Publishing, Typography, and Politics:

Mena's Works and the Parallel Editions of Antwerp, 1552

by
Linde M. Brocato

Paper
Submitted in Partial Fulfillment of the Requirements
for the
Certificate of Advanced Study

Director: Prof. Don Krummel

Committee: Prof. Javier Irigoyen-Garca; Prof. Paula Carns

A CKNOWLEDGEMENTS
M Y DEEPEST GRATITUDE TO MY COMMITTEE:
Prof. D. W. Krummel, presiding
Prof. Javier Irigoyen-Garca
Prof. Paula Carns
&
Prof. Linda Smith
(for mediation and close reading)

T HANKS ARE ALSO DUE TO:

The University of Illinois Urbana-Champaign:
The Graduate School of Library and Information Science
The Rare Book Library
The Biblioteca Nacional of Spain
The Library of the Hispanic Society of America
The Caxton Club, Chicago
The Program for Cultural Cooperation of Spain's Ministry of Culture
True Friends Who Have Kept My Body and Soul Together
&
My Soul From the Slough of Despond
(you know who you are)

TABLE OF CONTENTS

PUBLISHING , TYPOGRAPHY, AND POLITICS. . . . . . . . . . . . . . . . . . 1

THE EDITORIAL TRADITION OF MENA'S WORKS. . . . . . . . . . . . . . 3
NUTIUS, STEELSIUS, AND PARALLEL EDITIONS (1549-1555). . . . 6
Group 1: Renaissance Works of Popular (Classical)
Morality. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Group 2: Vernacular Literature. . . . . . . . . . . . . . . . . 10
Group 3: Chronicles of Discovery. . . . . . . . . . . . . . . . 15
FEATURES OF THE EDITIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Editing Mena 1483-1582. . . . . . . . . . . . . . . . . . . . . . . 19
The 1552 Mena Editions. . . . . . . . . . . . . . . . . . . . . . . 23
FURTHER EVIDENCE FROM OTHER IMPRINTS. . . . . . . . . . . . . . . 27
OF SPANISH IMPRINTS IN 16TH -CENTURY ANTWERP . . . . . . . . . 33
APPENDIX I: JUAN DE MENA: EARLY EDITIONS (1483-1582)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
APPENDIX II: ANTWERP EDITIONS. . . . . . . . . . . . . . . . . . . . . . . 51
APPENDIX III: STRUCTURE OF CONTENTS OF MENA
COMPILATIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
APPENDIX IV: COMPARISON OF THE CONTENTS OF THE 1552
EDITIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
APPENDIX V: ILLUSTRATIONS. . . . . . . . . . . . . . . . . . . . . . . . . . 66
CATALOGUES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
SECONDARY BIBLIOGRAPHY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

PUBLISHING , TYPOGRAPHY, AND POLITICS:

MENA'S WORKS AND THE PARALLEL EDITIONS OF ANTWERP , 1552
In 1552, two closely related Antwerp printers, Joannes Steelsius and Martinus
Nutius, former apprentice of Steelsius, each published an edition of the works of Juan
de Mena (1411-1454) .1 These editions were produced within the abundant publication
history of a Spanish "classic" in which several types of edition were possible, hence the
necessity of considering the literary/cultural and bibliographic traditions in which they
were published.2 That is, the literary/cultural context is inseparable from the editorial
context, and it forms one side of the dynamic possibilities that Antwerp publishers
considered in printing Mena's works in 1552, with the array of their editorial habits and
possibilities as the another dynamic. Thus I will situate these two editions at the
meeting point of these two vectors of editorial production, then analyze the physical
features of Mena editions over time, then focusing on the 1552 editions. Finally, I will

These printers were named in the imprints (and sometimes in the text) in forms appropriate to the
language of the text, and in archival documents as well. Anne Rouzet chooses a standard form for the
entries to her Dictionnaire des imprimeurs, libraires et diteurs des XVe et XVIe sicles dans les limites
gographiques de la Belgique actuelle (Nieuwkoop: B. de Graaf, 1975), but includes alternative forms of
family names found on imprints; I will use her standard terms Martinus Nutius (Martn Nucio, Martin
Nuyts), Joannes Steelsius (Juan Steelsio, Jean Steels), Joannes Bellerus (Juan Bellero, Jean Bellre), Hans
de Laet (Juan Lacio), Jean Grapheus (Juan Grapheus). The article by Marie-Therse Isaac, "Panorama de
l'imprimerie anversoise au XVIe sicle" curiously excludes Martinus Nutius, whose production certainly
exceeds her criterion for consideration of at least 100 imprints over the course of his career (cf. Peeters
Fontainas, L'Officine 17). The high quality of Hans de Laet's work is shown in Weaver's study of Laet's
music imprints for Waelrant.
2

