 
 1634— 36(?) ne was again in his father's company. (Rosell, I, 
 p. 97.) These dates show almost convincingly that Antonio de 
 Prado must have been born at least ten years earlier than the date 
 (!594) given by Sanchez-Arjona (v. above). His wife was 
 Manuela Mazana, daughter of Juan Mazana and Dorotea de 
 Sierra; both belonged to the company of Manuel Vallejo in 1640, 
 and to the company of Lorenzo Hurtado in 1642, he as gracioso 
 and Manuela playing second parts. For the Corpus festival of 
 this year at Seville he wrote a loa, two entremeses, and three bailes. 
 (S.-A., p. 358.) He is said to have died of the pest in Seville 
 in 1649. 
 
 Prado (Maria de), daughter of Antonio de Prado and Isabel 
 Ana, and wife of the musician and composer Ambrosio Duarte 
 [Martinez?], a Portuguese; both were in the company of Antonio 
 de Prado in Valladolid in 1645 (M. y M., p. 566), and in that 
 of Sebastian de Prado in Nov., 1651. Maria played primeras 
 damas in the same company in 1659 and 1 66 1, and segundas in 
 1662. In 1657 she was with Diego Osorio, in 1663 primera with 
 
SPANISH ACTORS AND ACTRESSES 563 
 
 Jose Carrillo, in 1664 with Bart. Romero and Juan de la Calle, 
 and in 1665 with Francisco Garcia. 
 
 Prado (Melchor de), actor, indicted for taking part in a 
 brawl and for attempting suicide in 1598. He was a friend of 
 Xope de Vega. v. Life of Lope de Vega, p. 25, n. 
 
 Prado (Sebastian Garcia de), eldest son of Antonio de 
 Prado and Isabel Ana, belonged to his father's company in 1632, 
 playing galanes jovenes. In 165 1, on the death of his father, 
 he took the management of the company. At that time his wife 
 was Bernarda Ramirez, who was a member of the company, and 
 who also acted with him in 1659 and 1662, playing fifth and 
 fourth damas respectively. In 1659 Sebastian de Prado had a 
 company with Juan de la Calle, and represented autos in Madrid ; 
 in 1660 (he left Madrid on April 13) he took a company of play- 
 ers to Paris on the occasion of the marriage of Maria Teresa, 
 daughter of Philip IV., to Louis XIV. He again had a company 
 in Madrid and represented autos in 1 661 ; in 1662 he managed 
 one jointly with Escamilla, and represented one of Calderon's 
 autos at Corpus; in 1670 and 1672 he was primer galan in Manuel 
 Vallejo's company, and in 1673 with Felix Pascual. He was 
 famous in the role of galan. In 1674, after the death of his wife, 
 he retired from the stage, entered the Convento del Espiritu Santo 
 at Madrid, was ordained priest, passed to Rome, and died at Leg- 
 horn in 1685. A member of this family was at the head of a 
 company in Madrid in 1723. (Paz y Melia, Catdlogo, No. 1846.) 
 
 Primo (Francisco), actor in the company of Cristobal de 
 Avendano in March, 1623. 
 
 Probay (Jorxe) or Giorgio Proval, an Italian; actor in 1604 
 in a joint company in Borox at Corpus. 
 
 Puelles (Diego de), farsante in Madrid in 1583. 
 
 Quadrado (Juan), actor, native of Murcia, died in Madrid 
 on Feb. 29, 1636. The name Quadrado occurs in the cast of 
 Lope's El piadoso Aragones (1626). 
 
 Quesada (Isabel de), actress, wife of Francisco Solano in 
 March, 1638: "no sabia firmar." 
 
 Quesadas (Maria de), actress in a joint company with San- 
 chez de Vargas, Juan de Malaguilla, and others in Madrid from 
 Shrovetide, 1634, for one year, playing principal parts. 
 
564 SPANISH ACTORS AND ACTRESSES 
 
 Quevedo (Jusepe de), member of the company of Diego 
 Osorio in 1659, and with Sebastian de Prado in 1662; in 1665 
 he was with the company of Felix Pascual in Seville. 
 
 Quinones (Luis de) , actor in the company of Alonso Riquelme 
 in Madrid in Nov., 1605, and Jan., 1606, and at Corpus, 1607, 
 in Seville. In 1610— 11 we find him again in Riquelme's company, 
 taking part in Lope's La buena Guar da (a Quinones appeared as 
 Aurelio in Lope's ha Discordia en los Casados, 1611), and in 1614 
 in the company of Pedro Valdes, when he appeared in Lope's La 
 Dama boba. He entered the company of Valdes in Feb., 1614, 
 being engaged "to sing alone or accompanied," and besides played 
 barbas. On Sept. 20, 1614, he married Isabel de Velasco. 
 
 Quinones (Margarita de), widow in July, 1636: former 
 actress ? She kept an actors' boarding-house in Madrid. 
 
 Quinones (Maria de), daughter of the preceding, played 
 primeras damas in the company of Tomas Fernandez in 1637-38. 
 In 1640 and 1643 she was in Manuel Vallejo's company in Seville; 
 in 1649 with Antonio de Prado; in 1659 primera dama with 
 Diego Osorio; in 1660 with Pedro de la Rosa, and in the same 
 year and 166 1 with Escamilla; in 1662 with Sebastian de Prado 
 and Escamilla, and in the company of the latter in 1663, 1664, 
 1665, 1670-72. Barrionuevo states {Avisos, IV, p. 370) that 
 on her account D. Francisco Paz, caballero del habito de Santiago, 
 was killed on the evening of March 24, 1 66 1, at the instance of 
 D. Gaspar de Valdes, Regidor of Madrid. Maria de Quinones 
 was celebrated in the role of dama, acting until she was past 
 seventy, and died more than ninety years of age. See also under 
 Romero (Mariana). 
 
 Quirante (Juan) played fifth parts in the company of Mag- 
 dalena Lopez in Seville in 1677. 
 
 Quirante (Pedro) of Madrid, actor. He married the actress 
 Maria de Salazar in Valladolid in 1674. (M. y M., p. 567.) 
 His daughter Jeronima Quirante married Francisco de Fuentes. 
 Another daughter, Petronila Jibaja, was also an actress. 
 
 Quirol (Jaime), actor in the company of Magdalena Lopez in 
 1674. 
 
 Quiros, v. Lopez de Quiros. 
 
 Quiteria, actor in the company of Nicolas de los Rios prior 
 to 1602. (Rojas, Viage entretenido, p. 465.) Cortes, Una Corte 
 
SPANISH ACTORS AND ACTRESSES 565 
 
 literaria, p. 34, says that his name was Hernandez Quiteria, while 
 Marti y Monso, Estudios, p. 566, give it as Quiteria Alvarez. 
 
 Quiteria, actress in the company of Antonio de Prado (about 
 1632), who appeared in Benavente's entremes El Murmurador. 
 (Rosell, Vol. I, p. 143.) 
 
 Ramirez (Bernarda), her husband Bartolome de Robles, and 
 their daughter Maria Ramirez were members of the company of 
 Roque de Figueroa in 1631-32. (Cbtarelo, Tirso, p. 206; Rosell, 
 Vol. I, pp. 109, 224, 232. In the latter work the name appears 
 only as Bernarda, but on p. 232 she is called the wife of Robles.) 
 Bernarda- was again in Figueroa's company, apparently in 1635, 
 when her name occurs in the cast of Rojas Zorrilla's Peligrar en los 
 Remedios (written in Dec, 1634), as tne autograph MS. shows. 
 In 1639 Bernarda Ramirez played sixth parts in the company of 
 Pedro de la Rosa. (S.-A., p. 327.) It is said that she was also 
 the wife of Cosme Perez. (Ibid., p. 330.) This seems to be a 
 mistake. See under Bernarda Manuela. In an article on 
 El Burlador de Sevilla by Sr. Cotarelo, in the Rev. de Archivos 
 (Jan.-Feb., 1908), p. 85, occurs the following notice concerning 
 Bernarda Ramirez: "Estando para embarcarse el dicho Bartolome 
 de Robles y Bernarda Ramirez (su muger) con la compania de 
 Roque de Figueroa en la dicha ciudad de Napoles para venir a 
 Espafia, por Noviembre del ano pasado de mil y seiscientos y treinta 
 y siete, el Duque de San Pedro habia robado a la dicha Bernarda 
 Ramirez y llevadola a Benevento, donde habia estado en compania 
 del Duque de San Pedro, asi en la villa de Benevento como en 
 Napoles mas de dos anos, en cuyo tiempo tuvo por hijos y del 
 dicho Duque al dicho D. Diego Lopez y D a Jeronima Lopez, su 
 hermana." 
 
 Ramirez (Bernarda), wife of Sebastian de Prado. She was 
 acting in his company in 1651, 1659, and 1662, playing fourth 
 and fifth parts. (Colder on Documentos, ed. Perez Pastor, pp. 189, 
 261, 292.) It may be worth noting that in 1659 both Bernarda 
 Manuela (playing second parts) and Bernarda Ramirez, playing 
 fifth parts, were in the same company. She was the daughter of 
 Lazaro Ramirez, peddler, and Catalina de Flores, "she of the 
 wonder that gave rise to the Cofradia de la Novena." v. Rosell, 
 Vol. II, Appendix. We are told (ibid., p. 344) that Bernarda 
 
566 SPANISH ACTORS AND ACTRESSES 
 
 Ramirez, la "Napolitana, first married Bartolome de Robles and 
 afterward became the wife of Sebastian de Prado. The name 
 Beatriz Ramirez occurs in the Entremes del Nino Caballero by 
 Solis, acted in the Coliseo del Buen Retiro in 1658. (Comedias de 
 Solis, 1 68 1, p. 55.) It is almost certain that this name should be 
 Bernarda Ramirez, as it occurs only once. The other players in the 
 entremes are: la Becona, la Borja, Godoy, Rosa, Najera, Cosme 
 [Perez], and Bernarda Manuela. From the dialogue (p. 57, 
 col. 1 ) it seems to follow that Bernarda Manuela was at this time 
 the wife of Cosme Perez. In the Entremes del Salta en Banco 
 (p. 61) appear: Cosme, Godoy, Bernarda [Ramirez?], Bernarda 
 Manuela, la Beqona, Maria de Prado, Maria Romero, and Maria 
 de Quinones. 
 
 Ramirez (Cristobal), or Cristobal Ramirez de la Cruz, 
 actor in the company of Diego Jimenez de Valenzuela in 1602. 
 He was an autor de comedias in 1610, 1612, and 1613. His wife 
 was Ines Sanchez. 
 
 Ramirez (Juan), member of the company of Gaspar de Porres 
 in 1593; he took part in the Corpus festival at Seville in the 
 preceding year, producing the autos La Redencion del Caulivo 
 and Las Cadenas. According to Sanchez-Arjona, p. 83, he first 
 represented Matias de los Reyes's comedias Di Mentira y sacaras 
 Verdad and Que dirdn y Donaires de Pedro Corchuelo. 
 
 Ramirez (Marcos) of Toledo is mentioned as a well-known 
 actor in 1602. (Rojas, Viage, p. 362.) 
 
 Ramirez (Maria), daughter of Bernarda Ramirez and Barto- 
 lome de Robles, and a member of Figueroa's company in 1631-32. 
 In Rosell, Vol. I, p. 109, she is called a sister of Bernarda. 
 
 Ramirez (Miguel) of Toledo, autor de comedias mentioned 
 as early as Jan., 1579, when he represented in Madrid (B. H. 
 (1906), p. 77); in 1587 he represented one of the autos at 
 Madrid. In June, 1595, he was in the company of Cisneros, and 
 in 1597 m that of Nicolas de los Rios. He had a company again 
 in 1602, and on Feb. 26 of this year he engaged Agustin de Rojas, 
 author of the Viage entretenido, as a member of his company. In 
 Dec, 1614, Ramirez resided at Toledo. He was in the company 
 of Nicolas de los Rios for some years, playing galanes, while 
 Rosales played the King and Rojas recited the has. (Viage 
 
SPANISH ACTORS AND ACTRESSES 567 
 
 entretenido, p. 493.) Ramirez was one of the interlocutors in 
 the latter work. Miguel Ramirez is also mentioned by Figueroa, 
 Plaza Universal, p. 336, among the distinguished actors then 
 living (1615). 
 
 Ramon, actor in the cast of Lope de Vega's El Sembrar en 
 buena Tierra (1616). 
 
 Ramos (Antonio), autor de comedias in 1606, when his wife 
 was Eugenia de Villegas. On Feb. 15, 1636, his widow is called 
 Jusepa Roman, q. v. He and his wife Jusepa Roman were in 
 Rosa's company in 1635. (Marti y Monso, Estudios, p. 566.) His 
 name occurs in the cast of Lope's Sembrar en buena Tierra ( 1616). 
 
 Rayos (Luisa de) , wife of Pantaleon de Borja. Both belonged 
 to the company of Avendano in 1633 ( ?) > their names occur in the 
 cast of the entremes El Tiempo. They were in Antonio de 
 Rueda's company in 1639-40. 
 
 Real (Gaspar), musico in Escamilla's company in 1661, 1663, 
 1664, 1665, 1670, 1671, and 1672; in Sebastian de Prado's com- 
 pany in 1662, with Manuel Vallejo in 1673, and with Simon 
 Aguado in 1674. 
 
 Real (Pedro), actor in the company of Pedro de Valdes in 
 1625-26; in that of Cristobal de Salazar (Mahoma) in i63o(?), 
 and in the company of Bartolome Romero in 1634 and again be- 
 tween 1637 anQ * J 643- v. Rosell, Vol. I, p. 221. 
 
 Reina (Eufrasia Maria de), whose real name was Catalina 
 Hernandez, was the wife of the autor Carlos de Salazar ; after his 
 death at Elche, in 1648, she married Damian de Castro, son of 
 Matias de Castro. ( Sanchez- Arjona, p. 484.) It is said that she 
 plotted to have her first husband (a Sevillan, name unknown) 
 killed; he disappeared, and she then married Salazar. She was in 
 the company of Carlos Vallejo in 1695, afterward retired to 
 Seville, served in a hospital, and led an exemplary life. v. Pellicer, 
 II, p. 47. 
 
 Reinoso (Juan de) took part in the Corpus festival at Seville 
 in 1574. 
 
 Reinoso (Luisa de), wife of Miguel de Ayuso; both were in 
 the company of Claramonte from June 19, 1614, till Shrovetide, 
 1615, receiving 7 reals daily for maintenance and 10 reals for each 
 performance. 
 
568 SPANISH ACTORS AND ACTRESSES 
 
 Reinoso (Luisa de), wife of the famous actor Damian Arias 
 de Penafiel at least as early as 1620. She, her husband, her son 
 Francisco Arias and daughter Luisa de Penafiel were members of 
 Manuel Vallejo's company in 1631. 
 
 Renteria (Ana de), wife of the actor Juan Vivas in 1619 
 (N. D., p. 175) ; perhaps she is the "Ana" who appeared in Pedro 
 Cebrian's company in Lope de Vega's Quien mas no puede ( 1616.) 
 
 Renteria (Felipe de), actor in Madrid in 1584; perhaps this 
 is the Renteria mentioned as a famous actor by Suarez de Figueroa, 
 Plaza Universal, p. 336, as being then (161 5) deceased. 
 
 Reyes, v. Coca y Reyes. 
 
 Reyes (Baltasara de los), la Baltasara, famous actress, wife 
 of Miguel Ruiz; both were in the company of Gaspar de Porres 
 in 1604-05, receiving 16 reals for each representation, 6 reals 
 daily for maintenance, and expenses of travel, and both belonged 
 to the company of Melchor de Leon in 1607. She and her hus- 
 band are characters in the comedia La Baltasara, written for her 
 by Luis Velez de Guevara, Antonio Coello, and Francisco de 
 Roxas. Pellicer calls her Francisca Baltasara, "a no less celebrated 
 actress than holy anchorite." She achieved her greatest triumphs 
 in the company of Heredia. At the height of her success she 
 withdrew from the stage and entered a hermitage dedicated to 
 St. John the Baptist, near Cartagena. {Ibid., Vol. II, p. 50.) Ac- 
 cording to Perez Pastor, Bibliografia Madrileha, III, p. 325, 
 Miguel Ruiz and his wife Ana Martinez were, apparently, in the 
 company of Baltasar Pinedo in Salamanca in Nov., 1607, and both 
 were again in Pinedo 's company in Madrid, in Feb., 161 1. 
 
 Reyes (Catalina de los), daughter of Melchor de los Reyes 
 and Dona Bernardina de Sotomayor, married the actor Antonio 
 de Rueda, then in the company of Olmedo in Cadiz, sometime 
 before Nov. 15, 1630. v. Rueda. 
 
 Reyes (Gaspar de los), manager of the Campania Espahola 
 in May, 1602, jointly with Pedro Rodriguez and Diego de Rojas. 
 He represented in Valladolid in this year. His wife was Gregoria 
 de Guerma. At the end of June they represented in Barco de 
 Avila two comedias "a lo divino" : El Castigo en la Vanagloria and 
 Los Martires Japorieses, and two comedias " a lo humano" : ElConde 
 Alarcos and El Cerco de Cordoba. He is mentioned by Rojas, 
 Viage, p. 13. 
 
SPANISH ACTORS AND ACTRESSES 569 
 
 Reyes (D a Jacinta), actress in Valladolid in 1642, when she 
 married the actor Francisco Garcia, "vecino de Granada." (M. y 
 M., p. 566.) 
 
 Reyes (Juana de los). Her name occurs in the cast of 
 Tirso's Celos con Celos se curan (after 1625), in which she ap- 
 peared as Sirena. 
 
 Reyes (Maria de los), whose parentage is unknown, was 
 brought up by the actor Juan de los Reyes, and assumed his name. 
 She entered the Cofradia de la Novena in 1668, and was the wife 
 of Juan Bautista Loche. She played fourth parts in Escamilla's 
 company in 1670; fifth parts in the same company in 1 67 1 and 
 1672, and segundas damas with Manuel Vallejo in 1673. She died 
 in the Calle de Francos in 1674. 
 
 Reyes (Mariana de los), called la Garbonera( ?), wife of the 
 actor Jeronimo Carbonera. In 1637 Jeronimo Carbonera and his 
 wife Mariana de los Reyes took part in the Corpus festival at 
 Barajas. (N. D., p. 261.) On Sept. I, 1637, Mariana de los 
 Reyes, wife of Jeronimo Carbonera, agreed to act in Romero's 
 company until Shrovetide, 1638, playing second parts. (Ibid., 
 P- 273.) Jan. 18, 1638, Mariana de los Reyes, wife of Jeronimo 
 Carbonera, agreed to act in the company of Segundo de Morales 
 for one year, to play first parts, sing, and dance. (Ibid., p. 280.) 
 Jan. 20, 1639, Mariana de los Reyes, wife of Jeronimo Car- 
 bonera, agreed to play first parts in the company of Andres de la 
 Vega for one year. (Ibid., p. 302.) June 21, 1639, Mariana de 
 los Reyes was a member of the company of Andres de la Vega. 
 (Ibid., p. 315.) Sept. 6, 1640, Andres de la Vega contracted to 
 represent two comedias at the villa del Escurial, "if his wife be one 
 of the company, but if la Carbonera goes, then he is to give three 
 comedias." (Ibid., p. 325.) Mariana de los Reyes must have died 
 or been divorced sometime before Oct. 3, 1643, for on that date 
 Mariana Ladron de Guevara, wife of Jeronimo Carbonera, exe- 
 cuted her last will. (Ibid., p. 331.) In this will she requests that 
 some costumes be recovered "which she has in the possession of 
 Andres de la Vega." She had therefore been an actress in the 
 latter's company. The first notice that we have of "Mariana, la 
 Carbonera," is in 1635, when she played primeras damas in the 
 company of Alonso de Olmedo in Seville. ( Sanchez- Arjona, 
 p. 297. ) The question is : Which of these two actresses was called 
 
570 SPANISH ACTORS AND ACTRESSES 
 
 la Carbonera, or was not the name simply applied to the wife or 
 wives of Jeronimo Carbonera, one after the other? Averiguelo 
 el discrete. 
 
 Reyes y Coca, v. Coca y Reyes. 
 
 Reynoso y Villacorte (Jeronimo), native of Leon, actor in 
 the company of Alonso Riquelme for two years from March 29, 
 1602. 
 
 Riaza (Sebastian de), actor in the company of Francisca 
 Lopez in Seville in 1660. 
 
 Ribas, v. Rivas. 
 
 Ribera (Antonia de), actress in Naples in 1635, and in 1636 
 became an Augustinian nun in S. Giacomo alia Lungara. v. Croce, 
 I Teatri de Napoli, p. 122. 
 
 Ribera (Dorotea de) appeared in Calderon's La Vida es 
 Sueno, Lope's D. Juan de Austria, and Rojas Zorrilla's Casarse par 
 vengarse at Corpus in 1 636 in Madrid. 
 
 Ribera (Fabian de), actor in the company of Jeronimo Velaz- 
 quez, 1584-90. He is mentioned by Rojas, Viage, p. 12. 
 
 Ribera (Magdalen a de), wife of Francisco de Vergara; both 
 were in Damian Espinosa's company in March, 1639-40. 
 
 Ribera (Pedro de) and his wife Catalina de Monsalve were 
 in the company of Alonso de Olmedo in 162 1. 
 
 Ribero or Ribera (Ana Maria de) of Valladolid, wife of 
 Cristobal Ortiz de Villazan (Jan., 1614), and acting in the com- 
 pany of Pedro de Valdes in that year, when she and her husband 
 appeared in Lope's ha Damn boba. She was in her husband's 
 company in Seville in 1619 and 1620, and in the latter year received 
 a gratuity of 20 ducats. In 1 621 she and her husband were in the 
 company of Alonso de Olmedo. 
 
 Ribero (Bartolome), actor in the company of Baltasar Pinedo 
 in Valladolid in 1604. (M. y M., p. 566.) 
 
 Rigol (Esperanza), member of the company of Esteban Nunez 
 in Seville in 1654. 
 
 Rija (Leonor), mulata, dancer and player of the guitar, 
 sonajasj and timbrel at the Corpus festival in Seville in 1590. She 
 performed "en union de otras cuatro mulatas y dos hombres," and 
 received 80 ducats. 
 
 Rio (Antonio del), actor in a joint company in June, 1603, 
 with Luis de Castro and others. 
 
SPANISH ACTORS AND ACTRESSES 571 
 
 Rio (Maria del), wife of Domingo Farinas, was an actress in 
 Valladolid in 1652. (M. y M., p. 567.) 
 
 Rio (Ursula del), wife of Juan de Cuevas or Juan de la 
 Cueva; both were in the company of Andres de la Vega in 
 i638-39> and in the company of Pedro de la Rosa in 1639-40, 
 playing fifth parts. This name also occurs spelled Ursula de 
 Berrio, q. v. 
 
 Rios (Jose Martinez de los) , son of Nicolas de Los Rios. and 
 actor in his company, who was admitted into the Cofradia on 
 Sept. 6, 1 63 1, and managed a company in that year, according to 
 Gallardo, II, p. 668. He had a son named Jose de los Rios, also 
 an actor. The statements in these Libros de la Cofradia de la 
 Novena must be received with great caution. I can find no con- 
 firmation of the above assertion. 
 
 Rios (Juan de los), actor in the company of Cristobal Ortiz 
 de Villazan in Seville in 161 9. 
 
 Rios (Lorenzo de los), brother of the preceding and member 
 of the same company. Both were from Seville, "en la collacion 
 de San Pedro." 
 
 Rios (Nicolas de los), native of Toledo and a famous autor 
 de comedias. In the Viage entretenido of Rojas (Madrid, 1603, 
 p. 132), Rios says that he had then had "mas de treynta afios de 
 comedia," which would fix the beginning of his theatrical career 
 about 1570. In 1583 he was indicted in Madrid "par varios 
 excesos." In 1 586 he resided in Toledo and had a company with 
 Andres de Vargas, which represented in Seville in Oct., and in 
 the following year his company represented one of the autos at 
 Madrid, and again in 1590, 1596, and 1597. He also contracted 
 to produce the autos in Toledo in 1596 and 1597. (B. H. (1907), 
 pp. 361, 362.) In 1590 Rios and Cisneros represented frequently 
 in Madrid, and produced the three autos: Los Desposorios de 
 Isaac, El Bellocino dorado, and N. Senora de Loreto. See Ap- 
 pendix A. In 1588 he represented at Corpus in Seville, in 1589 
 at Corpus in Toledo, and again in 1604, receiving 4300 reals, and 
 in Jan., 1589, he was manager of the company Los Espanoles. In 
 1598 and 1609 he again represented autos in Seville, and in 1606 
 and 1607 in Madrid with Pinedo. For his company in 1609, 
 v. S.-A., p. 136. It appears that in 1601 Rios was commanded 
 by the King to leave Madrid with his company and was de- 
 
572 SPANISH ACTORS AND ACTRESSES 
 
 prived of his license to perform, because he represented a comedia 
 which offended the French Ambassador. Leaving his company 
 in Zaragoza, he returned to Madrid on Sept. 10, 1601, to peti- 
 tion the King to be allowed to return with his company, which 
 was granted. He represented for long periods in Valladolid, and 
 produced the autos there with Villegas in 1602 and with Alcaraz 
 in 1605. In Jan., 1603, he represented five comedias privately 
 before the Queen at Valladolid, and on Feb. 10, 1603, he repre- 
 sented a comedia before the Duke of Lerma in the Huerta de la 
 Ribera del Pisuerga. He again performed before the Queen at 
 Burgos in June and at Valladolid on July 13, 1603. (B. H. 
 (1907), p. 368.) In Nov., 1603, he again took his company to 
 Valladolid, and played four comedias before the King at Torde- 
 sillas. He was one of the eight autores authorized by the de- 
 cree of 1603. On April 28, 1603, Rios married Magdalena de 
 Robles in Valladolid. (Cortes, Una Corte literaria, p. 35.) The 
 witnesses to his marriage were three members of his company: 
 Agustin de Rojas, Miguel Ramirez, and Bartolome Calvo de Arze. 
 The other members were: Juana Vazquez, Hernandez Quiteria, 
 Bartolome de Torres, Bartolomico and Maria (children), Pedro 
 de Callenueva, [Marco?] Antonio, Agustin Solano, and Juan 
 Bautista Rosales. Rios seems to have represented at the Corpus 
 festival of this year in Medina del Campo. (B. H. (1907), 
 p. 367.) In April, 1607, his wife was Ines de Lara. He died 
 on March 29, 1610, of apoplexy, in the Calle de las Huertas, 
 Madrid, his wife surviving him. (The date of the "memorial" 
 of Rios, Feb. 6, 1612, published by Perez Pastor, N. D., p. 356, 
 must be a mistake; it is doubtless 1602.) His house adjoined the 
 Church of the Barefoot Trinitarians of San Ildefonso, and the 
 noise of music, dancing, and rehearsals therein caused it finally to 
 be incorporated in the convent by royal decree of Aug. 13, 16 1 6. 
 In the course of his career Rios first produced a number of Lope's 
 comedias: before 1 603, his La Bella mal maridada — Lope calls 
 him "Mar de donayre y natural gracia"; El ingrato arrepentido; 
 El verdadero Amante; El Caballero de Illescas; El Remedio en- 
 la Desdicha, "Representola Rios, unico Representante" ; La France- 
 silla, El Sol parado, and El Ruysenor de Sevilla. For his company 
 in 1609, v - Sanchez-Arjona, p. 136. He is mentioned by Rojas, 
 
SPANISH ACTORS AND ACTRESSES 573 
 
 Viage, p. 131, among the "farsantes que han hecho farsas, loas, 
 bayles," etc. Rios and Solano at one time belonged to the "honrada 
 compania" of Martinazos in Valencia. {Ibid., p. 91.) The com- 
 pany of Rios in i6oo(?) consisted of Juana Vazquez, Rojas, 
 Quiteria, Torres, Bartolico and Maria (niiios), Callenueva, Arze, 
 Ramirez (played galanes) , Rosales, Antonio, and Solano. {Ibid., 
 pp. 463-465.) 
 
 Riquelme (Alonso), native of Seville and celebrated autor de 
 comedias, much favored by Lope de Vega. He had a company at 
 least as early as 1602, when his wife was Micaela de Gadea. 
 On July 8, 1605, he petitioned to be released from the prison at 
 Valladolid (in which he was confined for a debt of 900 reals), 
 on giving security for the amount. On Jan. 1, 1606, he is styled 
 autor de comedias de los nombrados par S. M., but his name is 
 not included in the decree of 1603. In 1607 he represented the 
 autos at Seville with Gaspar de Porres, and again in 161 1, when 
 Lope de Vega wrote the four autos. For his company in 1607 
 (in which Micaela de Gadea also acted), see S.-A v p. 126. On 
 March 30, 1608, then a widower, Riquelme married Catalina de 
 Valcazar, widow of Gabriel Vaca. He also represented autos at 
 Madrid in 1608 (in this year he performed for thirty days in 
 Toledo, beginning on June 20), 1610, 1613, and in Toledo in 
 1615 and 1617, and was one of the twelve autores authorized by 
 the decree of 1615. In 1610 (after July 1) he took his company 
 to Lisbon. He first represented a number of Lope de Vega's 
 comedias: La buena Guarda (1610) ; La Madre de la Mejor; La 
 Arcadia; El Halcon de Federico; El Alcalde mayor; Los Espanoles 
 en Flandes; La mal Casada; Querer la propia Desdicha; Santiago 
 el Verde and La Historia de Tobias. He had a company in 1619, 
 and in Oct., 1621, represented Lope's El Principe perfecto (2* 
 parte), the latest date that I have found. See Paz y Melia, Catd- 
 logo, No. 2737. 
 
 Riquelme (Jacinto), autor de comedias. In 1645 he married 
 the actress Francisca Vefdugo. (Marti y Monso, Estudios, p. 567.) 
 Both were then, apparently, in the company of Bartolome Romero. 
 He represented the autos in Seville in 1652 with Pedro de la Rosa. 
 (S.-A., p. 402.) Having broken his contract with the manage- 
 ment of La Monteria, Seville, his wardrobe was seized, and in the 
 
574 SPANISH ACTORS AND ACTRESSES 
 
 following year he was again imprisoned. He represented one of 
 the autos of 1653, and died before 1655, when his wife Francisca 
 Verdugo represented the autos in Madrid. (Calderon Doc, I, 
 p. 238. See also Barrionuevo, Avisos, II, p. 222.) 
 
 Riquelme (Maria de), famous actress, daughter of Alonso 
 Riquelme, and noted for her virtuous and exemplary life. She 
 was the second wife (married after 1623) of the autor de comedias 
 Manuel Vallejo, and was a member of his company in 1631. On 
 St. John's eve of this year she appeared in Quevedo's comedia 
 Quien mas miente medra mas, and in 1632 acted in Lope de Vega's 
 El Castigo sin Venganza, playing the part of Casandra. See my 
 article "Ueber Lope de Vega's El Castigo sin Venganza," in the 
 Zeitschrift fur Romanische Phil., Vol. XXV, pp. 411—423. In 
 1632 she appeared in the entremes El Casamiento de la Calle 
 Mayor con el Prado viejo. v. Rosell, Vol. I, p. 277. On the 
 death of her husband (1644) she devoted herself to religion, and 
 died in Barcelona in 1656. See text, p. 163. 
 
 Risques (Leonardo de), actor in the company of Cristobal de 
 Avendafio in 1622. 
 
 Rivas (Juan de), autor de comedias, represented for the first 
 time in the Corral de Puente on Oct. 25, 1579, and then only once. 
 In 1590 he was residing in the Calle de la Cruz; his wife was 
 Juana Romero. 
 
 Rivas ( Jusepe de) , member of the company of Manuel Vallejo 
 in 1 63 1 and in 1640 in Seville. 
 
 Rivas (Manuel de) of Plasencia, actor in the company of 
 Diego Vallejo in Seville in 1619. 
 
 Rivas Carrillo (Domingo), member of a joint company in 
 Madrid in June, 1603, with Luis de Castro and others. 
 
 Rivera (Francisco de), lessee of the Coliseo at Seville in 1619. 
 
 Rivera (Juan Francisco de), actor in the company of Carlos 
 de Salazar in Seville in 1675, and barba in the company of Pablo 
 Martin de Morales in 1678. His wife was D a Maria de Figueroa. 
 
 Rivera, v. also under Ribera. 
 
 Robledo (Diego de), actor in a joint company with Francisco 
 Lopez on March 31, 1632. Robledo, his wife Josef a de la Vega, 
 and their son Juan were admitted to the Cofradia de la Novena 
 on March 14, 1632, being then members of the company of 
 Cristobal de Avendafio. (Cotarelo, Tirso, p. 202.) In 1638 and 
 
SPANISH ACTORS AND ACTRESSES 575 
 
 1640-41 Robledo was in the company of Bartolome Romero, and 
 in 1642 he played second galanes in the company of Luis Hurtado 
 in Seville. (S.-A., p. 356. See also Rosell, Vol. I, p. 200.) 
 
 Robleno (Alonso), actor in the sixteenth century Entr ernes de 
 un Hijo que nego a su Padre. See p. 406. 
 
 Robles (Alonso de) agreed to sing in the company of Juan 
 Jeronimo Valenciano from Shrovetide, 1624, to 1625. 
 
 Robles (D a Ana de), widow in 1639, when she agreed to play 
 second parts in the Corpus festival at Brunete ; she was in the 
 company of Juan Rodriguez de Antriago at the Corpus festival at 
 the villa of Borox in that year. 
 
 Robles (Bartolome de) and his wife Mariana de Guevara 
 took part in the Corpus festival in Buendia in 1619 (N. D., 
 p. 170) ; in 1 62 1 he and his wife Micaela Lopez acted in the 
 Corpus festival in Madrid (ibid., p. 189). In August, 1623, 
 Bartolome de Robles and his wife Mariana de Robles y Varela 
 bought a house in the Calle del Infante from Luis de Monzon, 
 one of the lessees of the theaters of Madrid (ibid., p. 199). In 
 1 63 1 Bartolome de Robles, his wife Bernarda Ramirez and her 
 •daughter (sister?) Maria Ramirez were members of the company 
 of Roque de Figueroa (Cotarelo, Tirso, p. 206), and in 1643 
 Bartolome de Robles and his wife Alfonsa de Haro were members 
 of the company of Tomas Diaz in Seville. If this be the same 
 Bartholomew, his matrimonial record is unequaled in the annals 
 of the Spanish stage. See Paz y Melia, Catalogo, No. 2550. 
 
 Robles (Francisco de), actor in 1609 in Madrid; in 1622 he 
 belonged to the company of Cristobal de Avendano; in 1623 to 
 the company of Pedro de Valdes, and in 1624 he was with Juan 
 de Morales Medrano. 
 
 Robles (Gines de), member of the company of Juan Bautista 
 Valenciano in March, 1623. (Bull. Hisp. (1908), p. 248.) 
 
 Robles (Ines de), "single woman," in the company of Bar- 
 tolome Romero, from March 24, 1638, for one year. 
 
 Robles (Juan de), actor of the company of Pedro de la Rosa 
 in Seville in 1639. 
 
 Robles (Luisa de), wife of the actor Juan de Labadia. On 
 June 19, 1618, she is described as his widow. About this time, or 
 perhaps earlier, believing her husband dead, she married Alonso 
 de Olmedo, q. v., and appeared in Alarcon's tragedy El Antecristo. 
 
576 SPANISH ACTORS AND ACTRESSES 
 
 In 1621 she was in the company of Alonso de Olmedo. (Bull. 
 His p. (1908), p. 244.) In Sept., 1623, she is described as a 
 "single woman over twenty-five years old," and belonged to the 
 company of Manuel Vallejo, and in March, 1624, she was in the 
 company of Antonio de Prado. Perhaps she is the Luisa who 
 appeared as Narcisa in Tirso's Celos con Celos se cur an (1625). 
 In 1627 she and her husband Juan de Labadia were acting in the 
 company of Manuel Simon in the Coliseo in Seville. See the story 
 concerning her under Olmedo (Alonso de), and also Fernandez 
 Guerra, Alar con, pp. 291 ff. 
 
 Robles (Magdalena de), first wife of Nicolas de los Rios, 
 whom she married in Valladolid, April 28, 1603. 
 
 Robles (Teresa de), actress in the company of Antonio de 
 Escamilla in 1675 and 1676, playing fifth parts; in 1678 she was 
 in Agustin Manuel's company; in 1679 with Jose de Prado, and 
 in 1681 with Carvajal. 
 
 Robles y Varela (Mariana de), wife of the actor Bartolome 
 de Robles in August, 1623. 
 
 Robles, v. Diaz de Robles (Pedro). 
 
 Roca Paula, one of the earliest of Spanish actresses; she was 
 the wife of Agustin Solano in 1584. 
 
 Rocha (Diego de la), actor in the company of Jeronimo 
 Velazquez in 1590. He is mentioned by Lope de Vega in the 
 prologue to his Comedias, Part XVI (1621), among the celebrated 
 actors who were then rapidly disappearing. 
 
 Rodenas (Francisco), actor. His wife was Marina Mar- 
 garita Ruiz, actress in 1623. Marina was born in Ecija, the 
 daughter of Lope and Juana Ruiz. 
 
 Rodriguez (Alonso) of Seville was one of the earliest autores 
 de comedias. We find him in Madrid in 1574, when he per- 
 formed in the Corral de Burguillos. He represented at Corpus in 
 Seville in 1573 and 1575, and in 1579 produced, in the Huerta de 
 Dona Elvira, for the first time the following plays of Juan de la 
 Cueva: La Muerte del Rey don Sancho y Reto de Zamora por D. 
 Diego Ordonez, El Saco de Roma y Muerte de Borbon y corona- 
 cion de nuestro invicto Emperador Carlos V, and Los siete Infantes 
 de Lara. In May, 1580, Alonso Rodriguez, "vecino de Sevilla," 
 was in Toledo, and represented three autos in that year, receiving 
 
SPANISH ACTORS AND ACTRESSES 577 
 
 210 ducats. On Feb. 7, 1586, we find Alonso Rodriguez, "vecino 
 de Sevilla," called "residente en Madrid," whither he had come 
 with his company from Toledo. (Nuevos Datos, p. 1 6.) 
 
 Rodriguez (Alonso), "el Toledano," represented in the Corral 
 de Puente, Madrid, on Aug. 15, 1579, and again performed in 
 Madrid on Oct. 28, 1580. On Dec. 10, 1581, Alonso Rodriguez, 
 "el de Toledo," represented in the Corral de Puente, and likewise 
 on Dec. 17 and 18, and in 1582 on Dec. 12, 18, 19, 21, 25, 26, 27, 
 28. (v. Appendix A.)' On May 25, 1583, Alonso Rodriguez 
 represented in Madrid {ibid.), where we find him in Feb., 1584. 
 Whether the latter was the "Toledan" or the "Sevillan," is not 
 stated. {Bull. Hisp. (1906), p. 364.) 
 
 Rodriguez (Alonso) and his wife Mariana Cabello were in 
 Domingo Balbin's company in 1613 in Seville. 
 
 Rodriguez (Ana Maria), wife of the actor Juan Perez de 
 Tapia (Nov. 15, 1640). 
 
 Rodriguez (Antolina), wife of the autor de comedias Gon- 
 zalo de Alarcon in 1598. 
 
 Rodriguez (Antonio) of Avila, actor in 1619. In 1621-22 
 his name occurs in the cast of Lope's Amor, Pleito y Desafio; in 
 1623 he was in the company of Cristobal de Avendano, and 
 in 1624 in Antonio de Prado's company. In Feb., 1633, he and 
 his wife Juana Margarita Pinelo joined the company of Juan 
 Martinez for one year, he as gracioso and she playing third parts. 
 
 Rodriguez (Bartolome), gracioso, mentioned by Rojas, Viage, 
 p. 14. 
 
 Rodriguez (Diego) played fourth galanes in the company of 
 Pablo Martin de Morales in Seville in 1678. 
 
 Rodriguez (Francisca), third wife (2V. D., p. 212) of the 
 autor Hernan Sanchez de Vargas (1619-26). v. Bull. Hisp. 
 (1907), p. 383, where she is mentioned as the wife of Sanchez on 
 Feb. 22, 1619. She was the sister of Dr. Francisco Rodriguez. 
 
 Rodriguez (Francisco), his wife Maria Suarez and her 
 daughter Antonia Bernarda were members of the company of 
 Manuel Vallejo in 1631. (Cotarelo, Tirso, p. 220.) His name 
 occurs in the cast of Lope's La gran Columna fogosa (1629). He 
 was also in Vellejo's company in 1633. 
 
 Rodriguez (Francisco) and his wife Sebastiana Muiioz were 
 
578 SPANISH ACTORS AND ACTRESSES 
 
 in the company of Juan Roman from Shrovetide, 1639, to 1640; 
 he was in the company of Bartolome Romero from March 14, 
 1640, for two years. 
 
 Rodriguez (Gaspar), actor in the company of Fernan Sanchez 
 de Vargas from Oct. 20, 1634, till Shrovetide, 1636; on Feb. 15, 
 1636, he agreed to play third parts in the company of Pedro de la 
 Rosa for one year, and in Sept., 1637, he belonged to the joint 
 company of Juan Rodriguez de Antriago till Shrovetide, 1639. 
 
 Rodriguez ( Isabel) , wife of the autor de comedias Jeronimo 
 Lopez de Sustaya in March, 1602, when both agreed to act for 
 two years in the company of Antonio Granados; in 1603 both were 
 acting in the company of Juan de Morales Medrano. (N. D., 
 p. 80.) 
 
 Rodriguez (Isabel), wife of Juan de Villanueva; both were 
 in the company of Pedro de Valdes in 161 3— 14, and appeared in 
 Lope de Vega's La Dama boba. Perhaps she was the same as the 
 Isabel Rodriguez of the preceding article. 
 
 Rodriguez (Jeronima), wife of Salvador de Ochoa; both were 
 in the company of Baltasar Pinedo in Feb., 161 3. 
 
 Rodriguez (Jeronima), wife of Pedro Maldonado at Easter, 
 1 62 1, when both were in the company of Juan de Morales 
 Medrano till Shrovetide, 1622. Their names occur in the cast 
 of Lope's Amor, Pleito y Desafio, finished Nov. 23, 1621. 
 
 Rodriguez (Jeronima), wife of the actor Isidor Gil, and both 
 in the company of Damian Espinosa in March, 1639-40. Perhaps 
 the three preceding wives were one and the same Jeronima. 
 
 Rodriguez (Jeronimo), actor in Madrid in 1584. (Bull. 
 Hisp. (1906), p. 364.) In 1596 Juan de Albricio, also an actor, 
 was indicted for killing him. 
 
 Rodriguez (Juan), actor in the company of Esteban Nunez 
 in Seville in 1648. He was a native of Granada and in 165 1 
 married Beatriz Barba of Rioseco, in Valladolid, both being in the 
 company of Carlos de Tapia. (M. y M., p. 567.) In 1660 he 
 played third galanes in Jeronimo Vallejo's company, and in 1675 
 and 1677 in Ant. de Escamilla's. In 1680 he was apuntador in the 
 company of Jeronimo Garcia. 
 
 Rodriguez (Mariana), wife of Diego de Monserrate; both 
 were in Alonso Riquelme's company from March, 1602, for one 
 
SPANISH ACTORS AND ACTRESSES 579 
 
 year, and in the company Los Andaluces from March, 1605, till 
 Shrovetide, 1606. 
 
 Rodriguez (Pablo), member of the company of Luis Lopez 
 in Seville in 1645 and 1650. 
 
 Rodriguez (Pedro) and his wife Mariflores were in the com- 
 pany of Jeronimo Velazquez in 1590. He was manager of a joint 
 company with Diego de Rojas and Gaspar de los Reyes, called 
 La Compania Espanola, in May, 1602, and in Oct. of the same 
 year he was in the company of Melchor de Leon. He and his 
 wife were again in the company of Leon in 1607. He had a 
 company at the time of his death, in 1610. (Pellicer, Vol. I, p. 40.) 
 
 Rodriguez de Antriago (Juan), autor de comedias in 1637, 
 1638, and 1639. In 1638 he was associated with Luis Bernardo 
 de Bovadilla. His wife, who acted in his company, was Juana 
 Bernabela. For his company in 1639, v. N. D., p. 312. 
 
 Rodriguez de Villalobos (Marcos), lessee of the theater in 
 Toledo in 1639 and 1640. 
 
 Rojas (Agustin de), actor, and author of the Viage entretenido 
 (1603), and of a comedia El Natural desdichado (published by 
 Paz y Melia in the Revista de Archives, 1900). He was born 
 in Madrid in the Calle del Postigo de San Martin, the son of 
 Diego de Villadiego and Luisa de Rojas, vizcaina, and was bap- 
 tized on September 2, 1572. (Perez Pastor, Bibliografia Madri- 
 lena. Vol. II, Madrid, 1906, p. 75.) From the age of nine to 
 thirteen he served as a page, and at fourteen he came to Seville, and 
 enlisted in Castilleja, remaining over two years in the fortifications 
 of Blaubete, and taking part in various actions. For a while 
 he was a prisoner in La Rochelle, and afterward returned to 
 Spain. He again took service in the galleons, and then became 
 a scrivener in Granada. He went to Malaga and became an actor, 
 performing in Ronda, Grenada, and Seville. It was in the latter 
 city that he first saw the company of Antonio de Villegas, prob- 
 ably in 1599-1600. He afterward (1601) joined the company 
 of Nicolas de los Rios. On July 8, 1603, he sold the right to 
 print and sell his Viage entretenido for ten years to the book- 
 seller Francisco de Robles for 100 ducats. (Perez Pastor, Biblio- 
 grafia Madrilena, II, p. 75. See also Barrera, Catdlogo, p. 336.) 
 The interlocutors in his Entertaining Journey are the author and 
 
580 SPANISH ACTORS AND ACTRESSES 
 
 three other actors: Rios, Miguel Ramirez, and Agustin Solano. 
 In Feb., 1602, he joined the company of Miguel Ramirez, and 
 the agreement then made is printed by Perez Pastor, Nuevos Datos, 
 p. 351. Rojas agreed to act for one year, till Shrovetide, 1603, for 
 2800 reals. Abandoning the stage in i6o4( ?), he became a notary 
 and scrivener in Zamora. That Rojas knew some French and 
 Italian is shown in his Viage, pp. 364 and 419. He also mentions 
 the English as writers of plays : 
 
 Los sabios Italianos 
 
 escriuieron muchas buenas [i.e., comedias], 
 
 los Ingleses ingeniosos, 
 
 gente Alemana y Flamenca. 
 
 (Ibid., p. 123.) 
 
 Rojas (Alfonsa de), wife of Fernando Roman; both were in 
 the company of Carlos de Salazar in Seville in 1676. 
 
 Rojas (Diego de), joint manager with Pedro Rodriguez and 
 Gaspar de los Reyes of the Compania Espanola in 1602. 
 
 Rojas (Francisco de), actor in the company of Domingo Bal- 
 bin from Sept., 1623, till Shrovetide, 1624. 
 
 Rojas (Maria de), wife of the autor de comedias Alonso de 
 Heredia in July-Sept., 1604. 
 
 Rojas (Melchora de) , wife of the autor Gabriel de la Torre. 
 In 1589 they lived in their own house in the Calle de Atocha, 
 below the hospital of Anton Martin. Latest date, July 28, 1608. 
 