In spite of the frequent estrangement among their practitioners, textual, historical, and
descriptive bibliography (in Terry Belanger's terms), literary history, and literary/cultural criticism (close
reading, interpretation, contextualization) are closely related endeavors, all depending on each other for
either method, purpose, or meaning. While my work here for the most part does not engage in literary
analysis per se, it was in fact generated by a literary and cultural analysis of Mena's Laberinto de Fortuna,
and contributes to that analysis (Brocato 1999 is a portion of the larger project, To Penetrate with
Intellectual Eyes: Text, Vision, and Nation in Trastmara Spain). Books are the ultimate hybrid cultural
and social artefact, making study of them in all these dimensions both immensely rewarding and
immensely vexing to organize and focus without artificially delimiting the domains for which they are
boundary objects (see Brocato 1995; on hybridity see Latour 1993).

Brocato CAS 2
consider this evidence within the overall social and political context of their midsixteenth-century work, closing with what this suggests about Steelsius' and Nutius'
editorial practices, the particular significance of their editions of Mena, and the
implications for further research.
In his survey of early editions of Celestina, La comedia de Calisto y Melibea
(1499) and then the Tragicomedia (1502 ff.), Vctor Infantes states that publishers don't
believe in readers but only in purchasers of books (7). He also complains that literary
analysis doesn't take into account the contribution of descriptive bibliography
(bibliografa material) (3-4). In fact, bibliographical studies seldom suggest the
possible impacts of the materialities of books on the texts that they make available to
readers (beyond establishing the ideal text intended by an author), readers who have
always been and still remain the majority buyers of books. While unread books can be
tokens of other kinds of cultural capital this can often be a primary motivation for
collecting rare or "collectible" books most purchasers buy books in order to read, and
often to use (study, internalize, quote, and imitate) them, whether or not they in fact do.
Rapprochement between studies of literature and studies of bibliography can only come
from integrating as much as possible the information that both disciplines provide, as D.
F. McKenzie has shown. Here, my study links these two strands of analysis in the case
of Mena's works, focusing on their production over time, and then in the context print
and political of the 1552 editions, particularly of a series of sixteenth-century Antwerp
imprints in Spanish.
Even in his lifetime a dominant poetic force in Iberia, Juan de Mena (1411-1456)
was a "classic," by the mid- to late-fifteenth century a foundationally canonical national

Brocato CAS 3
(Castilian) poet. Court poet, Latin secretary, and chronicler to Juan II of Castile (14061454), his works appear in 57 fifteenth- and sixteenth-century songbook [cancionero]
manuscripts, which include the two kinds of poetry for which he was famous: the
shorter poems typical of the court poetry compiled in cancioneros as well as his long
poems presented to their subjects, his patrons.3 As his works entered the culture of
print, he was very quickly called "the famous" [el famoso] or "the most famous poet
Juan de Mena" [el famosissimo poeta Juan de Mena] and both 1552 editions so
designate him. Mena's textual history thus makes him an ideal case study for both the
passage from manuscript to print (not taken up here) and the relationship between
literary-historical and bibliographical analyses of his works, one moment of which is the
focus of this study. The 1552 editions, doubtless composed from previously printed
editions of Mena's works though not identical to any of them, not only reveal the
development and contours of the publishing tradition of (and thus reading demand for)
Mena's works, but also signal the networks of political and intellectual culture in which
his works were read and published.
THE EDITORIAL TRADITION OF MENA'S WORKS

Manuel Moreno, "La transmisin de la poesa de Mena," paper presented at the conference "Juan
de Mena: entre la corte y la ciudad" (Crdoba, Spain, 27 April 2011; handout). In addition, Mena's
poems appear in the first printed cancioneros as well. Mena's poems also appear in non-poetic texts, like
the manuscript of the chronicles of Pero Lpez de Ayala (BNE MSS/10234), which has at the end a series
of poems by Mena to the king and to lvaro de Luna, Condestable de Castilla, on the political situation.
In terms of their composition, the earliest of the major compositions is La coronacin (1436) presented to
igo Lpez de Mendoza, marqus de Santillana, magnate and fellow poet. Later, Mena presents Las
trezientas (1444) to Juan II. His last major work is an allegorical debate poem, the Coplas a los siete
pecados mortales (also printed as Coplas de vicios y virtudes), left unfinished at his death.