 Rojas (Tomas de), actor in the company of Juan de Morales 
 Medrano in 1624. He married the celebrated actress Maria Calde- 
 ron; when, we do not know. He is mentioned as her husband 
 in Dec, 1632. 
 
 Rojo (Jose), actor in the company of Juana de Cisneros in 
 Seville in 1660. He was second barba with Simon Aguado and 
 Juan de la Calle in 1662. 
 
 Roman (Fernando) and his wife Alfonsa de Rojas were in 
 the company of Carlos de Salazar in Seville in 1676. 
 
 Roman (Juan) had a company before 1636, and in that year 
 belonged to the company of Tomas Fernandez. (Rosell, Vol. I, 
 p. 282.) He and his wife Ana Maria de Espinosa were also act- 
 ing in the following year. On June 28, 1638, he and his sister 
 
SPANISH ACTORS AND ACTRESSES 581 
 
 Juana Juarez agreed to act in the company of Hernan Sanchez 
 de Vargas for one year. In Oct., 1638-39, he was one of the 
 autores de comedias appointed by the King. For his company in 
 1639, v. N. D., p. 305. See also Life of Lope de Vega, p. 247. 
 
 Roman (Jusepa), widow of Antonio Ramos (Feb., 1636). In 
 1635, 1636, 1637, and 1639 she played third parts in the company 
 of Pedro de la Rosa. In i637~38( ?) she was in the company of 
 Tomas Fernandez, and appeared in the entremes La Guardain- 
 fante. v. Rosell, Vol. I, p. 381, also pp. 134, 151, 235, 405, 432. 
 Her name occurs in the cast of Belmonte's A un tiempo Rey y 
 Vasallo, in 1642. This appears also to be the company of Pedro 
 de la Rosa. Jusepa's husband was still living in 1635. 
 
 Roman (Maria), la Asturiana, belonged to the company of 
 Juan de Morales Medrano in 1624. In 1636-37 she was in the 
 company of Tomas Fernandez (Rosell, Vol. I, p. 288) ; and in 
 1639 she was in the company of Juan Rodriguez de Antriago. She 
 was the wife of Tomas Enriquez, and was vulgarly called Marimo- 
 rena. 
 
 Romano (Curcio), autor de comedias, who represented autos 
 at Toledo in 1579. v. Curcio Romano. 
 
 Romera or Romero (Ana). Her name appears as Ana Ro- 
 mero in an obligation in which she joined with her husband Andres 
 Gutierrez de Olivares and Baltasar Pinedo and his wife Juana de 
 Villalba on Oct. 11, 1603. (JV. D„ p. 82.) In her will, dated 
 Sept. 7, 1605, the name is written Ana Romera, and she is de- 
 scribed as " the widow of Alonso de Villalba, and now the wife of 
 Antonio (sic) Gutierrez de Olivares, actor." She had three chil- 
 dren then deceased: Mateo, Melchor, and Isabel de Villalba; and 
 three children living : Alonso de Villalba, Antonio de Villalba, and 
 Juana de Villalba, besides a niece, Maria de Villalba, daughter of 
 Mateo, deceased. (N. D., p. 92.) Baltasar Pinedo, famous actor 
 and autor de comedias, was her son-in-law, having married her 
 daughter Juana. See also under Romero (Juana). 
 
 Romero (Agustin) and his wife Ana de Sandoval were in the 
 company of Jeronimo Sanchez from March 27, 1603, for one year. 
 In 1639-40 he was prompter and bill-poster (hacer carteles) 
 in the company of Francisco Velez de Guevara, Pedro de Cobaleda, 
 and Francisco Alvarez. 
 
 Romero, musico, and his wife were in the company of Rodrigo 
 
582 SPANISH ACTORS AND ACTRESSES 
 
 Osorio in Valencia toward the close of the sixteenth century (in 
 1588?). This is, in all probability, the Bartolome Romero, musico, 
 who was in Pinedo's company in 1 61 3. There was a- division of 
 his effects on Aug. 1 1 of that year, between his wife Luisa Romero 
 and his children Bartolome and Maria Romero. (Bull. Hisp. 
 (1907), P- 378.) 
 
 Romero (Bartolome), son of the preceding, celebrated actor 
 and autor de comedias. He was in the company of Cristobal de 
 Avendano in 1622-23, and from Ash Wednesday, 1624, he and 
 his wife Antonio Manuela (Antonia Manuela Catalan) were in. 
 the company of Juan Bautista Valenciano for one year. In 1 626' 
 they bought a house in the Calle de Santa Maria for 2300 ducats, 
 and in this year Jacinto Cordero wrote for him El Favor en la 
 Sentencia. (Paz y Melia, Catalogo, No. 1242.) In 1628 his 
 company and that of Andres de la Vega represented the autos in 
 Madrid, and in 1631 his company produced the autos in Seville; 
 in this year he also represented in La Monteria, when he and his 
 family were received into the Cof radio de la Novena. In 1634 h' & 
 company and those of Luis Lopez and Pedro de Ortegon repre- 
 sented autos in Seville, and in 1642 with Lorenzo Hurtado's com- 
 pany, and again in 1643 with Manuel Vallejo. (For his company 
 in 1642 and 1643, v. S.-A., pp. 358, 366.) In 1636 his company 
 represented five comedias privately before the King. In this year 
 he. and his wife appear to have acted for a while in the company 
 of Tomas Fernandez, v. Rosell, Vol. I, p. 288. In 1637 he owned 
 a house in the Calle del Amor de Dios, corner of the Calle de 
 Santa Maria, and another in the Calle de Francos, corner of the- 
 Calle del Nino. He had a famous company in this year, as fol- 
 lows: Mariana de los Reyes, Pedro Valcazar and Maria de Val- 
 cazar, his wife ; Gabriel Cintor, Pedro Garcia de Guevara, Tomas 
 Enriquez, gracioso, Antonio Pinero, Onofre Pascual, Maximi- 
 liano Eustorquio de Morales, Juan Perez, and the famous galan 
 Alonso de Osuna. He represented at the Buen Retiro in 1638, 
 and the autos at Madrid in this year. In June, 1638, he agreed to- 
 take his company to Lisbon for two or three months before Shrove- 
 tide of 1639. He also performed fifty times in Valencia in the 
 winter of 1638. (N. D., pp. 297, 298.) In 1640 he represented 
 autos at Madrid, receiving 950 ducats (Calderon Documentos, 
 p. 121), and again represented in Madrid in 1658 and 1664, in. 
 
SPANISH ACTORS AND ACTRESSES 583 
 
 the latter year in conjunction with Juan de la Calle. In 1640, 
 beginning in mid-September, he gave twenty consecutive perform- 
 ances in Toledo. He also agreed to take his company to Lisbon 
 to perform from Nov., 1640, until Shrovetide, 1641. He had 
 four children : Luisa, Mariana, Damian, and Francisca ; the latter 
 is mentioned as being quite young in 1637. See Cotarelo (Migajas 
 del Ingenio, Madrid, 1908, p. 215), who says that Romero had 
 the following children : Eusebia, Luisa, Mariana, Domingo, Fran- 
 cisca, and Maria who in 1655 was the widow of Jeronimo 
 de Medina and in 1658 was married to Heredia (Jeronimo?). 
 For his company in 1637, 1638, and 1640, v. N. D., pp. 273, 280, 
 321. He first represented Montalvan's Lo que son Juicios del 
 Cielo. 
 
 Romero (Juana), wife of the autor de comedias Juan de Rivas, 
 lived in the Calle de la Cruz in July, 1590. It seems that Juana 
 Romero and Ana Romera are one and the same person. At all 
 events, in July, 1590, Melchor de Villalba declares that he is the 
 son of Juan de Rivas and Juana Romero, his wife. (N. D., p. 338.) 
 Perhaps Rivas was Juana's second husband, for in 1590 Melchor 
 de Villalba was more than twenty-five years old. (Ibid.) 
 v. Romera (Ana). 
 
 Romero (Luisa), daughter of Bartolome Romero the younger. 
 She and her sister Mariana appeared on the stage in 1 65 1, accord- 
 ing to Cotarelo (Migajas del Ingenio, 1908, p. 216), when both 
 appeared in Solis's loa to Calderon's Darlo todo y no dar nada, 
 represented at the royal palace in 1651. Both names again occur 
 in the same author's loa to the comedia Pico y Canente, by D. Luis 
 de Ulloa and D. Rodrigo Davila, in 1653, and in 1655 in the loa 
 to the comedia Las Amazonas, also by Solis. See Poesias varias, 
 Madrid, 1692, pp. 173, 188, 192, and 219. In 1661 Luisa Romero 
 played segundas damas in the company of Antonio de Escamilla; 
 in 1665 in Francisco Garcia's company, in 1670 with Manuel 
 Vallejo, and in 1 67 1 with Felix Pascual and Agustin Manuel. 
 Returning with Marcos Garces from a private representation, she 
 was struck by a stone while passing the cemetery of San Sebastian, 
 and died from the effects of the injury. She was the first wife of 
 Carlos Vallejo. 
 
 Romero (Maria), v. under Romero, musico. 
 
 Romero (Mariana), younger sister of Luisa, was born be- 
 
584 SPANISH ACTORS AND ACTRESSES 
 
 fore 1 63 1, when she was inscribed, with the other members of 
 her father's family, in the books of the Cofradia de la Novena. 
 She played primeras damas in Manuel Vallejo's company in 1670, 
 1672, 1673, and 1674. In the latter year she suddenly abandoned 
 the stage and entered the convent of Trinitarian nuns in Madrid, 
 which she left just as suddenly. About 1660 she had married the 
 actor Luis Ortiz, whose wife Leonor Banuelos had died in 1658. 
 Mariana had a daughter, D a Mariana Rufina de Ortiz, who be- 
 came a Trinitarian nun in 1676. After July, 1670, Mariana 
 married the actor Manuel Angel, having been divorced from Ortiz 
 sometime before July, 1674. An interesting fact in connection 
 with Mariana Romero is that on July 13, 1674, she bought from 
 Luis de Usategui y Vega Carpio, son-in-law of Lope de Vega, the 
 house in the Calle de Francos (now called Calle de Cervantes) in 
 which Lope had lived for many years, and in which he died in 1635. 
 (Cotarelo, ibid., p. 219.) See also Mesonero Romanos, El Antigua 
 Madrid, Vol. II, p. 48, who says that it was Lope's grandson who 
 sold the house, which is more likely. The house of Lope de Vega 
 finally passed, on June 21, 1823, into the possession of Francisco 
 Maria Lopez de Morelle, a merchant, in whose family it remains. 
 (Ibid.) Under date of May 8, 1658, Barrionuevo (Avisos, IV, 
 p. 140) chronicles the following: "Mariana Romero ha malparido. 
 Anda en la compafiia de Prado, y a su hermana Luisa por unos 
 celillos le han dado una pisa de coces y tundido la badana en la 
 compafiia de Rosa, sin valerle el que ella lo sea." Which of these 
 sisters was called la Romerilla (ibid, under date June 26, 1655) 
 I do not know. 
 
 Romo, El, gracioso, about 1638. v. Rosell, I, p. 371. 
 
 Ros (Pedro), musico in Escamilla's company in 1676 and 1681. 
 
 Rosa (Antonio de la), actor in the company of Juan Acacio 
 in March, 1626-27. 
 
 Rosa (Catalina de la), first wife of the autor Pedro de la 
 Rosa; she played primeras damas in his company in 1636-39. Her 
 maiden name was Catalina de Nicolas. 
 
 Rosa (Feliciana de la), daughter of Pedro de la Rosa and his 
 second wife Antonia de Santiago. She was the wife of Carlos 
 Vallejo, and played subordinate parts in the company of Manuel 
 Vallejo in 1676. 
 
 Rosa (Gregorio de la), musician in the company of Sebas- 
 tian de Prado and Juan de la Calle in 1659 and 166 1 ; in 1662 
 
SPANISH ACTORS AND ACTRESSES 585 
 
 in the company of Simon Aguado; in 1664 in that of Juan de 
 la Calle and Bartolome Romero; in 1665 with Francisco Garcia; 
 in 1671 and 1673 with Felix Pascual; in 1676-78 with Escamilla, 
 and in 1670, 1672, 1674, 1675, 1679, and 1680 he was musico 
 principal with Manuel Vallejo. 
 
 Rosa (Pedro de la), well-known actor, playing first galanes, 
 and autor de comedias in 1636, when he represented six comedias 
 before the King; for his company in this year, v. N. D., p. 244. 
 His first wife ( 1635) was Catalina de Nicolas. At Corpus of 1636 
 his company represented two comedias at Torrejon de Ardoz. 
 In 1637 he gave twenty-one private performances before the King, 
 produced the autos in Madrid with Tomas Fernandez, and repre- 
 sented fifty times in Valencia. For his company in this year, 
 v. N. D., p. 258. In 1638 he was in Malaga, and at that time, 
 we are told, he possessed more than fifty new comedias. (S.-A., 
 p. 328.) In 1639 he played second galanes in his own company 
 and represented autos in Seville, and also acted in the Coliseo. For 
 his company in this year, v. S.-A., p. 327. In 1643 he took his 
 company to Paris; in 1 650 he was again in Valencia, and in 1652 
 and 1653 in Seville. In 1656, 1657, 1658, and 1660 (the latter 
 "year in the company of Vallejo at Corpus) he represented in 
 Madrid, and in 1674 again visited Paris with his company. In 
 1659 he produced the autos in Valladolid. (M. y M., p. 567.) 
 Pedro de la Rosa was a native of Granada, and on the death of 
 Catalina de la Rosa he married Antonia de Santiago, and had a 
 daughter Feliciana, q. v. He died in Madrid on Dec. 19, 1675, 
 having written a sainete for the- Corpus festival in Madrid in April 
 of that year. (Perez Pastor, Calderon Documentos, I, p. 345.) 
 
 Rosales (Juan Bautista), actor in the company of Nicolas 
 de los Rios in 1601-02. v. Rojas, Viage entretenido, pp. 467, 493. 
 His name appears in the cast of Lope's La hermosa Ester as 
 represented by the company of Sanchez in 16 10. In 1613 he 
 was in the company of Baltasar Pinedo. 
 
 Rozas (Francisco de), actor in the company of Sebastian 
 Gonzalez from Ash Wednesday, 1636, for one year. 
 
 Rubio (Francisco), member of the company of Magdalena 
 Lopez in Seville in 1674. 
 
 Rubio (Gabriel), a tailor in 1596. In 1601 he arranged fes- 
 tivals for the autor de comedias Antonio de Villegas. He had 
 charge of dances at Corpus in Madrid in 1606, 1607, and 1608. 
 
586 SPANISH ACTORS AND ACTRESSES 
 
 Rubio (Pedro el), actor in the company of Alonso Cisneros 
 in 1589. He represented the autos Las Avenidas and La Escala 
 de Jacob in Seville in 1597, in conjunction with Melchor de 
 Villalba and Francisco de Palencia. 
 
 Rueda (Antonio de), actor in the company of Heredia in 
 1628, appearing in Lope de Vega's Del Monte sale, and in Alonso 
 de Olmedo's company in 1631-32, acting galanes, his wife Catalina 
 de Acosta being in the same company. In 1635 he was acting in 
 the company of Salvador de Lara and Maria Candau at La 
 Monteria, Seville, and in 1638 had a company and with Pedro 
 Ascanio represented at Corpus in Madrid. In Aug.-Sept. he gave 
 twenty-four comedias at Valladolid. On April 16, 1638, Rueda 
 and Ascanio agreed to go to Lisbon and give ninety performances 
 between mid-November (1638) and Shrovetide, 1639, and on 
 July 31, 1638, Antonio de Rueda agreed to go to Toledo by 
 Nov. 8 [1638] and give thirty representations, "without leaving 
 the city." (N. D., p. 295.) In 1639 Francisco de Rojas wrote 
 for him the comedia Nuestra Senora de Atocha (Paz y Melia, 
 Catdlogo, No. 2396), and in this year he represented Calderon's 
 comedia La Desdicha de la Vox and his autos Santa Maria Egip- 
 ciaca and El mejor Huesped de Espana at Madrid, and beginning 
 on Nov. 1, he gave ninety performances at La Monteria in Seville, 
 one of the conditions being that he should give each week two 
 comedias with their bailes and entremeses, "which had never been 
 seen or represented." (N. D., p. 317.) In 1640 he represented 
 at Corpus in Seville and also in La Monteria, and in 1643, begin- 
 ning on Dec. 25, he performed in Seville till Feb. 9, 1644, and 
 in this latter year again represented at La Monteria and the autos 
 at Corpus in Seville. In 1654 he produced an auto at Madrid. 
 Shortly before Nov. 15, 1630, Antonio de Rueda, being then in 
 the company of Alonso de Olmedo, married in Cadiz Catalina de 
 los Reyes, daughter of Melchor de los Reyes and D" Bernardina 
 de Sotomayor, then deceased. {Bull Hisp. (1908).) His wife 
 at the time of his death was Catalina de Acosta (probably the same 
 person as the Catalina just mentioned). He left two daughters, 
 Catalina and Bernarda, and died in Madrid in the Calle de Leon 
 on Dec. 29, 1662. For his company in 1639, v. N. D., p. 304; 
 in 1640 and 1644, S.-A., pp. 337, 371. 
 
 Rueda (Catalina de), v. Acosta (Catalina de). 
 
SPANISH ACTORS AND ACTRESSES 587 
 
 Rueda (Francisco de), prompter and bill-poster in the com- 
 pany of Bartolome Romero in 1638-39. 
 
 Rueda (Lope de), son of Juan de Rueda; a Sevillan by birth 
 and a gold-beater by trade, he became a famous actor and play- 
 wright, and was one of the founders of the Spanish national 
 drama. We first hear of him on June 8, 1554, when he repre- 
 sented an auto at Benavente; thence he went to Valladolid, where 
 he resided in July of that year. About two years before he had 
 married Mariana de Rueda, a wandering singer and dancer, who 
 had come from Aragon in 1546 and had entered the service of 
 D. Gaston de la Cerda, Duke of Medinaceli, at Cogolludo, remain- 
 ing six years. It is probable that Lope de Rueda met her there 
 in 1552. On Aug. 15, 1558, he represented a comedia at Segovia, 
 and in 1559 produced at Seville the autos El Hi jo prodlgo and 
 Navalcarmelo, receiving 60 ducats. In 1561 he was acting in 
 Madrid with his company, when his goods were attached for 
 debt. His wife is then described as a Valencian. In this year he 
 also represented the autos in Toledo. On July 18, 1564, Maria 
 Luisa, daughter of Lope de Rueda and his wife Rafaela Anxela, 
 was baptized in Seville. This daughter died in infancy. Lope 
 de Rueda died in Cordoba shortly after March 21, 1565, the 
 date of his last will, his wife Rafaela Anxela surviving him. 
 v. Cotarelo, Lope de Rueda, Madrid, 1 901 ; Cortes, Un Pleito de 
 Lope de Rueda, Madrid, 1903. 
 
 RUFINA or RUFINA JuSTA, V. GARCIA (RuFINa). 
 
 Ruiz (Ana), wife of Miguel Ruiz in 159c, when both be- 
 longed to the company of Jeronimo Velazquez. This is doubtless 
 Ana Martinez, q. v. See also Ruiz (Miguel). 
 
 Ruiz (Damian), actor in the company of Manuel Vallejo in 
 1 63 1, together with his wife Maria Martinez and his son Juan 
 Francisco Ruiz. In 1639 he was in the company of Pedro de la 
 Rosa. 
 
 Ruiz (Jeronimo), menestril in 1592 in Madrid, with Alonso 
 Granados and others. 
 
 Ruiz (Juan), actor in the company of Juan de Morales 
 Medrano at Corpus in Seville in 1610; he had a company in 1632. 
 (S.-A, p. 341.) 
 
 Ruiz (Juan Francisco), v. Ruiz (Damian). 
 
 Ruiz (Juana) and her husband Lope Ruiz of Ecija, players? 
 
588 SPANISH ACTORS AND ACTRESSES 
 
 Their daughter Marina Margarita Ruiz was the wife of the actor 
 Francisco Rodenas. Both parents were deceased before Sept. 26, 
 1623. 
 
 Ruiz (Lope), v. the preceding. 
 
 Ruiz (Maria or Mariana), wife of Vicente Ferrer of Valen- 
 cia; both were in the company of Juan deTapia, Luis de Castro and 
 Alonso de Paniagua in Madrid from March, 1602, for one year. 
 
 Ruiz (Marina Margarita), v. Ruiz (Juana). 
 
 Ruiz (Miguel) and his wife Ana Ruiz belonged to the com- 
 pany of Jeronimo Velazquez in 1590. This is probably the Ruiz 
 who lived in the Calle de las Dos Hermanas, Madrid, in 1587— 
 1588, whose house Lope de Vega visited to play trucos. v. Life of 
 Lope de Vega, p. 31. Miguel Ruiz and his wife, the cele- 
 brated Baltasara de los Reyes, were members of the company of 
 Gaspar de Porres in 1604-05. (Nuevos Datos, p. 84.) He 
 seems to have been in the company of Baltasar Pinedo in 1607, 
 when his wife was Ana Martinez, who had been a member of the 
 same company as early as 1603. (Perez Pastor, Bibl., Mad., 
 Part III, p. 325.) But in the Bull. Hisp. (1907), p. 373, we 
 read that Miguel Ruiz and his wife Baltasara de los Reyes were 
 in the company of Melchor de Leon in April, 1607. Certain it 
 is that Miguel Ruiz and his wife Ana Martinez were in Pinedo's 
 company in 161 1. (Bibl. Mad., Ill, p. 325.) In 1614-15 he 
 was in the company of Valdes. (N. D., pp. 136, 137.) I am 
 unable to explain the matter of his two wives. See also Rojas, 
 Viage entretenido, p. 362. 
 
 Ruiz (Simon), actor, indicted in 1606 for a quarrel with an 
 alguacil. 
 
 Ruiz de Ledesma (Juan), actor in the company of Pedro de 
 Valdes from Feb. 24, 1614, for one year. v. Ruiz (Juan), above. 
 
 Ruiz de Mendi (Alfonsa), actress? born about 1570, daugh- 
 ter of Juan Ruiz de Mendi and Isabel Ruiz, his housekeeper. 
 
 Ruiz de Mendi (Juan) and his wife Mariana Vaca, players 
 in Madrid in 1589, when they owned a house in the Calle del 
 Principe. He was a native of Santo Domingo de la Calzada, and 
 lived "in his own house" in the Calle del Principe in 1592. He 
 died on Nov. 25, 1596, leaving two daughters by his wife Mariana: 
 Jusepa Vaca, afterward a famous actress, and Hipolita, besides 
 the daughter Alfonsa, mentioned above. 
 
SPANISH ACTORS AND ACTRESSES 589 
 
 Saabedra, actor in Benavente's entremes Los Escuderos y el 
 Lacayo, about 1671-75. v. Migaxas del Ingenio, fol. 79, v. 
 
 Saavedra (Rodrigo de), actor and friend of Lope de Vega. 
 He was born in 1559 and is mentioned as an actor as early as 1584. 
 In 1587-90 he was in the company of Jeronimo Velazquez, 
 v. Life of Lope de Vega, pp. 23, 48. In 1592 he was director of a 
 company and with Gaspar de Porres represented autos in Madrid 
 in that year. v. Datos desconocidos, ed. Perez Pastor, pp. 151 ff., 
 and N. D., p. 31. 
 
 Saavedra y Aguiar (Ana de), wife of the actor Gabriel 
 Sedefio, living in Madrid in - 1632. 
 
 Sagramano (Luis de) brought out the auto El Nino per dido 
 in Seville in 1575. He was, perhaps, its author. 
 
 Salas (Catalina de) or Catalina de Medina, wife of Fran- 
 cisco de Salas and mother of Juan de Salas. v. Medina (Cata- 
 lina). 
 
 Salas (Domingo de), actor in the company of Esteban Nunez 
 in Seville in 1654. 
 
 Salas (Francisco de) and his wife Catalina de Medina were 
 in the company of Manuel Vallejo in 1631-32, and appeared in 
 Lope's El Castigo sin Venganza in 1632. Prior to this, in 1628, 
 he was in the cast of Lope's Del Monte sale, apparently in 
 Heredia's company. In 1633 he belonged to the company of 
 Juan Martinez, and in 1639 and 1640 he was again with Manuel 
 Vallejo. 
 
 Salas (Juan de), son of Francisco de Salas and Catalina de 
 Medina; he was in Manuel Vallejo's company in 1 63 1. 
 
 Salas (Jusepe de), actor in the company of Diego de Santan- 
 der in Nov.-Dec, 1594. In 1603-04 he was in the company of 
 Diego Lopez de Alcaraz. 
 
 Salas (Maria de), actress, first wife of Miguel Bermudez de 
 Castro. 
 
 Salazar (Andrea de), daughter of the autor de comedias 
 Carlos de Salazar and his wife Isabel Diaz; all were acting in the 
 company of Carlos in Seville in 1676. In 1679 she was in the 
 company of Jose de Prado. 
 
 Salazar (Carlos de), son of Jose de Salazar and Juana 
 Bernabela, actor in the company of Louis Lopez in Seville in 1650, 
 and in the company of Felix Pascual at La Monteria, Seville, in 
 
59© SPANISH ACTORS AND ACTRESSES 
 
 1665, where, in 1675-76, having a company of his own, he gave 
 forty representations. He married Isabel Diaz and had two 
 daughters, Andrea and Josefa de Salazar, q. v. He afterward 
 married Eufrasia Maria de Reina, and died in Elche in 1684. 
 
 Salazar (Catalina de), wife of Juan Vifias; both were in 
 Manuel Vallejo's company in Seville in 1643. 
 
 Salazar (Cosme de) , actor in the company of Juan de Morales 
 Medrano in June, 1626. 
 
 Salazar (Cristobal de), called Mahoma, was an autor de 
 comedias in 1630. 
 
 Salazar (Feliciano) brought out an auto at Corpus in 
 Seville in 1576. 
 
 Salazar (Jose or Jusepe de) of Toledo, actor in the company 
 of Cristobal de Leon in May, 1622; in 1626 he represented one of 
 the autos at Seville, Roque de Figueroa having charge of the 
 other. He returned to Seville with his company for the autos 
 of 1628, 1630 (in this year, in Dec, he also represented at a 
 festival in Seville), and 1 63 1. He represented Calderon's Peor 
 estd que estaba in 1630. (The comedia was finished in May of 
 that year. Schmidt, Die Schauspiele Calderon's, p. 31.) His wife 
 was Juana Bernabela, and his son Carlos de Salazar, q. v. 
 
 Salazar (Josefa de), wife of Esteban Nunez, autor de come- 
 dias; both were in the company of Juan Acacio in Seville in 1644, 
 and in Lorenzo Hurtado's company in 1645. In 1642 Jusepa de 
 Salazar appeared in the cast of A un tiempo Rey y Vasallo, by 
 Belmonte Bermudez. She was a member of her husband's company 
 in 1648 and in 1654. A Josefa de Salazar, daughter of the autor 
 Carlos de Salazar, is mentioned in 1676, when she and her husband 
 Jose Antonio [Guerrero] were acting in the company of her father 
 in Seville. 
 
 Salazar (Juan), dorador, brought out the auto El Triunfo de 
 la Fe in Seville in 157 1. 
 
 Salazar (Luis de), actor in the cast of Lope's La Conpetencia 
 en los Nobles (1628). In Feb., 1619, Pedro Cebrian, autor de 
 comedias, executed a power of attorney to Luis de Salazar, "vecino 
 de Toledo." (N. D., p. 173.) Perhaps this was the same person. 
 
 Salazar (Maria de), widow, actress in the company of 
 Esteban Nunez in Seville in 1648. In 1674 Maria de Salazar, 
 actress, of Madrid, married Pedro Quirante in Valladolid. (M. y 
 
SPANISH ACTORS AND ACTRESSES 591 
 
 M., p. 567. ) A Maria de Salazar, also an actress, in the company 
 of Gaspar de Porres, is mentioned in Nov., 1600. v. Nuevos 
 Datos, p. 53. 
 
 Salazar (Pedro de), resident of Madrid, actor in the com- 
 pany of Diego Vallejo in Seville in 1619; in 1622 with Manuel 
 Vallejo; in 1624 he was in the company of Juan de Morales 
 Medrano; in 1625-26 in that of Pedro de Valdes; in 1631 in 
 that of Juan Vazquez, el Polio, and in 1635-36 ( ?) with Antonio 
 de Prado. v. Rosell, Vol. I, p. 322. In 1639-40 he belonged 
 to the company of Antonio de Rueda, and in 1643 to the com- 
 pany of Tomas Diaz in Seville. 
 
 Salazar (Pedro de), el Granadino; his wife (1654) Maria de 
 los Santos was a celebrated singer; both were in the company 
 of Sebastian de Prado in 1662, and with Antonio de Escamilla 
 in 1663. 
 
 Salcedo (Jeronima de) and her husband Sebastian de Sasieta 
 Avendano were acting in Valladolid in 1603, apparently in the 
 company of Pinedo. (M. y M., Estudios, p. 566.) She is men- 
 tioned by Suarez de Figueroa in his Plaza Universal (161 5) 
 among the famous actresses then deceased. 
 
 S\lcedo (Lucia de), actress in the company of Alonso 
 Riquelme in 1610. She appeared in Lope's El Sembrar en buena 
 tierra (161 6) in the company of Ortiz, v. Life of Lope de Vega, 
 pp. 230 et seq. 
 
 Salcedo (Maria de), actress, wife of the autor de comedias 
 Pedro Ximenez de Valenzuela in 1601-02. In the latter year she 
 was residing in Toledo. 
 
 Salcedo (Mateo de), one of the earliest of the autor es de 
 comedias. He produced two autos in Seville in 1572, and again 
 represented autos there in 1580, 1586, 1589, and 1600. In May 
 and June, 1579, he represented in the Corral de la Pacheca in 
 Madrid, and again in Oct., Nov., and Dec, and also produced 
 the autos in this year. He represented the autos at Salamanca in 
 1595. He died before 1608. Suarez de Figueroa mentions him 
 as a famous actor in his Plaza Universal (1615). See Ap- 
 pendix A and Sanchez-Arjona, pp. 501, 502. He seems to have 
 represented Argensola's tragedy Isabela. (Ochoa, Tesoro, I, 
 
 p. 506.) 
 
 Salcedo (Nicolas de), son of the preceding, was lessee of 
 
592 SPANISH ACTORS AND ACTRESSES 
 
 the Corral de San Pedro in Seville in 1610. See also B. H. (i907)> 
 p. 385. The name "Sacedo" occurs in the cast of Lope's La Con- 
 petencia en los Nobles (1628). 
 
 Salcedo (Pedro de), musician in the company of Alberto 
 Naseli, alias Ganassa, in Madrid, in 1581-82. (Revista de Archi- 
 vos, 1908, p. 52.) 
 
 Saldana (Luis de) brought out the car of El Desposorio at 
 Corpus in Seville in 1570. 
 
 Saldana (Pedro de), one of the most celebrated autores de 
 comedias of his time. In 1576 his company and that of Juan 
 Bautista represented the autos in Seville, and again he produced 
 them in 1577, 1578, and 1579. In the latter year he represented 
 for the first time at the Huerta de Dona Elvira in Seville the fol- 
 lowing plays of Juan de la Cueva: La Libertad de Espana por 
 Bernardo del Carpio, El Degollado, El Tutor, and La Constancia 
 de Arcelina, and the tragedy La Muerte de Ay ax Telamon sobre las 
 Armas de Aquiles, in which latter Saldana played the part of Ajax 
 admirably, according to Cueva. He also represented for the first 
 time in the Huerta de Doha Elvira in Seville in 1580 the following 
 plays by Cueva : Tragedia de la Muerte de Virginia y Apio Claudia 
 and El Principe tirano, in two parts, and the comedia El Viejo 
 enamorado, in the Corral de Don Juan, and at Corpus in 1583, 
 1584, and 1585. In 1581 he represented the autos in Toledo, and 
 in Dec. of the same year his company appeared seven times at the 
 Corral de la Cruz and the Corral de Puente. In Jan. and Feb., 
 1582, he performed twenty-eight times in La Cruz and La Pacheca, 
 and in Aug. and Sept. fourteen times in La Cruz. See Ap- 
 pendix A. He is mentioned by Suarez de Figueroa, Plaza 
 Universal, among the famous actors then (1615) deceased. 
 There is no record of Saldana's having produced any of Lope's 
 plays, from which it is very probable that he died not long after 
 1585. 
 
 Salinas (Antonio de), actor in the company of Damian de 
 Espinosa in 1638. He was a gracioso and died in 1669. 
 
 Salinas (Francisco), harpist. 
 
 Salinas (Hernando de), actor in the company of Manuel 
 Vallejo in 1674. 
 
 Salinas (Maria de) played fourth parts in the company of 
 
SPANISH ACTORS AND ACTRESSES 593 
 
 Bartolome Romero and Juan de la Calle in 1664; in 1665 she 
 was in the company of Antonio de Escamilla. She had a daughter, 
 Maria Flores, also an actress. 
 
 Salinas (Martin de), actor, was seized in Pamplona, while 
 a member of the company of Hipolito de Olmedo, and sent to the 
 galleys for having two wives. 
 
 Salinas (Pedro), v. Garcia de Salinas (Pedro). 
 
 Salinas (Vicente de), actor in the company of Bernardo de 
 la Vega in 1672; in Manuel Vallejo's in 1675; in Jose Garcia de 
 Prado's in 1679, and in Jeronimo Garcia's company in 1680. He 
 was born in Zaragoza, the son of Vicente and Garcia de Soria. 
 His wife was Manuela de Acuna. 
 
 Salomona (Angela), Italian actress in the company of 
 Drusiano Martinelli in Madrid in 1587. 
 
 Salvador (Jaime) is mentioned by Lope de Vega (Comedias, 
 Part XVI, Madrid, 1622, Prologue) as a famous actor; he was in 
 the company of Tomas Fernandez in 1636 ( ?). v. Rosell, Vol. I, 
 p. 405. In 1637-39 he was second gracioso in the company of 
 Pedro de la Rosa. In 1642 he appeared in the cast of Belmonte's 
 A un tiempo Rey y Vasallo, also in Rosa's company, and in 
 Sept., 1643, he was in the company of Luis Lopez. His wife was 
 Maria Salvador. 
 
 Salvador (Lorenzo), actor in the company of Alonso de 
 Olmedo in 1 62 1. {Bull. Hisp. (1908), p. 244.) There was a 
 Salvador in the company of Porres in Valencia (in 1601?). See 
 the loa to ha belligera Espanola. He was a native of Valencia. 
 
 Salvador (Maria), v. Salvador (Jaime). 
 
 Samaniego (Juan de) and his wife Maria de la O were mem- 
 bers of the company of Juan Bautista Espinola or Espinosa in 
 Madrid for one year from Feb. 17, 1633. On Feb. 8, 1633, he had 
 agreed to act in the company of Hernan Sanchez de Vargas at the 
 Corpus festival of that year, and in 1637 he and his wife acted at 
 the Corpus festival at Zedillo. 
 
 Sambrano (Alonso), actor in the company of Bernardo de la 
 Vega in 1672. v. Zambrano. 
 
 Sampayo (Antonio de) and his wife Mariana Gutierrez were 
 in the company of Antonio de Villegas in Feb., 1612; he was in a 
 joint company with Baltasar Pinedo and others in 161 3 to repre- 
 
594 SPANISH ACTORS AND ACTRESSES 
 
 sent the autos in Toledo in that year. In 1614 he and Pedro 
 Llorente directed a company, and in 16 16 he appeared in Tirso's 
 La Tercera de la Sancta J nana, in Prado's company. In 1640 
 Antonio de Sampayo and Alfonsa de Riaza, players in the company 
 of Juan Bautista Mayo, were married in Valladolid. (M. y M., 
 p. 566.) 
 
 San Juan (Tomas de), barba in the company of Jose Carrillo 
 in 1663; he was with Francisco Garcia in 1665, with Manuel 
 Vallejo in 1670 as barba, and tercero galan in Escamilla's company 
 in 1672. 
 
 San Martin (Juan de), actor in the company of Pedro de 
 Valdes in 161 4 and 162 1 (N. D., p. 189), and in the company of 
 Manuel Vallejo in Madrid in 1622. v. Life of Lope de Vega, 
 pp. 172, n., 295, n. 
 
 San Mateo (Simon), actor in the company of Manuel Vallejo 
 in 1674. 
 
 San Miguel (Dona Francisca), actress in the company of 
 Antonio Granados in 161 8, when she received a gratuity of 501 1 
 mrs. for her excellent acting in the auto Obras son Amores in 
 Seville. ( Sanchez- Arjona, p. 195.) In March, 1624, she was in 
 the company of Antonio de Prado. 
 
 San Miguel (Francisco de), actor in the company of Pedro 
 de la Rosa in 1636, 1637, and 1639. In 1650 he was in the com- 
 pany of Antonio de Prado. {Calderon Documentos, I, p. 170.) 
 His wife was Brigida Garcia, and he had two daughters, Josefa 
 and Maria San Miguel. He died in 1669. In 1657 a Francisco 
 de San Miguel was musico in the company of Jose Garceran. 
 
 San Miguel (Josefa de), daughter of Francisco de San 
 Miguel and Brigida Garcia, and actress in the company of Simon 
 Aguado in 1674; in 1675 and 1676 she was segunda in the com- 
 pany of Manuel Vallejo; in 1677 and 1678 she played terceras in 
 Agustin Manuel's company; in 1679 segundas with Jose de Prado, 
 and in 1680 terceras in the company of Jeronimo Garcia. She was 
 the wife of Pablo Polope in 1675. (M. y M., p. 567.) 
 
 San Miguel (Maria de), v. San Miguel (Francisco de). 
 She was the wife of Salvador de las Cuevas, q. v. 
 
 San Miguel (Melchor de) brought out one of the carros at 
 the Corpus festival in Seville in 1577. There was a San Miguel 
 celebrated as a bexete, mentioned by Rojas, Viage entretenido, p. 52. 
 
SPANISH ACTORS AND ACTRESSES 595 
 
 San Miguel (Pedro de), actor in the company of Domingo 
 Balbin in Seville in 161 3. 
 
 San Pedro (Cristobal de) and his wife Magdalena de Oviedo 
 were in the company of Diego Lopez de Alcaraz from Jan. io, 
 1610, for two years. In 1613 he was in Baltasar Pinedo's com- 
 pany, and in 1614-16 in that of Antonio de Prado, when he ap- 
 peared in Tirso's La Tercera de la Sancta Juana. 
 
 San Pedro (Maria de), actress in the company of Roque de 
 Figueroa in 1631-32. In 1635 she and her husband Jacinto 
 Varela appeared (also in Roque's company) in Peligrar en los 
 Remedios by Rojas Zorrilla. On Oct. 30, 1638, she is called widow 
 of Jacinto Varela, and joined the company of Segundo de Morales 
 for one year, playing second parts, singing and dancing, v. Cota- 
 relo, Tirso, p. 206; Rosell, Vol. I, pp. 109, 322. 
 
 Sanchez (Alonso) of Jaen, musician and actor for two years 
 from March 14, 1602, in the company of Alonso Riquelme. 
 
 Sanchez (Andres), member of the company of Bernardo de 
 la Vega in Seville in 1672. 
 
 Sanchez (Bartolome), actor in the company of Melchor de 
 Leon in 1607. 
 
 Sanchez (Catalina), "natural de Jaca," actress, married 
 Felipe de Morales in 1650. Both were then playing in the com- 
 pany of Adrian Lopez in Valladolid. (M. y M., p. 567.) 
 
 Sanchez (Catalina), native of Aragon, married Gaspar 
 Diago in Valladolid in 1655. (M. y M., p. 567.) 
 
 Sanchez (Cristobal) produced the auto La Visitation de la 
 Reina Saba in Seville in 157 1. 
 
 Sanchez (Francisco), actor in a joint company in Madrid in 
 June, 1603, with Luis de Castro and others; in 1607 he belonged 
 to the company of Diego Lopez de Alcaraz. Perhaps this is Fran- 
 cisco Sanchez de Medina, who was in the company of Pedro 
 Maldonado in 161 1. (N. D., p. 124.) 
 
 Sanchez (Francisco), el Teatino, had been a Jesuit; he be- 
 longed to the company of Juan Perez de Tapia in Seville in 1662; 
 in 1664 he played first galanes in the company of Bartolome 
 Romero and Juan de la Calle, and in 1665 was with Francisco 
 Garcia, Pupilo. He died in the Calle de Cantarranas, Madrid. 
 According to Gallardo, II, p. 678, he was assassinated in 1667. 
 
 Sanchez (Garcia), singer and actor in entremeses in the com- 
 
596 SPANISH ACTORS AND ACTRESSES 
 
 pany of Alonso Cisneros and Melchor Villalba in 1595-96- In 
 April, 1607, he was an actor in the company of Diego Lopez de 
 Alcaraz. 
 
 Sanchez ( Ines) , wife of Cristobal Ramirez de la Cruz, autor 
 de comedias, in 1613. 
 
 Sanchez (Jeronimo), autor de comedias in 1610, when he 
 took up the stranded company of Mariflores, widow of Pedro 
 Rodriguez. His wife was the celebrated actress Maria de los 
 Angeles. The next notice we have of him is in 1623. For his 
 company in this year, see Nuevos Datos, p. 194. 
 
 Sanchez (Lucas), actor in the joint company of Andres de 
 Claramonte from July 11, 1614, for one year. 
 
 Sanchez (Marcos), musician in the employ of D. Garcia de 
 Mendoza, Viceroy of Peru, in Lima, in 1588. 
 
 Sanchez (Maria) and her husband Francisco Garcia were 
 members of the company of Alonso Riquelme from March, 1602, 
 for two years. Both were residents of Ciudad Rodrigo. 
 
 Sanchez (Pablo), actor in the company of Esteban Nunez in 
 Seville in 1654. 
 
 Sanchez (Pedro), musician in the company of Domingo Bal- 
 bin in 1609. 
 
 Sanchez Baquero (Pedro) played first old men's parts in 
 the company of Pedro de la Rosa for one year from Feb. 15, 1636. 
 
 Sanchez de Echeverria (Felipe), autor de comedias. In 
 Sept., 1623, he represented three comedias before the King. 
 
 Sanchez de Medina (Francisco), actor in the company of 
 Pedro Maldonado in March, 161 1. 
 
 Sanchez de Mora (Alonso), actor in Valladolid in 1611. 
 (M. y M., p. 566.) 
 
 Sanchez Mudarra (Juan), musician in the employ of 
 D. Garcia de Mendoza, Viceroy of Peru, in Lima, in 1588. 
 
 Sanchezde Vargas (Hern an), famous autor de comedias. He 
 took part in the Corpus festival at Seville in 1596, evidently in Diego 
 de Santander's company. Sanchez-Arjona conjectures that Hernan 
 Sanchez was the author of the auto San Leonicio, produced by 
 Santander in this year. He was again in the company of Santander 
 in Feb.-June, 1597, and in the company of Alonso Riquelme in 
 1608. He had a company in 1609, and in 1610, 161 1, 1615, 1618, 
 
SPANISH ACTORS AND ACTRESSES 597 
 
 and 1619 represented autos in Madrid, receiving 600 ducats for 
 two autos. In 1610 he lived in the Calle de las Huertas, Madrid, 
 and in this year his company produced Lope de Vega's La hermosa 
 Ester, he and his wife S a Polonia [Perez] appearing in the cast. 
 He represented autos at Seville in 1612, and again visited that city 
 at Corpus in 1614, 1620, 1621, and 1622. In July, 1619, he 
 resided in Valencia. He was one of the twelve autores authorized 
 by the decree of 161 5, and in November of this year represented 
 seven comedias in Lerma, receiving 1400 reals. In a power of 
 attorney which he executed on Jan. 11, 1619, as executor of his 
 deceased wife Polonia Perez, she is called his first wife. She seems 
 to have been from the town of Hita, and left two children, Fran- 
 cisca and Hernando de Vargas, both still minors in Sept., 1626, 
 when Sanchez was residing in Valencia. On Feb. 22, 1619, his 
 wife was Francisca Rodriguez. Perez Pastor, Nuevos Datos, 
 p. 212, says that Polonia Perez was the second wife of Sanchez, 
 and that Francisca Rodriguez was the third. In Sept., 1623, he 
 agreed to perform in Madrid for four months, beginning on Sat- 
 urday, Sept. 2. His sister-in-law in 1633 was Mariana Juste, 
 widow of Dr. Francisco Rodriguez, physician, v. Bull. Hisp. 
 (1907), p. 383. In Sept., 1623, Sanchez represented four comedias 
 before the King. Of La hermosa Ester mentioned above, Lope 
 says: "Representola el famoso Sanchez con notable autoridad y 
 aplauso." From Shrovetide, 1634—35, he managed a joint company 
 with Juan de Malaguilla. Sanchez had a company in 1638 (in 
 1636-37 he seems to have been acting in the company of Pedro de 
 la Rosa. Rosell, Vol. I, p. 419; v. the entremes Los Muertos 
 vivos), and in 1640 is called a "merchant in the Calle de las 
 Huertas, living in his own house." In May, 1642, he is merely 
 styled a "resident of Madrid." He died, a widower, on Nov. 18, 
 1644, in prison in Madrid, leaving as executors Mariana Juste 
 and his daughter Francisca Vargas, who were then living in the 
 Calle de las Huertas, opposite the Calle del Amor de Dios, and he 
 was buried by the Cofradia de la Novena. Sanchez was especially 
 friendly to Luis Velez de Guevara, much to the displeasure of 
 Lope de Vega, who refused to write a play for him in Dec, 161 4. 
 v. Life of Lope de Vega, p. 252. The Sanchez mentioned by 
 Rojas, Viage, p. 131, among the "farsantes" who wrote farsas, 
 has, bayles, etc., is perhaps the same person. 
 
598 SPANISH ACTORS AND ACTRESSES 
 
 Sandino (Diego), actor in Madrid in 1584. (B. H. (1906), 
 P- 363.) 
 
 Sandoval (Alonso de), actor? Witness to the marriage of 
 Josefa Vaca and Juan de Morales Medrano, Dec. 27, 1602. 
 
 Sandoval (Ana de), wife of Agustin Romero; both were in 
 the company of Jeronimo Sanchez from March 27, 1623, for one 
 year. 
 
 Sandoval (Jeronimo de), actor in the company of Antonio 
 de Castro in 1656, and with Jose de Prado in Seville in 1658. 
 
 Sandoval (Juan Antonio), husband of the actress Luisa de 
 la Cruz, q. v. 
 
 Santa Cruz (Baltasar de), actor in the company of Alonso 
 de Olmedo in Aug., 1620; in the company of Cristobal de 
 Avendano in 1622, and in Domingo Balbin's company from Sept. I, 
 1623, till Shrovetide, 1624. 
 
 Santa Cruz (Maria de), actress, married Diego Prudencio 
 de Florencia y Carrillo in Valladolid in 1653. 
 
 Santa Cruz Caballero (Diego de), el Tuerto, born in 
 Seville in the "barrio de Triana." His wife was Manuela Mazana, 
 q. v. He died in 1679. 
 
 Santamaria (Juan de) and his wife Luisa de Ortega were in 
 the company of Sanchez de Vargas in March, 1634-35. 
 
 Santander (Andres de), money-taker (cobrador) for Fernan 
 Sanchez de Vargas in 16 19. 
 