Brocato CAS 4
Editions of Mena's works can be divided into several types.4 They begin with a
songbook [cancionero]-type anthology,5 in which the bulk of the works are not by Mena
and the imprint is not designated by his name (M1); around 1500, another such
anthology tied to the name and work of Fernn Prez de Guzmn, another of Mena's
contemporaries, includes two of Mena's works (M17).6 Immediately after the 1483
cancionero (M1), Mena's major works were printed as editions of single works: The
Three Hundred [Las .CCC. or Las Trezientas] appears in ca. 1486 (M2); The Coronation
[La coronacin] in 1489 (M3); the Verses on the Seven Deadly Sins [Coplas de los siete
pecados] in 1500 (M12). His work seems to have attracted commentaries:7 The
Coronation was always printed with Mena's own commentary (M3, 5, 7, 10-11, 16); The
Three Hundred was printed after 1499 with that of Hernn Nez de Guzmn (M2, 4, 6,
8-9, 15, 19); and from 1500 or so onward, the Seven Mortal Sins primarily circulates in
the version completed and glossed by Jernimo de Olivares, third of his continuators
(M12 [unglossed; Manrique continuation]; M13, 17-18).8

For fuller analysis of this tradition, see below, Appendix III.

A cancionero (chansonnire in French) is usually an anthology of courtly verse by various

authors. In the Castilian tradition, preserved manuscripts in the genre begin with the Cancionero de
Baena, compiled around 1430-1445 and presented to Juan II. Here et passim all translations are my own,
unless otherwise noted.
6

I will indicate the relevant identifying bibliographical information for each edition in the text,
followed by its number in the bibliography of Mena editions following this essay (M#).
7

And inspired them. igo Lpez de Mendoza, Marqus de Santillana, composed his Proverbios
in 1437, a year after receiving Mena's homage in Coronacin, at the request of Juan II for the education
of Prince Enrique, and included glosses; Barry Taylor notes that "there seems to be no witness in which
the text is unglossed" (Taylor 2009:37).
8

Olivares expressed his discontent with other continuations of the poem in his preface, and then
recounted a dream in which Mena appears to him to encourage him to revise and continue the poem (see
ills. 5 and 5a).

Brocato CAS 5
Early in the sixteenth century, Mena's major works were compiled into
anthologies more recognizable to us moderns, with Las trezientas and La coronacin as
the titular works of separate imprints, which included shorter poems from Mena's
cancionero work (political, amorous, and slanderous poetry [poesa de escarnio]).9
Finally, with the Antwerp editions of 1552, these anthologies were published fully
integrated into one imprint, though still often bearing a separate title page for La
coronacin. Sixteenth-century editions of Mena's works close in 1582 with that of
Francisco Snchez de las Brozas (El Brocense) and its minimalist commentary (M47).10
The edition of Jacobo Cromberger in 1512 (M22-23) set the basic pattern for
content in publishing Mena, the basis for the 1552 and 1582 editions (De Nigris 99-104),
although the 1560 and 1566 editions of Mena's works (M42-44) integrated this structure
with the cancionero tradition. The principal works are Las trezientas and La
coronacin, which generally have separate title-pages and imprints, though the titlepage of Las trezientas often alludes to the inclusion of La coronacin, along with a set of

There was a range of titles for these anthologies: a list of the major works such as Las. ccc.
co[n]. xxiiij. coplas agora nueuamete aadidas: del famosissimo poeta Juan de Mena con su glosa las
cinquenta con su glosa: otras obras, sometimes adding "y otras cartas y coplas y canciones suyas" and
eventually simply Copilacin de todas las obras del famosissimo poeta Juan de mena followed by a list
of the works (Sevilla: Varela, 1528). See below on Nutius' choice of title. In 1501 the title of the Sevilla:
Hagembach edition designated Mena as "castellano" in the incipit "Comiena el labirintho de Iu de
mena poeta castellano."
10

A mystery of Mena's cultural afterlife, as 15th-century specialist Prof. Jeremy Lawrance pointed
out at the recent conference on Mena in Crdoba ("Juan de Mena: Entre la Corte y la Ciudad" 27-30 April
2011), is that his poetry continued to be influential and its influence contentious in the 17 th century,
although the last edition of his works until 1766 was the edition of El Brocense of 1582 (personal
conversation 27 April 2011). This suggests that either we have entirely lost all copies of 17 th -century
editions, or, perhaps more likely, that enough copies of the sixteenth-century imprints circulated to sustain
awareness and use of Mena's works. One assumes that much of his work resided in collective memory
and circulated orally and in performance.

Brocato CAS 6
shorter poems.11 These courtly poems are a relatively stable set, but are distributed
differently in different editions.12 In Cromberger's editions after 1512, they follow
Laberinto in the first volume, while La coronacin was followed by the Coplas sobre vn
macho" (the latter omitted in the 1520 edition of the Coronacin).
NUTIUS, STEELSIUS, AND PARALLEL EDITIONS (1549-1555)
The other editorial dynamic in the 1552 editions of Mena's works is their
immediate publishing context within the output of both Joannes Steelsius and Martinus
Nutius. While both printer/publishers have been overshadowed by Christopher
Plantin's position in the history of printing in Antwerp, their work is not to be disdained,
as J. F. Peeters Fontainas notes at the beginning of his L'officine espagnole de Martin
Nutius Anvers (Peeters Fontainas 11), and their publication of texts in Spanish,
whether originally in Spanish or translations into Spanish from other languages (often
classical), was considerable (with over 140 titles in Spanish for Nutius, the vast majority
of his production). Joannes Steelsius was active from 1533-1562 (Rouzet 208-9); Nutius
was active from 1540-1558, and was apprenticed to Steelsius in Antwerp after travels in
Spain (Peeters Fontainas 12-3; Rouzet 161-2).
11

Cromberger did not include the Coplas a las siete pecados mortales which he had likely
published in 1505? (M18), and I have not adequately traced its path through the various editions. It did,
however, consistently appear in what I have termed the cancionero strand of Mena editions, and was thus
consistently available for reprinting. It appeared in both Antwerp editions. Recently it has been edited
with Gmez Manrique's continuation in Coplas de los siete pecados mortales and First Continuation, ed.
Gladys M. Rivera (Madrid: Porrua Turanzas; Potomac, Maryland: Studia Humanitatis, 1982).
12

See Carla de Nigris' edition and study of these works, Juan de Mena, Poesie minori (Napoli:
Liguori, 1988), pp. 99-104. She asserts that Steelsius' edition derives from Cromberger's edition of 1517
(102), and then Snchez's from Steelsius in direct succession, with corrections based on sense and
conjecture rather than comparison with the MSS. There is a useful table comparing the order and
contents of these three print editions on p. 100. She includes the 1517 Cromberger because she could not
find that of 1512; see Appendix III.

Brocato CAS 7
Peeters Fontainas' study of Nutius' press puts the editions of Mena's works in a
different focus, as he documents a series of some seven "simultaneous editions"
("ditions simultanes," 55) published by these two Antwerp printers from 1549 to
1555.13 Although the 1544 privilege granted to Nutius indicates a close connection
between Steelsius and Nutius (Peeters Fontainas 13), he considers these parallel
editions a "little ["underhanded," "sournoise"] edition war which does not pay attention
to the imperial privileges" (Peeters Fontainas 178, 54-5).14 Closer analysis suggests
that these titles fall into three categories: 1) works of popular morality based on classical
authors (Erasmus' Apothegmas and Antonio de Guevara's Libro aureo de Marco
Aurelio); 2) vernacular literature in the form of two Spanish works and a French
allegorical poem (by an author closely connected to the House of Burgundy and the
Hapsburgs) translated into Spanish (Lorenzo de Seplveda's Romances nuevamente
sacados de historias antiguas; Mena's works; Olivier de la Marche's El caballero
determinado); and 3) three chronicles of exploration (those of Pedro Cieza de Len,
Ferno Lopes de Castanheda, and Francisco Lpez de Gmara). These groupings
correspond to Jaime Moll's outline of the kinds of books in Spanish published in the
Low Countries:
first editions, primarily of Spaniards who lived in Flanders, reeditions of
new peninsular editions and reeditions of standard works ["de surtido"],15
13

See Appendix II at the end of my analysis. I have examined most of the simultaneous editions,
either in person or on microfilm, and have also examined several related titles that have provided a further
though not complete context for these editions.
14

15

Petite guerre ddition sans tenir compte des privilges impriaux.