 Santander (Diego de), autor de comedias in Madrid in 
 Oct., 1594. In 1591 he represented two autos in Seville, and 
 again in 1596 and 1599. In the latter year he produced in Madrid 
 the comedia Lupercia constante 6 la Dama fregona (Paz y Melia, 
 Catdloffo, No. 1933), and represented three comedias in Seville on 
 the occasion of the visit of the Marquesa de Denia, receiving 600 
 reals. In 1601 his company represented in Valladolid. (Cortes, 
 Noticias de una Corte literaria, 1906, p. 31, n.) Lope de Vega 
 at the end of his Peregrino en su Patria (ed. 1604, fol. 163) men- 
 tions Santander as having first produced his comedia La Montanesa, 
 and says of him that he was "digno de ser oydo, y no de menor 
 cuydado y ingenio [que Villegas]." Barrera, Catalogo, p. 366, 
 mentions a Martin de Santander, and says that he was a contempo- 
 rary of Lope de Rueda. 
 
 Santiago (Antonia de) of Granada was the second wife of 
 
SPANISH ACTORS AND ACTRESSES 599 
 
 Pedro de la Rosa; in 1635 she belonged to the company of 
 Alonso de Olmedo, and is called "famosa, tercera," and in 1639 
 she played fourth parts in Pedro de la Rosa's company in Seville. 
 Whether she was the sister or the wife of Santiago, who played 
 segundo barba in the same company in those years, I do not know, 
 v. Sanchez-Arjona, pp. 298, 327. It may be noted that in 1639 
 Pedro de la Rosa's first wife, Catalina de la Rosa, and Antonia de 
 Santiago were both members of his company. Antonia's name 
 again appears in the cast of Belmonte's A un tiempo Rey y Vasallo 
 (1642). It is probable that at this date she was not yet the wife 
 of Pedro de la Rosa. The Sra. Antonia of the cast of Montero's 
 Amar sin favorecer (1660) is almost certainly the wife of Rosa, 
 who appeared in the same cast. She accompanied her husband's 
 players to Paris in this year and in 1674; in 1664 she was sobre- 
 saliente in Bartolome Romero's company. (Perez Pastor, Calderon 
 Doc. , I, p. 308.) She seems to have survived her husband, who 
 died in 1675. 
 
 Santiago (Antonia de), wife of Francisco de Castro; both 
 were in the company of Luis Lopez in 1650 in Seville. 
 
 Santiago (Diego de), actor in the company of Diego de San- 
 tander in Dec, 1594; in Oct., 1602, he and his wife Marina de 
 Torres were members of the company of Melchor de Leon. From 
 March 27, 1623, for one year, he was in the company of Jeronimo 
 Sanchez; in July, 1626, he had a company and represented a 
 comedia before the King. In 161 3 we find Diego de Santiago, 
 autor de comedias in Seville, where he produced an auto. His 
 name occurs in the cast of Godinez's La Reina Ester (1613). 
 Sanchez-Arjona (p. 155) says that in March, 1633, his wife 
 was Maria Lopez Ferrer, when both were received into the 
 Cofradia de la Novena. See also the Santiago mentioned above, 
 under Antonia de Santiago. 
 
 Santiago (Isabel de), actress in the company of Francisca 
 Lopez in Seville in 1660. 
 
 Santillana (Bartolome de), actor in Madrid in 1584. 
 
 Santiuste (Diego de), lessee of the theater in Toledo in 
 Feb., 1638. 
 
 Santos (Bernabela de los), child acting in the company of 
 Juan Acacio in Seville in 1644. 
 
 Santos (Maria de los), celebrated singer and wife of Pedro 
 
600 SPANISH ACTORS AND ACTRESSES 
 
 de Salazar, el Granadino (1654). She played quintas damas in the 
 company of Sebastian de Prado and Antonio de Escamilla in 1662 ; 
 fourth parts in the company of Escamilla in 1663; in the company 
 of Simon Aguado in 1674; third parts with Escamilla in 1675 and 
 1676; fourth parts with Agustin Manuel de Castilla in 1677, 
 and sobresaliente in the company of Juan Antonio de Carvajal 
 in 1681. 
 
 Santoyo (Antonio), member and manager of the company 
 called Los Conformes in 1630, when they were acting in Lima, 
 Peru. Nuevos Datos, p. 219. This company was in existence in 
 1623. v. ibid., p. 202. 
 
 Sarmiento (Bernardino), actor in the company of Nicolas 
 de los Rios in 1609. 
 
 Sarmiento (Pablo), actor in the company of Nicolas de los 
 Rios in 1609, and in Claramonte's company from March 28, 1614, 
 till Shrovetide, 1615. In March, 1623, he and his wife Maria 
 Calderon were in the company of Juan Bautista Valenciano. 
 (Bull. Hisp. (1908), p. 248.) 
 
 Sasieta, v. Avendano. 
 
 Saura (Juan de), member of the company of Pedro de la 
 Rosa in Seville in 1639. 
 
 Scobedo (Antonio de), "autor desconocido" ; represented the 
 auto El Bellocino dorado in Seville in 1589. See Escobedo (An- 
 tonio de). 
 
 Sedeno (Gabriel), actor in 1632 in Madrid. His wife was 
 Ana de Saavedra y Aguiar. 
 
 Segobia, actor in the cast of Tirso's Celos con Celos se curan 
 (1625), taking the part of Carlos. 
 
 Segura (Ana de), actress, married Bias de Aranda in Valla- 
 dolid in 1607. (M. y M., Estudios, p. 566.) Both were in the 
 company of Hernan Sanchez de Vargas for one year from Feb. 27, 
 161 1. Whether she is the same as the Juana de Segura mentioned 
 below, I do not know. 
 
 Segura (Antonio de), actor in the company of Cristobal de 
 Avendano in 1632. 
 
 Segura (Francisco de) of Seville represented the auto El 
 Ensalzamiento de la Humanidad in 1575 at Seville. Perhaps this 
 is the Segura mentioned by Suarez de Figueroa, Plaza Universal, 
 1615, as an actor then deceased. 
 
SPANISH ACTORS AND ACTRESSES 60 1 
 
 Segura (Gaspar de), husband of the actress and autora de 
 comedias Francisca Lopez (1660). He died before 1663. 
 
 Segura (Juana de), widow, actress in the company of Jero- 
 nimo Sanchez from March 27, 1623, for one year. 
 
 Segura (Maria de), autora de comedias; she had a company 
 in Seville in 1663. 
 
 Sequeiros (Juan de Sierra), musico in the company of 
 Manuel Vallejo in 1676 and 1679; he was in Agustin Manuel's 
 company in 1677 and 1678, and in Carvajal's in 1681. According 
 to Cotarelo (Migajas del Ingenio, 1908, p. 194), his first wife was 
 Teresa de Garay, q. v. 
 
 Serrano (Gaspar), actor in the cast of Lope de Vega's La 
 gran Columna fogosa in 1629. 
 
 Serrano (Jose), actor in the company of Magdalena Lopez in 
 1674 in Seville. 
 
 Sevillano (Bernardino), actor in Madrid in Jan., 1619. 
 
 Sevillano (Lucia or Luisa), widow, actress in a joint com- 
 pany in 1637, representing in Brunete on Aug. 15 and 16, and in 
 Pefialver in March, 1639. 
 
 Sierra (Antonio de) , actor in the company of Juan Rodriguez 
 de Antriago in April, 1639. 
 
 Sierra (Dorotea de), wife of Juan Mazana; both appeared 
 in the cast of Alarcon's Las Paredes oyen in 1617, and in Lope 
 de Vega's El Brasil restituido in 1625. She was the daughter of 
 Jeronima de Sierra by a first marriage. She was in the company 
 of Antonio de Prado in 1632(F) or i636(?). v. Rosell, Vol. I, 
 pp. 174, 193, 322. The entremes Las Duehas (p. 322) seems to 
 have been represented in 1635-36. In Feb., 1636, she and her 
 husband Juan Macana agreed to act at Brunete at the festival of 
 Nuestra Senora de San Roque. In May, 1642, she is described as 
 the former wife of Juan Mazana, who was still living. She had 
 two daughters, Jusepa and Manuela. 
 
 Sierra (Jeronima de), mother of Dorotea de Sierra by a first 
 marriage and afterward wife of the actor Juan de Escuriguela or 
 Escorihuela at the date of her will, Dec. 26, 1641. 
 
 Sigura (Juan de), actor in the company of Jeronimo Velaz- 
 quez from May, 1574, till Shrovetide, 1575, for the sum of 100 
 ducats, "y demas dellos le ha de dar de comer y beber y cama y 
 posada y hacelle lavar la ropa y Uevarle y traerle caballero donde 
 
602 SPANISH ACTORS AND ACTRESSES 
 
 quiera que fuere y los dichos cien ducados se los ha de ir dando 
 como fuere sirviendo." (N. D., p. 334.) 
 
 Silva (Alonso de), maestro de danzas at the Corpus festival 
 at Madrid in 1574. 
 
 Silva (Antonio de) actor in Valladolid in 1644 in the com- 
 pany of Francisco de Guzman Morales. 
 
 Silva (Catalina de), actress, wife of Francisco Antonio 
 Becerra, representing in Valladolid in 1642. (M. y M., p. 566.) 
 
 Simon (Juan Antonio), second galan in the company of 
 Pablo Martin de Morales in Seville in 1678; in 1681 he was in 
 the company of Juan Antonio de Carvajal. 
 
 Simon (Manuel) and his wife belonged to the company of 
 Diego Lopez de Alcaraz in 1603-04; he was in the company of 
 Alonso de Heredia in March, 1614; in the company of Pedro de 
 Valdes in 161 3 -14, and appeared in Lope's La Dama boba. He 
 directed a company in 1627, acting in the Coliseo, in Seville, and 
 his name occurs in the cast of Lope's La Conpetencia en los Nobles. 
 His company first produced Cordeiro's comedia El Hijo de las 
 Batallas. (Schack, Nachtrage, p. 103.) 
 
 Solano (Agustin) of Toledo and his wife Roca Paula be- 
 longed to the company of Tomas de la Fuente from March 5, 1584, 
 till Shrovetide of 1585, receiving 9 reals for each performance 
 and 4j4 reals daily for maintenance. In 1593 he was in the 
 company of Cisneros. (Rojas, Viage, p. 515.) On May 19, 1595, 
 he joined the company of Gaspax de Porres for two years, from 
 Shrovetide to Shrovetide, receiving 3000 reals per year. In 
 March, 1597, he seems to have been in the company of Nicolas 
 de los Rios. (N. £)., p. 47.) In Nov., 1600, he was again in the 
 company of Gaspar de Porres. Solano was one of the interlocu- 
 tors in the Viage entretenido of Rojas (1603), who calls him a 
 famous actor (p. 362). Suarez de Figueroa in his Plaza Universal 
 (161 5) gives his name among the famous actors then deceased. 
 He is also mentioned by Lope de Vega, Comedias, Part XVI, 
 1622, Prologue, among the celebrated players who were fast dis- 
 appearing, and in the dedication of his comedia Jorge Toledano, 
 "comedia de las antiguas mias," in Part XVII, Lope bestows this 
 extraordinary praise upon Solano: "Hacia el Jorge Toledano 
 aquel insigne representante de Toledo Solano, a quien en la figura 
 
SPANISH ACTORS AND ACTRESSES 603 
 
 del galan por la blandura, talle y aseo de su persona nadie ha 
 igualado." In the Viage entretenido (p. 393) Solano states that 
 he was a boy in 1566. 
 
 Solano (Francisco), autor de comedias in 1637 and 1638; his 
 wife was Isabel de Quesada. 
 
 Soler (Jose), harpist in the company of Manuel Vallejo in 
 1672, 1673, and 1674. 
 
 Soria (Diego de) of Toledo, actor in the company of Antonio 
 Granados in Valladolid in April, 1604. 
 
 Soria (Francisca de), actress in the cast of Lope's Amor, 
 Pleito y Desafio ( 1 62 1 ) . 
 
 Soria (Juan de), actor in the company of Diego Lopez de 
 Alcaraz in 1603-04, and member of a joint company of actors in 
 March, 1604. The name Soria occurs in the cast of Lope's La 
 Discordia en los Casados ( 161 1 ). 
 
 Soriano (Juan de) belonged to the company of Baltasar 
 Pinedo in Toledo at Corpus in 161 3. 
 
 Soriano (Pedro), primer galan in the company of Jeronimo 
 Vallejo in 1660; he was barba in Agustin Manuel's company 
 in 1678; in Jose de Prado's in 1679; in Jeronimo Garcia's in 
 1680 and in Carvajal's company in 1681. 
 
 Sosa (D. Francisco de), musician in a joint company at Hita 
 in July, 1637. 
 
 Soto (Juan de), actor in the company of Ines Gallo, was 
 drowned at Huelva in 1678. 
 
 SOTOMAYOR, V. PaEZ DE SOTOMAYOR. 
 
 Sotomayor (Francisco de) and his wife Vicenta Lopez were 
 members of the company of Cristobal de Avendano for one year 
 from Jan. 18, 1626, and both, with their daughter Isabel (v. Isa- 
 belica), belonged to the company of Roque de Figueroa in 1631. 
 See Rosell, Vol. I, p. 23 1 , which shows that he managed a company 
 in the preceding year. He appeared in the cast of Lope de Vega's 
 Los Guzmanes de Toral, ed. Restori, p. vii. It seems that he died 
 in 1637. (Gallardo, Ensayo, Vol. I.) 
 
 Sotomayor (Isabel de), v. the preceding. She is probably 
 the Isabelica of La Guarda cuidadosa by Miguel Sanchez, ed. 
 Rennert; and of Lope's Los Guzmanes de Toral, ed. Restori. 
 
6o 4 SPANISH ACTORS AND ACTRESSES 
 
 Sotomayor (Juan de) of Toledo, actor in the company of 
 Domingo Balbin in Seville in 1613. In 1617 and 1619 at Corpus 
 in Seville he was a member of the company of Juan Acacio, re- 
 ceiving in the former year a gratuity of 1000 reals for his excellent 
 acting in the auto La Salteadora del Cielo. 
 
 Suarez or Suarez Camacho (Cristobal), actor in the com- 
 pany of Domingo Balbin from June, 1609, to 1610. In Dec, 1610, 
 he was a witness to the marriage of Diego Lopez de Alcaraz and 
 Catalina de Carcaba. He was again in Balbin's company in 
 1 61 3, and his name occurs in the cast of Lope's El Voder en el 
 Discrete (1624). In 1627 he was in the company of the Valen- 
 cianos. (Barrera, N. Biog., p. 442.) In 1629 he had a company 
 and represented an auto in Seville. This is probably the Suarez 
 who first produced Lope's Amar como se ha de amar. The sueltas 
 read : "Representola Suarez," and the MS. contains licenses of the 
 year 1643. (Paz y Melia, Catdlogo, No. 121.) 
 
 Suarez (Diego), one of the autores de comedias in charge of 
 the autos in Seville in 1 684. 
 
 Suarez (Dionisia) of Madrid, wife of the actor and autor de 
 comedias Juan Martinez; both were in the company of Cristobal 
 Ortiz in Seville in 1619, when she received a gratuity of 25 
 ducats for her dance las Gallegas. She was again in the com- 
 pany of Ortiz in the following year. The statement that she was 
 the wife of Juan Nunez (S.-A., p. 204) is almost certainly an 
 error. 
 
 Suarez (Maria), wife of Francisco Rodriguez; both, together 
 with their daughter Antonia Bernarda, were in the company of 
 Manuel Vallejo in 1 631. 
 
 Suarez (Paula), actress in the company of Manuel Vallejo 
 in 1675. 
 
 Sustaete, v. Lopez de Sustaete. 
 
 Tafalla (Bernabe), actor in the company of Cristobal de 
 Avendano in 1622. 
 
 Talavera (Mariana de), wife of Francisco Felix; both acted 
 in Barajas at Corpus, 1636. She appeared in Calderon's La Vida 
 es Sueno, Lope's Don Juan de Austria, and Rojas Zorrilla's Casarse 
 par vengarse at the octave of Corpus in Madrid in the same year. 
 
SPANISH ACTORS AND ACTRESSES 605 
 
 Tapia, v. Perez de Tapia (Juan). 
 
 Tapia (Carlos de) or Manuel Francisco Carlos de 
 Tapia, son of Juan de Tapia and Basilia de Alcaraz, was a mem- 
 ber of Manuel Vallejo's company in 1631, and in the company of 
 Jacinto Riquelme in Seville in 1652. In 1651 he managed a 
 company in Valladolid, which included Maximiliano Morales, 
 Maria de Borja, Juan Rodriguez, and Beatriz Barba. (M. y M., 
 p. 567.) He returned to Seville in 1660 and 1663 in the company 
 of Francisca Lopez, and in 1665 in the company of Felix Pascual. 
 He was still living in 1680. 
 
 Tapia (Francisco de), harpist and musico in the company of 
 Alonso de Olmedo in 1635. 
 
 Tapia (Jose de), son of Juan de Tapia and Basilia de Alcaraz; 
 he was in the company of Manuel Vallejo in 1 63 1. 
 
 Tapia (Juan de), native of Seville, was more than twenty-five 
 years old on March 5, 1584, when he joined the company of Tomas 
 de la Fuente for one year, till Shrovetide, 1585. In 1600-01 he 
 seems to have been in the company of Gabriel de la Torre. (N. D., 
 p. 57.) In March, 1602, he had a company jointly with Luis de 
 Castro and Alonso de Paniagua. He was in the company of 
 Domingo Balbin in Seville in 161 3, when he appeared as Asuero 
 in La Reina Ester by Godinez. Lope de Vega {Comedias, Part 
 XVI, Madrid, 1622, Prologo) mentions him as a famous actor. 
 He married (after 1602) Basilia de Alcaraz, and had two sons, 
 Jose and Carlos; all were in the company of Manuel Vallejo in 
 1631-32. (Cotarelo, Tirso, p. 220. Rosell, Vol. I, pp. 277, 301.) 
 Tapia appeared also in the cast of Lope de Vega's Los Guzmanes 
 de Toral, ed. Restori, p. ix, and in his Sin Secreto no ay Amor 
 (1626), ed. Rennert. See also Perez de Tapia (Juan). 
 
 Tapia (Pedro de), actor in the company of Domingo Balbin 
 in Seville in 161 3. 
 
 Tardia (Maria), actress in Pedro Cebrian's company in 1616, 
 when she appeared in Lope de Vega's Quien mas no puede. In 
 1 61 8 she belonged to the company of Juan de Morales Medrano, 
 and received a gratuity of 501 1 mrs. at Corpus in Seville for 
 excellence in the auto La Peregrina del Cielo. In 1619 she and 
 her husband Cebrian Dominguez were acting in Madrid. (N.D., 
 P- 175.) 
 
606 SPANISH ACTORS AND ACTRESSES 
 
 Tejada or Tejera (Diego de) represented autos at Seville in 
 1571. 1573. and 1574. 
 
 Tejada Meneses (Jose de), actor in the company of Barto- 
 lome Romero from March 24, 1638, for one year. 
 
 Teloy (Bernarda), her husband Miguel Jimenez and daugh- 
 ter Bernarda Gamarra were in the company of Manuel Vallejo in 
 1631-32. (Cotarelo, Tirso, p. 221.) 
 
 Tellez (Catalina), wife of Sebastian Gonzalez; both were 
 in Domingo Balbin's company from Sept. 1, 1623, till Shrove- 
 tide, 1624. 
 
 Teresa Maria, actress in the company of Esteban Nunez in 
 Seville in 1654. 
 
 Timor (Vicente), actor in the company of Antonio de Prado 
 in 1624. 
 
 Timoteo (Jose), actor in the company of Francisca Lopez in 
 Seville in 1660 and 1663. 
 
 Toledo (Angela de) and her husband Miguel Muiioz were 
 in the company of Juan Bautista Valenciano in 1623. (Bull. Hisp. 
 (1908), p. 248.) 
 
 Toledo (Juan de), administrator of the theaters of Toledo 
 in 1623. 
 
 Toledo (Luis de), actor in the company of Hernan Sanchez 
 de Vargas in Lope's La hermosa Ester (1610). He was indicted 
 in 161 1 for stabbing a woman in the face. In 1614-16 he and his 
 wife Petronila de Loaysa of Madrid were in the company of 
 Antonio de Prado, and appeared in Tirso's La Tercera de la Sancta 
 Juana. In 1619 both were in the company of Juan Acacio in 
 Seville. In Feb., 1632, his wife was Sebastiana de Cordoba, sister 
 of Maria de Cordoba y de la Vega. (N. D., p. 223.) 
 
 Tomas (Diego), actor in the company of Bartolome Romero 
 for one year from March 22, 1639. 
 
 Tome (Francisco) and his wife Francisca Antonia belonged 
 to the company of Bartolome Romero in Feb., 1638. He was 
 money-taker (cobrador) at the entrance for women. 
 
 Torrado (Angela de), wife of Bartolome Manso and mother 
 of Francisca Manso; both the latter were in the company of 
 Andres de la Vega from Feb. 7, 1636, for one year. In the notice 
 of Bartolome Manso's death, July 26, 1652, his wife is called 
 Maria Torrada. 
 
SPANISH ACTORS AND ACTRESSES 607 
 
 Torre (Gabriel de la), autor de comedias. In Aug., 1589, 
 he was an actor and lived "in his own house" in the Calle de 
 Atocha, below the hospital of Anton Martin. His wife was 
 Melchora de Rojas. He had a company in 1597, and in 1599 
 represented at Salamanca at a festival given by the "Colegio del 
 arzobispo." In 1600 he represented the autos at Madrid with 
 Melchor de Villalba. He is mentioned by Rojas, Viage entretenido 
 (1603), as a famous autor. In 1605 and 1611 he is styled a 
 merchant (he sold theatrical goods and hired out costumes), and 
 in that year at Corpus brought out, with Andres de Najera, two 
 dances: "una de El Rey D. Alonso, que sera de cascabeles y otra de 
 Cuenta." (N. £>., p. 125.) In 1612 he was again in charge of 
 a dance at Corpus in Madrid with Luis de Monzon, and also from 
 1615 to 1620. In 1623 he was joint lessee of the corrales of 
 Madrid with Luis de Monzon and Gabriel Gonzalez. 
 
 Torrella. Pellicer, Vol. II, p. 139, speaks of two brothers by 
 this name, natives of Morella, and both at one time members of 
 the company of Roque de Figueroa. They so greatly resembled 
 each other that the audience could not tell them apart, which 
 sometimes produced a very striking effect, as in the comedia El 
 Palacio confuso, where the illusion of the play was greatly aided 
 by this circumstance. 
 
 Torres (Alonso de), autor de comedias who represented the 
 auto La Justa divina in Seville in 1 59 1. Perhaps this is the Torres 
 who appeared in the sixteenth century Entremes de un Hijo que 
 nego a su Padre, v. p. 406. 
 
 Torres (Ana de), actress, wife of Manuel Jerje and mother 
 of Francisca and Beatriz de Hinestroza and of Juana de Mendoza, 
 all of whom were in the company of Manuel Vallejo in 1631-32. 
 
 Torres (Bartolome de), actor in the company of Nicolas de 
 los Rios in Seville in 1609, and in Feb., 1614, in the company of 
 Alonso de Villalba. v. Rojas, Viage entretenido, p. 465. 
 
 Torres (Catalina Eugenia de), wife of Felipe Garces; both 
 were in the company of Antonio Granados from Sept. 3, 1604, for 
 one year. 
 
 Torres (Cristobal de), actor in the company of Antonio de 
 Castro in Seville in 1656, and in that of Juana de Cisneros in 1660. 
 
 Torres (Francisca de), wife of Juan Vazquez; both were in 
 the company of Antonio Granados for one year from March 19, 
 
6o8 SPANISH ACTORS AND ACTRESSES 
 
 1623, "she to play one half of the first parts of the old and new 
 comedias, one half of the second parts, and one half of the bailes." 
 They were in the company of Manuel Vallejo from Ash Wednes- 
 day, 1624, for one year, she to play one half the first parts. They 
 had a daughter Maria Vazquez. 
 