"De surtido" now means "from the catalogue" which I take to mean something like "the
backlist" of works that are in sufficient demand to keep printing but not bestsellers.

Brocato CAS 8
books, in certain cases even when they had lost their currency in Spain.
Generally these are published in small formats, in 8o and 12o."16
All were popular and in demand in one way or another. Looking more closely at them
and at other editions from these presses that share some of their characteristics,
suggests various possibilities for motivation or purpose. These categories are in roughly
chronological order, with the last member of the second category El Caballero
Determinado closing the entire series in 1555. If one were to pay attention only to
catalog descriptions of these works, whether print or on-line, one might not go further
than translating "simultaneous" to "double," although even in those bibliographical
entries and catalog records certain important distinctions are signaled. In fact,
comparing the versions of the works and their mise en page makes clear significant
differences in all but the chronicles of discovery.
Group 1: Renaissance Works of Popular (Classical) Morality
The work which begins the series, for example, is Erasmus' Apothegmatum
opus,17 which Nutius published in the translation of Francisco Tamara with the title
Libro de apothegmas qve son dichos graciosos y notables de muchos reyes y principes
illustres, y de algunos philosophos insignes y memorables (ill. 11),18 while Steelsius
16

"Primeras ediciones, principalmente de espaoles que estaban en Flandes, reediciones de las

novedades peninsulares y reediciones de obras de surtido, en ciertos casos cuando ya en Espaa haban
perdido su vigencia. Por lo general se publican las obras en formatos pequeos, en 8 y 12;" Jaime Moll,
"Plantino y la industria editorial espaola," 18.
17

This appears to be Erasmus' translation of Plutarch; ascertaining this is beyond my competence

or brief.
18

According to Peeters Fontainas, some copies of this imprint lack the words "Libro de" at the
head of the title (M43-4). Martn Abad treats them as two separate issues, and they are catalogued as
such in the online catalogs of the Biblioteca Nacional de Espaa and the Catlogo Colectivo del

Brocato CAS 9
published that of Juan de Jarava, entitled Libro de vidas, y dichos graciosos, agudos y
sentenciosos, de muchos notables varones griegos y romanos, ansi reyes y capitanes,
como philosophos, y oradores antiguos : enlos quales se contienen graues sentencias e
auisos no menos prouechosos que deleytables (note that in neither edition is Erasmus
named). Nutius provides an index of proper names at the beginning of the text (ill. 12),
uses running heads with various levels of specificity (by individual and by groups; ills.
14-15), plus a subject index keyed to the printed marginal glosses at the end of the text
(ill. 16).
Following the Apothegmas in this sequence is Antonio de Guevara's then
infinitely popular (and now almost completely neglected) Libro aureo de Marco
Aurelio, by 1550 Steelsius' fifth edition (ills. 17-19), but here combined by Nutius with
the Relox de prncipes in its first issue from his presses (ills. 21-24). By 1550, Steelsius
traditionally published the Libro aureo in 12s, a slim and portable volume (compare the
1539 ed. in 8o in ill. 20 with that of 1550 in ill. 17), with a relatively self-congratulatory
publisher's incipit and explicit.19 Nutius' edition (in octavo) begins with the tabla (ill.
22), followed by a general prologue, then a prologue dedicated to Marcus Aurelius' Libro

Patrimonio Bibliogrfico Espaol.

19

After praising the substance and the style of the Libro aureo, the incipit adds "And harming
nobody one can say that such an elevated style has never been seen in Castilian" [Y aun injuriar a nadie se
puede dezir, no auerse uisto hasta oy estilo tal alto en lengua Castellana.] (A12v). The explicit explains
the usefulness of the "sauce" of an excellent prose style in attracting and delighting readers, with the
entailment of how books are preserved, and how his Libro aureo will not be: "There are many books of
very substantial nourishment, but so insipid and so without charm in their style, that they spoil one's
appetite at the first bite. One benefit for them follows from this, which is that they're preserved safe and
sound on the shelves of libraries. Which will not be the case for Marcus Aurelius. [Muchos libros ay de
muy substa[n]cioso ma[n]jar, mas son ta[n] insipidos & ta[n] sin gracia en el estilo, que alos primeros
bocados pone[n] fastidio. Vn bien se les sigue desto alos tales libros, y es. Que viuen mas tie[m]po sanos
enlas bibliotecas. Lo que no creo sera de Marco Aurelio.] (264v). Ironically, time has proven him wrong.