 Torres (Isabel de), la Granaaina; in July, 1614-15, she was 
 the wife of Francisco Hernandez Galindo, and both were members 
 of the company of Claramonte. She is mentioned in a complaint 
 made to the Inquisition of Valencia (in 1588?) as living in 
 concubinage with Avendano, el Mozo, "a youth with a scar near 
 the right eye," when both were in Osorio's company in that city. 
 At this time Isabel was married, her husband being apparently in 
 the same company, v. Cotarelo, Lope de Rueda, p. 30. 
 
 Torres (Jose de), actor in the company of Tomas Diaz in 
 Seville in 1643. 
 
 Torres (Josefa de), doncella, actress in the company of Juan 
 Acacio in Seville in 1644. 
 
 Torres (Juan de), actor in the company of Gaspar de Porres 
 in Dec, 1597. 
 
 Torres (Leocadia de), wife of Segundo de Morales; both 
 were members of the company of Diego Vallejo in Seville in 1619. 
 
 Torres (Marina de), wife of Diego de Santiago in Oct., 
 1602, when both belonged to the company of Melchor de Leon; in 
 Feb., 16 14, she was the wife of Jeronimo de Culebras, and both 
 were members of the company of Alonso de Villalba for one year 
 from that date. 
 
 Torres (Melchor de) played second galanes in the company 
 of Angela de Leon in Valencia in 1676. 
 
 Torres (Salvador de), gracioso mentioned by Pellicer, Vol. II, 
 p. 60. 
 
 Torres (Teresa de), wife of Domingo Garcia; both were in 
 the company of Felix Pascual in Seville in 1665. 
 
 Torres ( Tomas" de), actor in the company of Juan Acacio in 
 Seville in 1619. 
 
 Torres (Ursula de), wife of Francisco Ortiz, cobrador; both 
 were in the company of Bartolome Romero for one year from 
 March 14, 1640. In Gallardo, Ensayo, Vol. I, p. 671, we read 
 that Ursula de Torres was the wife of the cobrador Juan de Ayora, 
 and that she had a daughter Maria de Ayora. 
 
SPANISH ACTORS AND ACTRESSES 609 
 
 Torres Laballe (Maria de), wife of Antonio de Castro; 
 both were in the company of Juan Acacio in Seville in 1644. 
 
 Tovar (Luis de), actor in the company of Alonso de Olmedo 
 in 1635. 
 
 Trejo (Juan de), actor in the company of Juan Roman from 
 Shrovetide, 1639, to Shrovetide, 1640. 
 
 Trevino or Tribino (Francisco de), actor in the company 
 of Cristobal de Avendano in 1622; in 1624 he was in the com- 
 pany of Juan de Morales Medrano, and his name occurs in the 
 cast of Lope de Vega's El Poder en el Discreto (1623), performed 
 by that company, and in Amor, Pleito y Desafio (1621-22). In 
 1631-32 he was in Roque de Figueroa's company, to which his 
 wife Isabel Blanco also belonged. (Cotarelo, Tirso, p. 206; 
 Rosell, Vol. I, pp. 109, 322.) He was in the same company in 
 1635, and appeared in Peligrar en los Remedios by Rojas Zorrilla. 
 He and his wife also appeared in Lope's Los Guzmanes de Toral, 
 ed. Restori, p. ix. From Shrovetide, 1637, t0 1638, he was gracioso 
 in the company of Lorenzo Hurtado. 
 
 Tristan (Matias) of Zaragoza, actor, member of a distin- 
 guished family. His first wife, Angela Labella (not an actress), 
 jealous of her husband, poisoned herself. He then married 
 Manuela Quirinos of Zaragoza. 
 
 Truchado, actor in the company of the Valencianos in 1627. 
 (Barrera, N. Biog., p. 442.) 
 
 Uarte, v. Duarte. 
 
 Uceta (Alonso de), actor in the company of Ayendano, 
 together with his wife Dona Maria de Castro, in 1632. (Cotarelo, 
 Tirso, p. 203 ; Rosell, I, p. 84.) In the Bull. Hisp. ( 1908) , p. 248, 
 we read that Diego de Uceta and his wife Maria de Castro were 
 in Juan Bautista Valenciano's company in March, 1623. 
 
 Ugarte (Juan de), harpist in the company of Manuel Vallejo 
 in 1676. 
 
 Ulloa (Ana Maria de), wife of Juan de Montemayor and 
 mother of Beatriz de Velasco. She belonged to the company of 
 Antonio de Prado in 1 614-16, appearing with her husband in 
 Tirso's La Tercera de la Sancta Juana. Both were in the com- 
 pany of Fernan Sanchez de Vargas in 1617-18, and in Heredia's 
 company in 1627-28, appearing in Lope's Del Monte sale. In 
 
610 SPANISH ACTORS AND ACTRESSES 
 
 1632 she and her husband and daughter belonged to the company 
 of Cristobal de Avendafio. (Cotarelo, Tirso, p. 203.) 
 
 Ulloa (Antonia de), muslca in the company of Jeronimo 
 Vallejo in 1660. 
 
 Ulloa y Sotomayor (Ines de), wife of Andres de Guevara, 
 actor in the company of Hernan Sanchez de Vargas in March, 
 1626. 
 
 Ureina (Pedro de), v. Ortiz de Urbina. 
 
 Urquiza (Juan de), his wife Maria Hidalgo, and his son 
 Pedro were in the company of Roque de Figueroa in 1 63 1. (Cota- 
 relo, Tirso, p. 206.) In 1 638 he was cobrador in Antonio de 
 Rueda's company. 
 
 Urquiza (Pedro de), v. preceding. He and his wife Juliana 
 Candado were in the company of Antonio de Rueda in Seville in 
 1644. 
 
 Vaca (Gabriel) of Madrid, autor de comedias in 1598. His 
 wife was Catalina de Valcazar. In 1601—02 he had a company 
 with Pedro Ximenez de Valenzuela. Vaca and his wife were in 
 the company of Antonio Granados from Sept. 13, 1602, till 
 Shrovetide, 1603. (B. H. (1907), p. 367.) He died before 
 March 30, 1608. 
 
 Vaca (Hipolita), daughter of Juan Ruiz de Mendi, autor de 
 comedias, and Mariana Vaca. She was a minor in 1596. 
 
 Vaca (Mariana), wife of Juan Ruiz de Mendi (1589), who 
 died Nov. 24, 1596, she surviving. She was the mother of Jusepa 
 and Hipolita Vaca, and was a celebrated actress. She must have 
 managed a company after her husband's death, for she produced 
 Lope de Vega's Viuda Valenciana before 1603. (I believe the 
 play has been revised, as we have it now.) Lope says: "Repre- 
 sentola Mariana Baca, unica en la accion, y en entender los 
 versos." (Comedias, Part XIV, fol. 101.) Suarez de Figueroa, 
 Plaza Universal (1615), mentions her among the famous actresses 
 then deceased. 
 
 Vaca (Mariana), v. Morales (Mariana Vaca de). 
 
 Vaca de Mendi (Jusepa) or Jusepa Vaca, as she is generally 
 called, one of the most famous of Spanish actresses, was the daugh- 
 ter of Juan Ruiz de Mendi and Mariana Vaca. She married the 
 celebrated autor de comedias Juan de Morales Medrano on Dec. 27, 
 
SPANISH ACTORS AND ACTRESSES 611 
 
 1602, from which time she appeared almost constantly in her hus- 
 band's company. For her Luis Velez de Guevara wrote La Serrana 
 de la Vera (1603), and Lope de Vega composed his Almenas de 
 Toro (1618): "Representola Morales y hizo la gallarda Jusepa 
 Vaca a Dona Elvira." She had a daughter Mariana de Morales, 
 q. v., and in 1622 she, her husband, and her daughter belonged to 
 the company of Manuel Vallejo, and in 1623 all appeared in Lope 
 de Vega's El Poder en el Discreto. They lived in the Calle del 
 Principe (1619). In 1618 Jusepa and her daughter Mariana re- 
 ceived a gratuity of 300 reals for excellence in acting in Enciso's 
 auto La Serrana de la Vera in Seville. Jusepa Vaca was still living 
 in Madrid in 1634, ner husband being in Segovia in that year with 
 his company. (2V. £)., p. 239.) 
 
 Vacamonte, v. Bracamonte Gallareta. 
 
 Valba Ojeda (Maria) played second parts in the company of 
 Pedro de Ortegon in Seville in 1635. 
 
 Valcarcel, v. Gonzalez Valcarcel. 
 
 Valcazar (Catalina de), wife of the autor de comedias 
 Gabriel Vaca (March, 1598, to 1602). Both were in the company 
 of Antonio Granados from Sept., 1602, till Shrovetide, 1603. 
 On March 30, 1608, she married Alonso Riquelme. Both are then 
 described as being widowed. (N. D., p. 105.) She appeared in 
 her husband's company in 1610 in Lope de Vega's La buena 
 Guar da. Catalina Valcazar died on Nov. 22, 161 8. In the 
 "partida de defuncion" she is described as "madre de Riquelme 
 farsante." Perez Pastor, Bull. Hisp. (1907), p. 383, says that 
 she was the mother-in-law of Alonso Riquelme. 
 
 Valcazar (Jeronima de), wife of Pedro Garcia de Salinas; 
 both were in the company of Alonso Riquelme prior to Feb. 15, 
 1619, when they joined the company of Fernan Sanchez de Vargas 
 for two years, beginning at Shrovetide, she playing second parts. 
 Both belonged to the company of Manuel Vallejo in 1631-32, she 
 playing graciosa parts, and both appeared in Lope de Vega's El 
 Castigo sin Venganza (1632). 
 
 Valcazar (Juan de), actor in Valladolid in 1628, in the com- 
 pany of Figueroa. (M. y M., p. 566.) 
 
 Valcazar (Luis) was a member of the company of Luis 
 Hurtado in Seville in 1642. 
 
 Valcazar (Maria de), wife of Pedro de Valcazar; both were 
 
612 SPANISH ACTORS AND ACTRESSES 
 
 members of the company of Bartolome Romero from Sept. I, 1637, 
 till Shrovetide, 1639, and from Feb. 25, 1640, for one year, and 
 again in 1642 and 1643. She played third parts. Her full name 
 was Maria de Astorga y Valcazar. (N. D., p. 296 ; Rosell, Vol. I, 
 p. 220.) 
 
 Valcazar (Pedro), v. the preceding. He played the part of 
 vejete. A Valcazar, famous as a gracioso (about 1638) is men- 
 tioned in an entremes of Benavente. v. Rosell, I, p. 371. 
 
 Valdes (Agavaro Francisco) of Valladolid, autor de come- 
 dias in Madrid in 1583-84 and in April, 1588. His wife was 
 Luisa de Aranda. 
 
 Valdes (Gaspar de), actor in the company of Manuel Vallejo 
 in Seville in 1643 and in Madrid in 1650 and 165 1 in the company 
 of Antonio de Prado. 
 
 Valdes (Maria de) played segundas damas in the company of 
 Simon Aguado in 1674; in 1676 she was in the company of 
 Antonio de Escamilla, and in 1677 and 1678 with Agustin Manuel 
 de Castilla. 
 
 Valdes (Pedro de), famous actor and autor de comedias. He 
 was an actor in the company of Melchor de Villalba prior to 
 Nov., 1596 (N. D., p. 345), and was in the company of Diego 
 Lopez de Alcaraz in 1603-04. In 16 10 his company and that of 
 Juan de Morales Medrano represented the autos at Seville, whither 
 he returned in 1 616 and 1617. Ini6n Valdes was in the company 
 of Pinedo. (Perez Pastor, Bibl. Mad., Part III, p. 325; N. D., 
 p. 139.) In Feb., 1614, his wife was the no less celebrated 
 Jeronima de Burgos, who had also been in Pinedo's company. On 
 Feb. 2, 1 6 14, Valdes is called "autor de comedias de los nombrados 
 por S. M." He was one of the twelve autores authorized by the 
 decree of 1615. On July 28, 1615, he and his wife mortgaged a 
 house which they owned in Valladolid "a la guerta perdida" for 
 8085 reals. In this year he took his company to Lisbon (after 
 June 15), and in 161 7 represented in Dona Elvira in Seville. In 
 1 62 1 he produced two autos in Madrid, receiving 600 ducats. 
 Valdes first represented several comedias of Lope de Vega, among 
 them: La Dama boba (1613) ; Con su pan se lo coma (written 
 before 1618) ; La Villana de Xetafe (printed in 1620) ; Amor, 
 Pleito y Desafio (written in 1621) ; in the latter play Valdes ap- 
 peared as the servant Sancho, and "La Senora Jeronima" as the 
 
SPANISH ACTORS AND ACTRESSES 613 
 
 servant Leonor. Among the comedias of Tirso de Molina first 
 produced by him were: Amor y Celos hacen Discretos ( "Repre- 
 sentor Valdes, con que comenzo en Sevilla") ; Quien hablo pago; 
 La prospera Fortuna de D. Alvaro de Luna y adversa de Ruiz 
 Lopez d'Avalos, Primera y Segunda Parte. {Comedias, Part II, 
 1635.) In 1623 Valdes represented privately before the King. 
 In his company in the year 1625-26 were: Juan Gonzalez, Pedro 
 de Salazar, Pedro Real, and Ignacio Velazquez. (B. H. (1908), 
 p. 250.) He had a company in Perpifian on May 10, 1632, as 
 the autograph of Montalban's comedia La puerta Macarena shows. 
 (S.-A., p. 146.) v. Paz y Melia, Catdlogo, p. 303, who gives the 
 date as May 10, 1631. 
 
 Valdes (Rafaela de), actress in the company of Manuel 
 Vallejo in 1 63 1. In 1637 she is called "criada de Damian Arias," 
 an actor. 
 
 Valdes Toral (Diego de) agreed to act in the company of 
 Juan Martinez in 1631. His wife in Feb., 1637, was Ber- 
 narda de Castro y Guzman, and both contracted to act in the com- 
 pany of Luis Bernardo de Bovadilla for one year, he taking third 
 parts or barbas and she playing primeras damas. 
 
 Valdivia (Francisca Maria de), wife of Pedro Garcia de 
 Vergara; both were members of the company of Francisco Solano 
 from Aug. 12, 1637, till Shrovetide, 1638. 
 
 Valdivielso (Juan de) of Madrid, actor in the company of 
 Juan de Tapia from March 4, 1 602, to 1603, in the company of 
 Melchor de Leon in 1607, and in Diego Vallejo's company in 16 19. 
 He appeared in Lope's El Sembrar en buena tierra (1616). 
 
 Valdivieso (Simon Arias de), "prodigioso representante," 
 mentioned by Claramonte in his Letania moral (1613) as then 
 deceased. 
 
 Valencia (Francisca de) of Seville, actress in the company 
 of Esteban Nunez in Seville in 1654-55. In the preceding year 
 she was in the company of Miguel Bermudez. 
 
 Valencia (Francisco de) and his wife Maria de Herrera 
 were in the company of Juan Bautista Espinola from Feb. 16, 1633, 
 to 1634; b°th played second parts, and both were in the company 
 of Hernan Sanchez de Vargas from March 9, 1634, to 1635. He 
 also acted in the company of Tomas Fernandez and Sebast. de 
 Avellaneda. 
 
6 1 4 SPANISH ACTORS AND ACTRESSES 
 
 Valenciano (Agueda), daughter of Francisco Valenciano r 
 both were in the company of Pedro de la Rosa in 1636-37- 
 
 Valencano (Francisco) played old men's parts (barbas) in 
 the company of Pedro de la Rosa in 1636—37. 
 
 Valenciano (Juan Bautista), native of Valencia. He had a 
 company in 1617, when he produced Lope de Vega's El Desden 
 vengado, in which he appeared as Rugero and his wife Dona 
 Manuela Enriquez, also of Valencia, as Celia. In 1619 he and his 
 wife were in the company of Cristobal Ortiz de Villazan at 
 Corpus in Seville. In 1620 Andres de Claramonte wrote for him 
 the comedia La infeliz Dorotea, in which he appeared as Don Fer- 
 nando, and in 1621 he represented autos in Seville. On the after- 
 noon of Thursday, July 25, 1620, the Valencianos, who had been 
 joined by Cristobal Ortiz, were representing Claramonte's San 
 Onofre 6 el Rey de los Desiertos in the Coliseo at Seville, when it 
 was destroyed by fire. (S.-A., p. 211.) In 1622 his company 
 produced Lope de Vega's Nueva Victoria de D. Gonzalo de 
 Cordoba, Manuela Enriquez also appearing in the cast. On 
 March 18, 1623, he agreed to take his company to Valladolid. 
 (Bull. Hisp. (1908), p. 248.) In his company were: his wife 
 Manuela Enriquez, Diego de Uceta and his wife Maria de Castro, 
 Agustin Coronel, Miguel Munoz and his wife Angela de Toledo, 
 Pablo Sarmiento and his wife Maria Calderon, Gines de Robles,. 
 Juan de Arce, and Juan Perez. (Ibid.) In this year his company 
 and those of Juan de Morales, Cristobal de Avendano, and Manuel 
 Vallejo acted on the stages which were erected along the streets in 
 Madrid on the occasion of the visit of the Prince of Wales. (Ibid.) 
 In Oct., 1623, he is called autor de comedias por S. M. and 
 represented three comedias privately before the King; he then 
 resided in Segovia. His company represented in Madrid from 
 Nov., 1623, until twenty days before Shrovetide of 1624. He first 
 produced Tirso's Tanto es lo de mas como lo de menos. (Come- 
 dias, Part I (1626).) He seems to have died before 1628. v. En- 
 riquez (Manuela). 
 
 Valenciano (Juan Jeronimo) of Valencia, actor in the com- 
 pany of his brother Juan Bautista Valenciano in 1617, when he 
 appeared in Lope's El Desden vengado; in 1619 he belonged to 
 the company of Cristobal Ortiz de Villazan, and in 1620 he was 
 in his brother's company in Seville. In this year he appeared as 
 
SPANISH ACTORS AND ACTRESSES 615 
 
 the King in Claramonte's Infeliz Dorotea. In 1623 he had a 
 company in Madrid, and on Feb. 12 produced the Vomedia of 
 Alarcon and Belmonte, Siempre ayuda la Verdad, before the 
 King and court, and afterward performed it in Seville, for on the 
 title-page we read : "Representola Juan Jeronimo Valenciano, con 
 que entro en Sevilla." He had a company in Seville in 1625, 1626, 
 1627, and 1633. His wife Ana Maria de Caceres played segundas 
 damas in Olmedo's company in Seville in 1635, and both played in 
 Manuel Vallejo's company in 1643. 
 
 Valenciano (Santiago), actor in the company of Alonso de 
 Heredia in 1614, and in the company of Pedro de la Rosa for 
 one year from March 2, 1637. 
 
 Valenzuela, v. Jimenez de Valenzuela. 
 
 Valera or Varela (Jacinto) and his wife Maria de San 
 Pedro were in the company of Roque de Figueroa in 1632 at 
 Corpus in Seville ( Sanchez- Arjona, p. 281), and in 1634—35, 
 when both appeared in Peligrar en los remedies by Rojas Zorrilla. 
 On Oct. 30, 1638, Maria de San Pedro, who then joined the 
 company of Segundo de Morales, is called the widow of Jacinto 
 Varela. (N. D„ p. 300.) 
 
 Vallejo (Carlos), well-known actor, son of Manuel Vallejo. 
 His first wife was Luisa Romero, and afterward he married 
 Feliciana de la Rosa, daughter of Pedro de la Rosa and Antonia de 
 Santiago. In 1660 he was segundo galan in the company of 
 Jeronimo Vallejo; in 1662 tercero galan in the company of Sebas- 
 tian de Prado; 1663 segundo galan with Jose Carrillo; 1664 
 segundo with Juan de la Calle and Bartolome Romero; in 1665 
 segundo with Francisco Garcia; 1670, 1672, 1673, 1675, and 1676 
 segundo galan with the company of Manuel Vallejo; 167 1 with 
 Felix Pascual, and in 1674 barba in the company of Simon Aguado. 
 He had a company as late as 1698. (Restori, Titulos de Comedias, 
 p. 198. See also Sanchez- Arjona, p. 328.) He was the author of a 
 comedia, Las Murallas de Casal. v. Paz y Melia, Catdlogo, 
 No. 2252. He had a son, Vicente Vallejo, also an actor, and died 
 in Madrid on Jan. 24, 1704. (Cotarelo, in Migajas del Ingenio, 
 p. 220.) 
 
 Vallejo (Diego), native of Seville, autor de comedias, and 
 father of Manuel Vallejo. He had a company in Gibraltar in 1614 ; 
 he and Juan Acacio represented the autos in Seville in 1619, and 
 
616 SPANISH ACTORS AND ACTRESSES 
 
 in the previous year he represented Alarcon's Anticristo in Madrid. 
 Fernandez Guerra (Alarcon, p. 291) calls Diego an "herculeo 
 moceton" (strapping youth), but Diego's son Manuel acted in the 
 company in the following year. In Aug., 1627, Diego Vallejo, 
 according to Sanchez-Arjona, p. 258, again brought his company 
 to Seville. Very little seems to be known of the career of Diego 
 Vallejo; I find him mentioned only by Sanchez-Arjona and by 
 Fernandez Guerra. For his company in 1619, v. Sanchez-Arjona, 
 p. 203. 
 
 Vallejo (Francisca), called la Palomina, mentioned by Pelli- 
 cer, Vol. II, p. 59. 
 
 Vallejo (Francisco), tercero galan in the company of Antonio 
 de Escamilla in 1661. 
 
 Vallejo (Jeronimo), autor de comedias at the Corpus festival 
 in Madrid in 1660. For his company in this year, v. Perez Pastor, 
 Calderon Documentos, Vol. I, p. 269. 
 
 Vallejo (Juana), wife of Diego Pavia; both were in the 
 company of Francisco de Guzman Morales in Valladolid in 1644. 
 
 Vallejo (Manuel or Manuel Alvarez de), famous autor 
 de comedias, native of Seville, and son of Diego Vallejo. He and 
 his wife Francisca Maria were members of Diego Vallejo's com- 
 pany in 16 19. In 1622 he had a company and represented two 
 autos and also Lope de Vega's La Ninez de San Isidro in Madrid. 
 For his company in this year, v. Perez Pastor, Proceso de hope 
 de Vega, p. 297. In May of this year he declared that he was 
 more than twenty-five years old. (B. H. (1908), p. 246.) In 
 1623 he agreed to represent every day at Madrid from the third 
 or fourth day after Lent, "the performances not to be omitted al- 
 though there be but few people in the corral." He received 250 
 reals daily, besides being furnished with an alguacil. "If he takes 
 in more, he is to keep the excess; if 250 reals be not taken at the 
 entrance, he is to change the comedia, unless it be the day before 
 a festival, nor is he to leave Madrid for any festival." (N. D., 
 p. 193.) In Feb. and May of this year his company produced 
 seven comedias before the King, including Tirso's La Gallega Mart 
 Hernandez. He represented besides many particulares before 
 Philip IV. (Averiguador, pp. 9 et passim and text, p. 236.) In 
 1623 he is called "autor de comedias de los nombrados por S. M.," 
 and in this year (March 23, 1623) he and Juan de Morales, Cris- 
 
SPANISH ACTORS AND ACTRESSES 617 
 
 tobal de Avendano, and Juan Bautista Valenciano represented on 
 Sunday on the public stands erected in honor of the visit of the 
 Prince of Wales. He was one of the five founders of the Cofradia 
 de la Novena. In 1627 he represented at Seville ( Sanchez- Arjona 
 says this was Diego Vallejo) ; in 1632 at Corpus in Madrid, and 
 in the early months of 1638 at La Monteria in Seville, and at 
 Corpus produced the autos. His first wife was Francisca Maria. 
 In the Bull. Hisp. ( 1908), p. 255, we read the following partida de 
 defuncion: "Francisca Maria, married to Vallejo, autor de come- 
 dias, died in the Calle del Nino on Nov. 21, 1627," etc. On p. 249 
 we read an inventory and appraisement of the effects of Manuel 
 Vallejo, "hechos con motivo de la muerte de Francisca Maria, su 
 muger," Madrid, Dec. 1, 1623. I cannot reconcile these statements. 
 According to the latter, she left a daughter, also named Francisca 
 Maria. It seems probable that 1623 is a mistake for 1627. In 
 1632 his company produced Lope's El Castigo sin Venganza, the 
 only time that it was given publicly, and on Feb. 3, 1635, repre- 
 sented it privately before the King. His wife was then the cele- 
 brated Maria de Riquelme. In 1639 he represented at Madrid 
 Coello's auto La Carcel del Mundo and the auto Hercules by 
 D. Francisco de Rojas. He returned to Seville and represented 
 autos in 1640, 1641, 1642, and 1643, and died in Madrid in 1644. 
 Vallejo left three children, Manuel, Carlos, and Maria Vallejo, 
 who also followed the profession of acting. For his company in 
 1631, v. Cotarelo, Tirso, p. 220; in 1640, v. S.-A., p. 339; in 1643, 
 ibid., p. 365. He first produced Tirso's Habladme en entrando 
 (Paz y Melia, Catdlogo, No. 1450) and Lope's El Engano en la 
 Verdad. Barrera, Catdlogo, p. 416, mentions the dramatist Juan 
 Francisco de Vallejo y Riquelme, author of the comedia Honor 
 tiene Leyes contra los Reyes, and conjectures that he was the son 
 of Manuel Vallejo and Maria de Riquelme. 
 
 Vallejo (Manuel de), el Mozo, son of Manuel Alvarez 
 Vallejo and Maria de Riquelme. His wife was Manuela Maria 
 de Espinosa; both were in the company of Antonio de Castro in 
 1656, and in 1660, before Corpus, they acted in the company of 
 Juana de Cisneros in La Monteria in Seville. (S.-A., p. 426.) 
 In this year he had a company in Madrid, and began to represent 
 in the Cruz on March 23, producing Calderon's Los Empehos de 
 un acaso, and on the 24th D. Fernando de Zarate's El Maestro 
 
618 SPANISH ACTORS AND ACTRESSES 
 
 d e Alejandro, "new and never before seen or represented" ; April 30, 
 Zabaleta's No amar la mayor finexa, "new and never before repre- 
 sented, and unfortunate because of the few spectators present"; 
 May 1, Vallejo did not represent "because there was not a soul 
 in the corral"; May 2, Vallejo repeated Zabaleta's play; May 3, 
 Moreto's Lo que puede la aprension; May 4, No hay ser padre 
 siendo Rey by D. Francisco de Rojas; May 5, No hay burlas con 
 el Amor by Calderon; May II, the new comedia by Matos(?), 
 El Renegado del Cielo; May 17, Montalvan's Amantes de Teruel 
 (the total receipts were 116 reals!) ; May 19, the new comedia 
 by Zarate( ?), A cada paso un peligro; June 9, Vallejo began with 
 the auto El Diablo mudo by Calderon. This auto was repeated 
 until June 20, when Vallejo took his company to Avila. (Perez 
 Pastor, Calderon Documentos, I, p. 276.) In 1663 Vallejo was 
 gracioso in the company of Jose Carrillo; in 1664 gracioso with 
 Juan de la Calle and Bartolome Romero; 1665 gracioso primero 
 with Francisco Garcia. From 1670 he had a company until 1681. 
 His wife Manuela Maria de Espinosa having died in 1670, Vallejo 
 married D a Ana. de Rojas, who died in 17 10. (Cotarelo, in 
 Migajas del Ingenio, p. 221.) 
 
 Vallejo (Maria), daughter of Manuel Alvarez Vallejo and 
 Maria de Riquelme. She was primera dama in the company of 
 Jeronimo Vallejo in 1660. Sometime before 1672 she married 
 Francisco Garcia, Pupilo, and acted in her husband's company in 
 that year. She died in Madrid in 1 702, leaving no children. 
 
 Vallejo (Vicente), actor, son of Carlos Vallejo. 
 
 Valles (Pedro), actor in the company of Francisco Lopez in 
 Seville in 1660 and 1663, and in that of Francisco Gutierrez 
 in 1668. 
 
 Vallespin (Esteban), native of Palma, where he married 
 Jeronima Abella in 1673. Actor and afterward manager of a 
 company in Valencia with Agustin Manuel. He died at Pifia, 
 Aragon, in 17 11. 
 
 Valmaseda (Diego de), actor in the company of Juan Acacio 
 in Seville in 1644, and in the company of Francisca Lopez in 1660. 
 
 Valmaseda (Maria de), actress (in the company of 
 Figueroa?) at Valladolid in 1628. (M. y M., p. 566.) 
 
 Vaquedano (Juan), member of the company of Esteban 
 Nunez in Seville in 1648. 
 
SPANISH ACTORS AND ACTRESSES 619 
 
 Vaquedano (Polonia), tercera dama in the company of Jero- 
 nimo Vallejo in 1660. She was the sister of Teresa de Garay and 
 the wife of Francisco Rodriguez, cobrador in various companies. 
 Polonia was in the company of Felix Pascual in 1667 or 1668; 
 with Cristobal Caballero in 1674, with Hipolito de Olmedo in 
 1676, and with Felix Pascual in 1680. She was still acting in 
 1687 in the company of Antonio Arroyo. (Cotarelo, in Migajas 
 del Ingenio, 1908, p. 195.) 
 
 Vaquedano (Teresa), actress in the company of Esteban 
 Nunez in Seville in 1648. 
 
 Varela (Jacinto), v. Valera. 
 
 Vargas (Andres de) of Toledo, indicted in 1583, together 
 with Nicolas de los Rios and Martin de Aguirre, "for various 
 excesses." In 1584 he was acting in Madrid, and in Sept., 1586, 
 he and Nicolas de los Rios had a company of fourteen players, 
 who were to represent in Seville in Oct. of that year. 
 
 Vargas (Francisca de), a minor in 1626, daughter of Hernan 
 Sanchez de Vargas and Polonia Perez, his second wife. She 
 played second and third parts in her father's company in 1633, 
 and in 1634 she belonged to a joint company directed by her 
 father and Juan de Malaguilla, sharing the principal parts with 
 Manuela (Maria?) de Quesadas. She was living at the time of 
 her father's death, Nov. 18, 1644. 
 
 Vargas (Hernan Sanchez de), v. Sanchez. 
 
 Vargas (Hernando de), a minor in 1626, son of Hernan 
 Sanchez de Vargas and Polonia Perez. 
 
 Vargas (Jeronima de), actress in the company of Juan de la 
 Calle and Sebastian de Prado in 1659; her daughter Bernarda 
 Manuela, la Grifona, was in the same company. (Perez Pastor, 
 Calderon Documentos, Part I, p. 265.) 
 
 Vargas (Juan de) of Plasencia, actor in the company of Juan 
 Bautista Valenciano in 1617, appearing in Lope de Vega's El 
 Desden vengado; in 1619 he was in the company of Cristobal 
 Ortiz in Seville; in 1620 and 1622 he was again in the company 
 of Juan Bautista Valenciano, and appeared in the latter year in 
 Lope's La nueva Victoria de D. Gonzalo de Cordoba. In 1623 
 (Oct.) he was in the company called Los Conformes. There was 
 a Vargas in the company of Lorenzo Hurtado in Madrid in 
 1632-35 (?) (v. Rosell, Vol. I, p. 29), and in the company of 
 
6zo SPANISH ACTORS AND ACTRESSES 
 
 Figueroa in 1635, when he appeared in Peligrar en los remedios 
 by Rojas Zorrilla. 
 
 Vargas Leyva (Juan de) produced the "dance of Portuguese 
 women" for the entry of the Queen into Madrid in 1570. 
 
 Varona, v. Barona. 
 
 Vazquez (Antonio), actor in the company of Alonso Cisneros 
 in 1589; one Vazquez, perhaps the same, and Juan de Avila gave 
 the first representation in the Corral del Principe on Sept. 21, 
 1583. v. Pellicer, Origenes, Vol. I, p. 69. A Gaspar Vazquez, 
 comediante, is mentioned by Moratin, Origenes del Teatro Es- 
 panol, as the author of the Comedia de la Costanza, printed at 
 Alcala de Henares in 1570. 
 
 Vazquez (Dionisio), actor in a joint company in Madrid 
 with Anton Alvarez, Vicente Ortiz, and others for one year from 
 March 23, 1604. 
 
 Vazquez (Juan), el Polio, and his wife Francisca de Torres 
 were members of the company of Antonio Granados from 
 March 19, 1623, for one year, and of the company of Manuel 
 Vallejo from Ash Wednesday, 1624, for one year. He repre- 
 sented one of the autos at Seville in 1628, and had a company in 
 1 63 1. His daughter was Maria Vazquez, q. v. 
 
 Vazquez (Juan Antonio), actor(?), lived in the Calle de 
 las Huertas, opposite the cemetery of the church of San Sebastian, 
 from 1626 to 1641. He was testamentario of Jeronima de Burgos 
 on her death in the latter year. The same as Juan Vazquez, 
 above ? 
 
 Vazquez (Juana), one of the earliest of Spanish actresses. 
 On March 15, 1583, Miguel Vazquez and his wife Juana Vazquez 
 agreed to act in the company of Juan Limos from that date until 
 Shrovetide of 1584. Luis de Molina, actor, joined in the contract 
 with them, and all three were to receive 9J/2 reals at the end of 
 each performance, besides board, lodging, washing, and traveling 
 expenses. {Bull. Hisp. (1906), p. 153.) She was in the com- 
 pany of Villegas in Seville before 1 600, and in the company of 
 Nicolas de los Rios before 1602. v. Rojas, Viage entretenido, 
 p. 462. She wrote some commendatory verses for the latter work. 
 In Dec, 1601, Juana Vazquez was the wife of the actor Nicolas 
 de Villanueva. (B. H. (1907), p. 366.) 
 
 Vazquez (Maria), daughter of Juan Vazquez and Francisca 
 
SPANISH ACTORS AND ACTRESSES 621 
 
 de Torres. She is said to have been a member of Lorenzo Hur- 
 tado's company. 
 
 Vazquez (Miguel) and his wife Juana Vazquez were mem- 
 bers of the company of Juan Limos in 1583-84. He probably 
 died before Dec, 1601. See under Vazquez (Juana). 
 
 Vazquez (Pedro), actor in the company of Pedro de Ortegon 
 in Seville in 1635 ; acting in 1638. 
 
 Vazquez (Pedro), actor in the company of Manuel Vallejo in 
 1679, 1680, and 1681. 
 
 Vazquez (Sebastiana), sister of Fernando Perez; both were 
 in Andres de Claramonte's company from June 19, 1614, till 
 Shrovetide, 1615. 
 
 Vega (Agustin de la), actor in the company of Esteban 
 Nunez in Seville in 1648. 
 
 Vega (Agustina de), wife of Pedro de Ocana of Murcia; 
 both were in the company of Gaspar de Porres for one year from 
 March 27, 1593. 
 
 Vega (Alonso de la), actor and playwright, produced at 
 Seville in 1560 the autos Abraham and La Serpiente de Cobre, and 
 seven dances, receiving 160 ducats. He is said to have been a 
 member of the company of Lope de Rueda, and died at Valencia 
 before 1566, when his three comedias were published there by 
 Juan de Timoneda. On the title-page of the volume he is styled 
 "illustre poeta y gracioso representante." His comedias have been 
 republished by Menendez y Pelayo (Dresden, 1905). 
 
 Vega (Andres de la), called el gran Turco, celebrated autor 
 de comedias; his wife (1618) was the famous actress Maria de 
 Cordoba, called Amarilis and la gran Sultana, and both acted in 
 that year in the company of Baltasar Pinedo; they were in the 
 company of Tomas Fernandez in 1621. He had a company 
 in 1624 and produced at Seville Claramonte's autos La Sinagoga 
 and El Pastor Lobo. In 1625 he represented Lope de Vega's 
 Brasil restituido, and in 1625, 1626, 1627, 1628, and 1630 repre- 
 sented autos in Madrid. He was one of the five founders of the 
 Cofradia de la Novena. On April 11, 1635, his company repre- 
 sented privately before the King one of the last plays that Lope de 
 Vega wrote: Las Bizarrias de Belisa. He possessed an extensive 
 theatrical wardrobe, which he frequently hired out for festival rep- 
 resentations. For him Mira de Mescua wrote No hay Dicha ni 
 
622 SPANISH ACTORS AND ACTRESSES 
 
 Desdicha hasta la Muerte, the autograph of which is dated at 
 Madrid, July 20, 1628. (Paz y Melia, Cat., No. 2328.) In 
 1638 he is called "de los nomhrados por S. M.," and in this year 
 his company represented in Toledo. For his company in 1638, 
 v. N. D., p. 282. On June 8, 1643, his company, including his 
 wife, represented two comedias in the villa de Santorcaz for IOOO 
 reals and expenses. Latest date, Oct., 1643. 
 
 Vega (Bernardo de la), actor in the company of Juan de la 
 Calle and Bartolome Romero in 1664, playing terceros galanes; 
 he had a company and represented autos at Seville in 1672, 1673, 
 and 1675, and was in Valencia about 1675, acting galanes in his 
 own company. He married Luisa de Pinto, and both joined the 
 Cofradia in 1663. 
 
 Vega (Diego de), actor in the company of Diego de Santander 
 in May, 1597, and in that of Ximenez de Valenzuela in 1602. 
 In April, 1604, he joined the company of Gaspar de Porres, till 
 Ash Wednesday, 1605; jn Nov., 1607, was in the company of 
 Alonso Riquelme, and was a witness to his marriage on March 30, 
 1608. 
 
 Vega (Domingo de la), actor in the company of Manuel 
 Vallejo in Seville in 1640. 
 
 Vega (Francisco de) of Palencia, actor in the company of 
 Alonso Riquelme for one year from March 21, 1602. There was 
 a Francisco de la Vega, musico, in the little company of Lope de 
 Rueda in 1554. v. Cortes, Un Pleito de Lope de Rueda. 
 
 Vega (Hernando de la), actor in Madrid in 1584. (JS. H. 
 (1906), p. 363.) 
 
 Vega (Josefa de), wife of Diego Robledo; their son was Juan 
 de Robledo; all were in the company of Cristobal de Avendano 
 in 1632. 
 
 Vega (Pedro de), actor in a joint company in June, 1603, with 
 Luis de Castro and others, and for one year from March 23, 1604, 
 with Anton Alvarez, Vicente Ortiz, Francisco Ortiz, and others. 
 
 Vega (Salvador de), actor in the company of Andres de la 
 Vega for one year from Feb. 24, 1638. 
 
 Vega (Toribio de la), autor de comedias in May, 1653, when 
 his company represented before the King at Aranjuez. 
 
 Velais (Jose), actor in the company of Magdalena Lopez in 
 1677 at Seville. 
 
SPANISH ACTORS AND ACTRESSES 623 
 
 Velasco (Ana de), wife of Sebastian de Montemayor in 
 Feb., 1584, when both were in Madrid. {Bull. Hisp. (1906), 
 p. 363.) In Aug., 1589, she paid 100 ducats for a costume {una 
 basquina y manteo, ricos). She is mentioned by Suarez de 
 Figueroa, Plaza Universal, 1 61 5, among the famous actresses then 
 deceased. 
 
 Velasco (Antonio de), member of the company of Luis Lopez 
 in Seville in 1645. 
 
 Velasco (D. Bartolome de), real name of the actor "Juan 
 Alonso," who was in the company of Felix Pascual in 1665. He 
 was born in Villadiego (Burgos) and studied at Salamanca. 
 He was in Valencia in the company of Jose Carrillo in 1662 and 
 with Lopez in 1673. He died at Valladolid in 1685. 
 
 Velasco (Beatriz de), daughter of the actor Juan de Monte- 
 mayor and his wife Ana Maria de Ulloa. She was in Avendafio's 
 company in 1632. (Cotarelo, Tirso, p. 203 ; and v. Rosell, Vol. I, 
 pp. 62, 84, where she is called Beatricica.) Perhaps this is the 
 Beatriz who appeared in Avendafio's company at Corpus, 1626, 
 in Belmonte's entremes La Maestra de Gracia. v. Flor de En- 
 tremeses (1657), P- I22 - 
 
 Velasco (Felipe de), at first an Augustinian friar, afterward 
 married Ana de Barrios and became an actor (about 1650). His 
 real name was Felipe de Cabrera y Sotomayor. 
 
 Velasco (Francisco de), actor in the company of Francisco 
 Lopez and others in 1632 at Corpus in Madrid. He and his 
 wife Ana Fajardo belonged to the company of Pedro de la Rosa 
 for one year from Feb. 15, 1636, when he played the primera 
 parte de galanes; in May, 1637, they paid 2300 reals for a single 
 costume. In this year he was in Pedro de la Rosa's company. In 
 1639 and 1641 he was again primer galan in Rosa's company. 
 (Schack, Nachtrage, p. 72.) 
 
 Velasco (Gabriel de), actor in the company of Cristobal de 
 Avendano in 1622. 
 
 Velasco (Inigo de), actor, murdered in Valencia Dec. 1, 
 1643. v. Comedias de Calderon, ed. Hartzenbusch, IV, p. 718. 
 According to Hume, Philip IV., London, 1907, p. 385, in the 
 Avisos de Pellicer {Semanario Erudito, Vol. XXXIII), the ac- 
 count of this affair is dated Aug. 25, 1643. It states that Inigo de 
 Velasco was beheaded "because, forgetting the humility of his 
 
624 SPANISH ACTORS AND ACTRESSES 
 
 calling, he courted ladies as impudently as any gentleman could 
 have done." 
 
 Velasco (Isabel de), actress, betrothed to Luis de Quinones, 
 actor, on Sept. 20, 1614, when both were in the company of 
 Pedro de Valdes. They were married in the same year in Valla- 
 dolid. 
 
 Velasco (Jeronimo de), actor and musician, married Barbola 
 de Celis, actress, in Valladolid in 1632. (M. y M., P- 566.) He 
 was in the company of Pedro de la Rosa for one year from 
 March 3, 1637. 
 
 Velasco (Mariana de), called la Candada, and her husband 
 Luis Candau lived in the Calle del Infante in 1623, when they 
 seem to have been in the company of Tomas Fernandez; both 
 were members of Roque de Figueroa's company in 1632. (Cota- 
 relo, Tirso, p. 202.) It is said that they died on successive days 
 (Oct. 2 and 3, 1649) and were buried in the same coffin. Her 
 daughter Maria Candau was the wife of Cristobal de Avendano. 
 
 Velazquez (Alonso), autor de comedias, born in 1572 
 (S.-A., p. 98) ; he had a company in Seville at Corpus in 1598, 
 which included : Antonio Granados, Vicente Ortiz, Juan de Avila, 
 Cristobal de Ayala, Vicente Martin, and Domingo Fuentes. 
 
 Velazquez (Fernan?), autor de comedias in 1577, in charge 
 of the autos at Corpus in Madrid. 
 
 Velazquez (Ignacio) played subordinate parts in the com- 
 pany of Pedro de Valdes in 1625-26. 
 
 Velazquez (Jeronimo), one of the earliest and most cele- 
 brated of all Spanish autores de comedias. He represented in one 
 of the corrales of Madrid as early as 1568, and in 1570 represented 
 two autos in Segovia. In 1574 he produced the following autos 
 at Corpus in Madrid: La Pesca de San Pedro, La Vendimia 
 celestial, and El Rey Baltasar quando en sus convites profano los 
 vasos del Templo. "He is to furnish everything necessary for the 
 festival, except that the city is to furnish the three cars, with all 
 the necessary decorations, etc. He is to provide the personages, 
 costumes, etc., and the people to draw the cars, and is to receive 
 130 ducats, besides 60 reals to move the cars. He is to represent 
 only on Corpus day wherever the procession may go, and after- 
 ward whenever the commissioners may order." In 1576 he again 
 represented three autos in Madrid. On Sept. 6, 1579, he gave his 
 
SPANISH ACTORS AND ACTRESSES 625 
 
 first representation of that year in Madrid at the Corral de Puente, 
 in the Calle del Lobo. He also produced the autos at Madrid in 
 1 58 1, 1582, and 1584. In 1582 he began to perform at the 
 Corral de la Cruz on Jan. 15, and represented many times in 
 the course of the year, alternating with Cisneros. In 1583, 1587, 
 and 1593 he represented the autos in Seville. In the latter year he 
 produced four autos, receiving 1200 ducats. In 1586 he produced 
 three autos in Madrid, receiving 5000 reals, and performed many 
 times during this year, beginning in Jan., and in 1587 in Madrid. 
 In 1589 he again represented three autos, receiving 700 ducats 
 and the sole right to act in Madrid from the second day of Pascua 
 de Resurreccion until Corpus three work-days in each week, besides 
 Sundays and feast-days; he also represented many times in Jan., 
 Feb., and March, 1590, in Madrid, and again represented the 
 autos there in 1594 and in Toledo in 1596. For his representations 
 in Madrid, see Appendix A. In 1587 he caused the arrest and 
 indictment of Lope de Vega for libel, and on the trial it was shown 
 that Lope de Vega was then providing Gaspar de Porres with the 
 comedias which he had previously furnished to Velazquez, v. Life 
 of Lope de Vega, pp. 28, 30 et passim. His wife was Ines Osorio, 
 and his daughter Elena Osorio was the sweetheart of Lope de Vega 
 and the Filis of his ballads. Velazquez died on Feb. 25, 1613. 
 See Perez Pastor, Proceso de Lope de Vega, pp. 136 ff. 
 
 Velera (La), v. Hernandez (Isabel). 
 
 Velez (Antonio de) , gracioso in the company of Jose Garceran 
 in Seville in 1657. 
 
 Velez (Jacinta), wife of Francisco Maire; she played first 
 parts at Corpus in the villa de Algete in 1636. 
 
 Velez de Guevara (Antonio), el Riolo, son of the Valencian 
 actor Jose Vives and Ana Maria. He was a gracioso in Lorenzo 
 Hurtado's company in 1631. 
 
 Velez de Guevara (Francisco), actor in the company of 
 Juan Martinez in 1 63 1, and autor de comedias from Shrovetide, 
 1639, t0 1640, jointly with Pedro de Cobaleda and Francisco 
 Alvarez de Vitoria. For their company in this year, when they 
 represented autos at Segovia, v. N. D., p. 308. He represented 
 with his company in La Monteria, Seville, in 1 641. 
 
 Vellon (Manuel del), actor in the company of Gabriel de 
 Espinosa in July, 1638. 
 
626 SPANISH ACTORS AND ACTRESSES 
 
 Vera (Diego de), lessee of the Huerta de la Alcoba in Seville 
 in 1585. 
 
 Vera (Francisco DE),autor de comedias jointly with Jeronimo 
 Ruiz and Alonso de Morales in 1592 in Madrid. 
 
 Vera (Juan de), musico in the company of Jeronimo Velaz- 
 quez in 1584 and 1590. 
 
 Verdeseca (Catalina de), v. Hernandez de Verdeseca. 
 
 Verdugo (Francisca), actress in the cast of Belmonte's A un 
 tiempo Rey y Vasallo in 1642, when she played the part of a 
 prince aged seven; however, she is mentioned as an actress in 
 Valladolid in this year. (M. y M., p. 566.) She married Jacinto 
 Riquelme in 1645, when both were in the company of Bartolome 
 Romero {ibid., p. 567), and both were acting in Seville in 1652, 
 in his own company. In 1655 she is described as the "widow of 
 Riquelme" and took part in the autos of that year in Madrid, in 
 the company of Diego Osorio; in 1657 she was in the company of 
 Francisco Garcia; in 1659 in that of Pedro de la Rosa (she ap- 
 peared in the autos of this year in Madrid in the company of Diego 
 Osorio), in 1660 with Manuel Vallejo, when she appeared in 
 Calderon's El Diablo mudo. (Perez Pastor, Calderon Docu- 
 mentos, I, pp. 238, 276.) In 1662 she was primera dama in the 
 company of Simon Aguado and Juan de la Calle. 
 
 Verdugo (Francisco), actor in the company of Juan de 
 Morales Medrano in 1624. 
 
 Vergara (Alonso de), lessee of the Coliseo in Seville in 
 1640-43 and 1654. He had a son Francisco. (S.-A., p. 368.) 
 
 Vergara (Antonio de), actor in the company of Gabriel 
 Vaca in March, 1598. He was indicted in 1596 for wounding 
 some one; he was still acting in 1 61 4. 
 
 Vergara (Francisco de) and his wife Magdalena de Ribera 
 were in the joint company of Damian de Espinosa in March, 1639. 
 
 Vergara (Juan de), "famous actor of Jetafe; he wrote come- 
 dias." (Claramonte, Letania moral, in Gallardo, Ensayo, Vol. II, 
 p. 476.) He was in Valencia apparently in 1588 in the company 
 of Rodrigo Osorio (Cotarelo, Lope de Rueda, p. 30), and also in 
 1 594-95 (Gallardo, I, p. 683), and in the company of Diego de 
 Santander in 1596 at Corpus in Seville, receiving a premium for 
 his acting in the auto El Caballero de la Luz. See also Rojas, 
 Viage, p. 13 1, who mentions him among the "farsantes" who wrote 
 
SPANISH ACTORS AND ACTRESSES 627 
 
 farsas, loas, bayles, etc. Timoneda printed his two Coloquios 
 pastoriles, which are now lost. (Cotarelo, Lope de Rueda, 
 p. 30, n.) 
 
 Vergara (Luis de), well-known autor de comedias at least as 
 early as 1593, for he first represented Lope de Vega's El Favor 
 agradecido, written in that year. In Nov., 1595, he represented in 
 Granada Lope's El leal Criado, as the license (dated Oct. 30, 
 1595) attached to the autograph MS. shows. He produced an 
 auto in Madrid in 1599, receiving 325 ducats, and was also in 
 Madrid with his company in Nov., 1600. He also represented 
 autos in Seville (of which city he was a native) in 1601, 1602, 
 and 1614. Lope calls him "general en todo genero de representa- 
 ciones." Besides the two comedias mentioned above, Vergara 
 produced the following by Lope de Vega for the first time: El 
 Argel fingido (before 1604) ; El primer Rey de Costilla (written 
 probably before 1595) ; El Caballero del Milagro (before 1603), 
 and El Desposorio encubierto. Vergara died before 1 61 7, and was 
 survived by his wife Maria de la O, q. v. See also Rojas, Viage 
 entretenido, pp. 48, 53, 54. 
 
 Vibar (Martin de), actor in a joint company at the Corpus 
 festival in Borox in 1604. A Vibar appears in the cast of Lope de 
 Vega's La buena Guarda (1610). 
 
 Vibas (Mencia de), daughter of Marco Antonio de Angulo; 
 both were in the company of Segundo de Morales for one year 
 from Nov. 17, 1638. See also under Vivas. 
 
 Vicenta, actress in the company of Cristobal Ortiz at Corpus 
 in Seville in 1620, receiving a gratuity of 200 reals in the auto 
 La Casa del Pecado. She appeared in the same year in Clara- 
 monte's Infeliz Dorotea, as acted by the company of Juan Bap. 
 Valenciano. She had been in the same company in 161 7, and took 
 the part of Ynarda in Lope's Desden vengado in that year. How- 
 ever, this may have been Vincenta de Borja. See also under 
 Vincenta. 
 
 Vicente (Francisco) of Valencia, actor in the company of 
 Alonso Riquelme for two years from March, 22, 1602. In 1621 
 Francisco Vicente was a member of the company of Alonso de 
 Olmedo. {Bull. Hisp. (1908), p. 244.) The name Vizente 
 occurs in the cast of Lope's El piadoso Aragones (1626). In 1632 
 he and his son Mateo were members of the company of Antonio 
 
628 SPANISH ACTORS AND ACTRESSES 
 
 de Prado. (Cotarelo, Tirso, p. 216.) Perhaps this was the 
 Vicente who appeared in the company of Sanchez de Vargas in 
 Lope's La hermosa Ester (1610). On May 19, 1638, Diego de 
 Leon, an actor, was accused by Lucia Bravo of the death of her 
 son Francisco Vicente. Whether this was the same person as our 
 actor, I do not know. (N. D., p. 292.) 
 
 Viera, actor in the cast of Tirso's Celos con Celos se curan 
 (1625). 
 
 Villa (Alejandro de la) and his wife Antonia Manuela 
 were in the company of Jose de Prado in Seville in 1658. He died 
 before 1663. 
 
 Villacorte (Bartolome de), autor de comedias in 1605. 
 v. Bull. Hisp. (1907), p. 372. 
 
 Villafane (Alonso de), member of the company of Damian 
 Espinosa for one year from March 21, 1639. 
 
 Villagomez (Antonio de), actor in the company of Juan 
 Acacio for one year from March 9, 1626. 
 
 Villalba (Alonso de), autor de comedias; he died before 
 Sept., 1605. v. N. £)., p. 92. His wife was Ana Romera, q. v. 
 Their children were: Mateo, Melchor, and Isabel, deceased in 
 1605, and Alonso, Antonio, and Juana de Villalba, then living. 
 (N. D., p. 92.) 
 
 Villalba (Alonso de), son of Alonso de Villalba and Ana 
 Romero. In 1609 he and his wife Maria Alvarez belonged to the 
 company of Nicolas de los Rios in Seville. He had a company in 
 Seville in 1 610 and in 1 61 2, and refused to represent in the latter 
 year. (S.-A., p. 151.) In 1614 he resided in Toledo. For his 
 company in this year, v. N. D., p. 140. 
 
 Villalba (Antonio de), brother of the preceding(?). In 
 1642 he played fourth parts in the company of Lorenzo Hurtado, 
 and in 1 65 1 he was in the company of Sebastian de Prado. 
 
 Villalba (Fernando de), farsante, apparently in the company 
 of Pedro de la Plata in Dec, 1598. (B. H. (1907), p. 363.) 
 
 Villalba (Isabel de), daughter of Alonso de Villalba and 
 Aria Romera. She died before Sept. 7, 1605. 
 
 Villalba (Juan de), autor de comedias in 1600. (N. D., 
 P- 53-) 
 
 Villalba (Juana de) , sister of Isabel de Villalba. She was the 
 
SPANISH ACTORS AND ACTRESSES 629 
 
 widow of the actor Juan de Morales, who died before April 10, 
 1595. In March, 1597, she was the wife of the celebrated autor 
 de comedies Baltasar Pinedo. They had a house in the Calle del 
 Amor de Dios, opposite the hospital of Anton Martin, Madrid, 
 in 1617. She was still living in May, 1619. 
 
 Villalba ( Manuel de) , actor ? His wife Sabina Pascual was 
 the daughter of Felix Pascual (1665). 
 
 Villalba (Maria de), actress? She was the daughter of 
 Mateo de Villalba and granddaughter of Ana Romera. 
 
 Villalba (Mateo de), actor? son of Alonso de Villalba and 
 Ana Romera. He was deceased in Sept., 1605. 
 
 Villalba (Melchor de), brother of the preceding, and autor 
 de comedias. In Jan., 1590, he was a member of the company of 
 Jeronimo Velazquez; on July 12 of the same year he was in the 
 company of Juan de Rivas and lived "in his own house" in the 
 Calle del Arenal, where he also resided in 1592. (N. D., p. 340.) 
 On July 17, 1590, he is called autor de comedias and was more 
 than twenty-five years old. (N. D., p. 339.) In 1594 Lope de 
 Vega wrote for him the comedia El Maestro de Danzar. In 1595 
 he resided in the Calle del Amor de Dios (see above, Juana de 
 Villalba), and managed a company with Alonso de Cisneros; and 
 in 1597 he and Melchor de Leon represented at Corpus in Seville. 
 In 1600 he and Gabriel de la Torre produced four autos at 
 Madrid, receiving 1 300 ducats. Melchor de Villalba first pro- 
 duced Lope de Vega's Los Muertos vivos (written before Dec. 31, 
 1603), and also Lope's El Domine Lucas, written before 1595. In 
 the dedication of the latter play Lope says: "I recall this play for 
 the reason that I have mentioned and because it was performed by 
 Melchor de Villalba, a man who had no superior in his profession 
 nor have we known any one to equal him.'' (Comedias, 
 Part XVII, 1621.) Villalba died before Sept. 7, 1605. The fol- 
 lowing document published in N. £)., p. 338, is not clear to me: 
 "12 Julio 1590. — Obligacion de Juan de Rivas, autor de comedias, 
 vecino de Madrid, morador en la calle de la Cruz, y Juana Romero, 
 su muger, como principales deudores y pagadores, y yo Melchor de 
 Villalba, representante en la compafiia del dicho Juan de Rivas, 
 hijo de los susodichos residente en esta corte, morador en la calle 
 del Arenal en casas mias propias, como su fiador, de pagar," etc. 
 
630 SPANISH ACTORS AND ACTRESSES 
 
 Villalobos (Juan Bautista de), born in 1565, was an actor 
 in the company of Rodrigo Osorio in Valencia in 1588, and in that 
 of Gaspar de Porres in 1595. (Proceso de Lope de Vega, p. 8.) 
 He was connected with the Coliseo in Seville in 1622. (S.-A., 
 Andes, p. 218.) See also under Bautista. 
 
 Villanueva (Acacio de) of Toledo, actor in the company of 
 Nicolas de los Rios in Seville in 1609; he was in Alonso de 
 Villalba's company in 1614, and was musico in the company of 
 Cristobal Ortiz in Seville in 1619. 
 
 Villanueva (Juan de), actor, indicted in 1606 for a quarrel 
 with an alguacil. He and his wife Isabel Rodriguez were in the 
 company of Pedro de Valdes in 1613-14; on Feb. 3, 1614, he 
 again agreed to act in the company of Valdes for one year; he 
 appeared in Lope de Vega's La Dama boba (1613). 
 
 Villanueva (Nicolas de), actor in Madrid in Dec, 1601, 
 when his wife was Juana Vazquez. (Bull. Hisp. (1907), p. 366.) 
 He was in the company of Alonso de Heredia in 1604, and he and 
 his wife Inez Fajardo were members of a joint company with Pedro 
 Bravo and others from July 8, 1614, till Shrovetide, 1615. 
 
 Villanueva (Pedro de), actor in the company of Alonso 
 Riquelme in June, 1 6 10, when he accompanied him to Lisbon. An 
 actor named Villanueva appeared in the cast of La belligera 
 Espanola by Ricardo de Turia (printed in 1616). v. Restori, 
 Studj, p. 92. 
 
 Villaroel (Agustin de), apuntador in Antonio de Prado's 
 company in 1632. His wife Mariana was in the same company. 
 In 1639 he acted in Antonio de Prado's company in Seville. 
 
 Villaroel (Antonio de), prompter in Prado's company in 
 1 623 ? Perhaps the same as the preceding. 
 
 Villaroel (Bernarda de), actress in the company of Cristobal 
 de Avendano in Madrid in 1622. 
 
 Villaroel (Cristobal de), autor de comedias and played the 
 part of gracioso. He was a member of the Cofradia in 1639 and is 
 mentioned in 1653. 
 
 Villaroel (Mariana de), v. Villaroel (Agustin de). 
 
 Villaroel (Matias Cristobal de) played first parts in the 
 company of Juan Roman from March 20, 1639, to 1640, "and if 
 he play second parts he is to receive one real less daily." He is 
 again mentioned in 1653. Perhaps the same person as Cristobal de 
 Villaroel. 
 
SPANISH ACTORS AND ACTRESSES 631 
 
 Villaverde (Juan de), actor in the company of Hernan San- 
 chez de Vargas, in Lope's La hermosa Ester (1610), and in the 
 company of Pedro de Valdes in 161 3. 
 
 Villavicencio (Carlos de), second gracioso in the company 
 of Agustin Manuel de Castilla in 1678. 
 
 Villegas (Ana de), actress, sister of the dramatist D. Fran- 
 cisco de Villegas, and daughter of Antonio de Villegas and Ana 
 Munoz. She afterward entered a convent. 
 
 Villegas (Antonio de), native of Seville and famous autor de 
 comedias. In March, 1592, he was an actor in the company of 
 Gaspar de Porres; in June, 1593, he is called autor de comedias, 
 and his wife was Ana Munoz. In 1595 he represented the autos 
 at Seville, and produced the comedia El Cerco y Libertad de Se- 
 billa por el Rey D. Fernando el Santo, by Luis de Venabides in 
 Valladolid (Schack, Nach., p. 22), and in the following year pro- 
 duced two autos at Madrid, receiving 640 ducats. In 1598, 
 together with Diego Lopez de Alcaraz, he produced the autos 
 again at Madrid, and in 1600, 1604, and 1605 again represented 
 autos in Seville. In 1602 he and Rios represented the autos 
 at Valladolid. In 1603 his company performed before the King 
 at Ventosilla, and he was one of the eight autores authorized by 
 the decree of this year. In Sept., 1603, he represented four 
 comedias before the Queen at Valladolid, receiving 1200 reals. 
 (B. H. (1907), p. 368.) Villegas played the part of the King in 
 Lope de Vega's El Cordobes valeroso (1605), and first produced 
 Lope's Los Locos de Valencia (written before 1603) and the same 
 poet's El Galan agradecido (before 1604), Lope saying of him: 
 "era celebrado en la propiedad, afectos y efectos de las figuras." 
 Claramonte in his Letania moral (1613) calls him "notable repre- 
 sentante, hizo comedias." Sanchez-Arjona, p. 93, says that Villegas 
 also represented Lope's Lo que pasa en una tarde, the autograph 
 MS. of which is dated Nov. 22, 1617, but Suarez de Figueroa 
 in his Plaza Universal, 161 5, mentions Villegas among the famous 
 autores then deceased, and Figueroa was not mistaken. Villegas 
 represented autos in Madrid in 1613, and died on May 29, 1613. 
 He was especially favored in Seville, v. Rojas, Viage entretenido, 
 pp. 48, 53, 54, and 131, where he names him among the "farsantes" 
 who had written farsas, has, bayles, etc. He had four children: 
 Juan Bautista, actor and playwright, Francisco the dramatist, 
 
632 SPANISH ACTORS AND ACTRESSES 
 
 Maria, and Ana. For his early representations in Madrid ( 1601- 
 1602) , v. Appendix A. 
 
 Villegas (Antonio) , actor in the company of Juan de Morales 
 Medrano for two years from Feb. 23, 1625. (Nuevos Datos, 
 p. 208.) 
 
 Villegas (Blas de), actor? in 1637. 
 
 Villegas (D. Diego de). His wife Dona Maria de Paniagua 
 acted at the Corpus festival in Valdemoro in 1623. In July, 1626, 
 he was one of the executors of the will of Cristobal Ortiz de 
 Villazan, and lived in the Calle de Atocha, opposite the Calle de 
 los Desamparados, "in the house of Torrijos." (N. D., p. 361.) 
 
 Villegas (Eugenia de) , wife of the autor de comedias Antonio 
 Ramos; they represented two comedias at Daganzo after Corpus 
 in 1606; both appeared in the cast of Lope's El Sembrar en buena 
 tierra (1616). 
 
 Villegas (Juan Bautista de), brother of the dramatist 
 D. Francisco de Villegas and son of the autor de comedias Antonio 
 de Villegas and of Ana Munoz, was no less celebrated as an author 
 than as an actor. Claramonte calls him "monstruoso y apacible 
 representante." He and his wife Paula Salvadora were members 
 of the company of Baltasar Pinedo in 1617, and he joined the 
 company of Manuel Vallejo on March 16, 1623, for one year, 
 when he received 22 reals for each representation and 8 reals for 
 maintenance. In Jan., 1623, he had a company of players, which 
 represented five comedias privately before the King in the Alcazar ; 
 among them was Como se enganan los ojos, written by himself. 
 Villegas died before Nov. 13, 1623, on which date his wife Paula 
 Salvadora filed a petition for an inventory of his effects. He was 
 the author of at least twelve other comedias besides the one men- 
 tioned, v. Barrera, Catalogo, p. 495, and Gallardo, Ensayo, Vol. I, 
 p. 683, and Vol. II, p. 476. 
 
 Villegas (Maria de), actress, sister of the preceding. 
 
 Villegas (Pedro de), actor, appeared as Beltran in Alarcon's 
 Las Paredes oyen in 1 61 7. He was in the company of Antonio 
 de Prado in 1624; on Nov. 2, 1638, he and his wife Andrea Zapata 
 agreed to act in the company of Juan Roman for one year, both 
 to play second parts. The story has often been repeated that 
 Diego Calderon, the elder of the poet Don Pedro's two brothers, 
 "was mortally wounded by an actor named Pedro de Villegas 
 
SPANISH ACTORS AND ACTRESSES 633 
 
 in the spring of 1629. Villegas took refuge in a monastery, and 
 was arrested there by the police, the brother, and other relatives 
 of his victim. The brother was probably Don Pedro." {Calderon, 
 ed. Maccoll, 1888, p. xxi.) If Don Diego Calderon de la Barca 
 was ever attacked by Pedro de Villegas he was not mortally 
 wounded, for he survived till after Nov. 13, 1647, the date 
 of his last will. (Perez Pastor, Calderon Documentos, Part I, 
 p. 150.) For an account of this stabbing affray see Fitzmaurice- 
 Kelly, Chapters on Spanish Literature, London, 1908, p. 186. The 
 poet's other brother, Don Joseph, "Teniente de Maestre de Campo 
 general," died in 1645, "peleando sobre el puente de Camarasa," 
 in Catalonia. (Perez Pastor, ibid., p. 220.) 
 
 Vincenta, v. Borja, Lopez, and Vicenta. The Vicenta 
 who appeared in Lope's Desden vengado ( 1617) was probably Vin- 
 centa de Borja, who was in Baltasar Pinedo's company in that year. 
 
 Vinas (Juan) and his wife Catalina Salazar were in the com- 
 pany of Manuel Vallejo in 1643. He had a company in April, 
 1653, when he represented a comedia privately before the King at 
 Aranjuez. 
 
 Vitoria (Antonia de), wife of Alonso Diaz Navarrete; both 
 appeared in Lope's La Conpetencia en los Nobles (1628), and both 
 were in the company of Cristobal de Avendano in 1632. 
 
 Vitoria (Antonio de), musician in the company of Luis de 
 Vergara in Oct., 1597. 
 
 Vitoria (Isabel de), actress in the company of Roque de 
 Figueroa in 163 1. She and her husband Jusepe del Peral were in 
 the same company in 1632, and acted in the Corpus festival at 
 Seville. She figures in the original cast of Rojas Zorrilla's Peligrar 
 en los Remedios (1634). 
 
 Vitoria (Maria de), wife of Luis Bernardo de Bovadilla; 
 both appeared in the cast of Alarcon's Las Paredes oyen in 161 7, 
 and both belonged to the company of Antonio de Prado in 1624. 
 In 1625 she and her husband appeared in Lope's Brasil restituido. 
 Both were also in Prado's company in 1626, when they appeared 
 in Lope's Amor con Vista. They acted at the Corpus festival in 
 Salamanca in 1637, Bernardo directing the company. From Feb., 
 1638, to 1639, she acted in the joint company of her husband and 
 Alonso de Olmedo. In 1639 both were again in the company of 
 Antonio de Prado in Seville at Corpus. 
 
634 SPANISH ACTORS AND ACTRESSES 
 
 Vivas (Isabel), wife of Vicente Vivas; both were in the com- 
 pany of Francisco Lopez in Seville in 1663. She was in the com- 
 pany of Felix Pascual in 1665 (being then divorced from her 
 husband Vicente Vivas), and 1671, playing cuartas y musica. 
 
 Vivas (Juan) of Valencia and his wife Ana de Renteria were 
 in the company of Pedro Cebrian in 1619. (N. D., p. I75-) On 
 Feb. 15, 1636, he joined the company of Pedro de la Rosa. (Ibid., 
 p. 245; Rosell, Vol. I, p. 235.) On Feb. 7, 1637. he entered the 
 company of Luis Bernardo de Bovadilla as gracioso for one year. 
 (N. D„ p. 260.) In Rosell, Vol. I, p. 405, he appears in the com- 
 pany of Tomas Fernandez, but this company is identical with that 
 of Rosa, and the entremes El Soldado was, apparently, represented 
 in the same year (1636). The Juan Vivas in the company of 
 Sebastian de Prado (Nov. 25, 1651 ) was probably the same person. 
 (Calderon Documentos, p. 189.) 
 
 Vivas (Vicente), v. Vivas (Isabel). 
 
 Vives ( Jose) , Valencian actor; his wife was Ana Maria. Their 
 son was Antonio Velez de Guevara, q. v. 
 
 Vizcaino (Juan) and his wife Isabel de Gongora were in the 
 company of Cristobal de Avendafio in 1632, he being cobrador. 
 He died before Feb., 1636, when Isabel de Gongora is described 
 as a widow. 
 
 Volay (Andres de), musico y bailarin in the company of 
 Antonio de Rueda in 1640. v. Bolay. 
 
 Xerez (Cosme de) took part in the Corpus festival at Seville 
 in 1559. 1560, 1563, 1564, 1574. and 1576. 
 Xerez, v. also under Jerez. 
 Ximenez, v. Jimenez. 
 Xuarez, v. Juarez. 
 
 Ynes, v. Hita. 
 
 Zabala (Manuela), actress in the company of Felix Pascual 
 in 1673. 
 
 Zabala (Nicolas de), "Americano, natural de Zacatecas," 
 married Maria Jacinta (la Bolichera). He died before 1670. 
 
 Zaballos or Zeballos, v. Ceballos. 
 
SPANISH ACTORS AND ACTRESSES 635 
 
 Zambrano (Alonso), actor in the company of Bernardo de la 
 Vega in 1672. v. Sambrano. 
 
 Zamudio (Sebastian) and his wife Jeronima de Herrera were 
 members of the company of Manuel Vallejo in 1631. 
 
 Zancado, actor in the cast of Lope de Vega's Quien mas no 
 puede (1616). 
 
 Zapata (Andrea) and her husband Pedro de Villegas were in 
 the company of Juan Roman for one year from Nov. 2, 1638, 
 both playing second parts. 
 
 Zavala (Maria de), actress in the company of Jose Garceran 
 in Seville in 1657, and in the company of Juana de Cisneros 
 in 1660. 
 
 Zavala (Nicolas de), galan in the company of Jose Garceran 
 in Seville in 1657. 
 
 Zayas (Jeronima de), "single woman," actress in the Corpus 
 festival at Almonacid de Zurita in 1631 ; "she is to go a fortnight 
 previously to rehearse, and is to receive 300 reals and have expenses 
 paid." 
 
 Zayas (Rodrigo de), actor in the company of Francisca Lopez 
 in Seville in 1663. 
 
 Zebrian, v. Cebrian. 
 
 Zorita or Zurita (Pedro de), native of Segovia, actor in the 
 company of Jeronimo Velazquez in 1590, and in the company of 
 Alonso Riquelme for one year from March 7, 1602. "He is to 
 receive 10 reals for each performance and 4 reals daily for main- 
 tenance." In 1607 he was in the company of Melchor de Leon. 
 He is mentioned in 1603 by Rojas (Viage, p. 131) among actors 
 who were also playwrights. 
 
 Zuniga (Bartolome de), actor in the company of Juan de 
 Morales Medrano in Seville at Corpus, 1615, when he received a 
 gratuity of 100 reals.