Brocato CAS 10
aureo (ill. 23); only after 25 pages of text which goes back to that of the 1528 edition
(Sevilla: Cromberger) arriving at a different translation of the text that begins
Steelsius' prologue. Indeed, at the incipit to Book I, he also describes his edition as "in
which are added certain letters of the Emperor Marcus Aurelius that were removed in
other impressions made before this one" (37r/E5r) (ill. 23).20 Since Cromberger also
published both editions (Griffin 241), perhaps Steelsius and Nutius were also targeting
different sectors of the market, as Cromberger must have done, given the overlap of the
two editions in his output.
Group 2: Vernacular Literature
Beginning the group of simultaneous editions of vernacular literature, Lorenzo de
Seplveda's Romances nuevamente sacados de hystorias antiguas appeared in 15501551, first from the presses of Martin Nutius (ills. 25-26), then from those of Steelsius
(ills. 27-28).21 A core group of romances those of Seplveda? are the same, as are
the format (12mo) and page layout (foliated, in one column with specific running
headers), and an index of first lines at the front of the text (ills. 26, 28 ). Nutius, in his
preface "Martin Nutius to the Kind Reader" (2v-3r)22 preceding the "Tabla," claims that
he has the work in an edition from Sevilla (1550-1, now lost; cf. Peeters-Fontainas
Officine 54-5), and that Seplveda was following Nutius' lead in compiling romances;
20

"Enla qual van aadidas ciertas cartas del emperador Marco Aurelio que se quitaron en otras
impressiones que se hizieron antes desta."
21

Of Nutius, Jaime Moll says that he is the "symbol of Spanish publishing in Antwerp" [smbolo
de la edicin espaola antuerpense] (17). He published a number of first or early editions of major works,
and initiated the collecting of romances. His is one of the first extant editions of Lazarillo (1554), and it
has been suggested that the princeps may have come from his presses.
22

"Martin Nvcio al benigno Letor."

Brocato CAS 11
the Hispanic Society of America dates Nutius' edition as 1550?. Certainly, Steelsius'
edition included fewer romances, and signals the addition of a ballad on African
victories of the Spanish monarchy, as well as also including the navigational aid of an
index of first lines at the end of the text: "The ballad of the conquest of the city of
Ifriqiya in 1550 has been added, along with other various [ballads], as can be seen in the
table of contents" (A1r).23
Nutius' edition seems to be much rarer; and is held only by the Hispanic Society.
Its subtitle is rather coy, "There are added many [ballads] never before seen composed
by a gentleman of the Emperor's court whose name is kept secret for greater things."24
Indeed, comparison of the contents of the two works shows that even the shared core of
romances was completely rearranged, which Nutius asserted in his preface, by subject

23

"Aadiose el Romance dela conquista dela ciudad de Africa en Berueria, en el ao M.D.L. y

otros diuersos, como por la Tabla parece." This "conquest" was probably the taking of Mahdia (AlMahdiye) in Ifriqiya (i.e. "la ciudad de frica" in the poem), the coastal region of North Africa in the area
of what is today Libya, Tunisia, and eastern Algeria, captured by a coalition of Spanish and Italian
soldiers, along with the Knights of Malta, in September 1550. "Dorgut Arraez" is doubtless Turgut Reis
(also modernized and transliterated as "Dorghut Rais" and "Dargouth Rais"), the Ottoman admiral and
privateer who replaced Barbarossa as commander-in-chief of the Ottoman naval forces in the
Mediterranean, and whom a coalition of forces from Spain, Italy, and the Knights of Malta unsuccessfully
pursued. See Andrew C. Hess, The Forgotten Frontier (Chicago: University of Chicago Press, 1978;
paperback ed. 2010), 76 for a vague mention of the campaign and Al-Mahdiye. In addition, Miguel
ngel de Bunes Ibarra mentions the episode apropos of the frequency with which "la ciudad de Africa
(Mahdiyya)" appears in sixteenth-century accounts (62). See also the Corsair database at
http://www.corsaridelmediterraneo.it/corsari/d/dragut.html (accessed May 30, 2011), under 1550:
Giugno/Luglio and Settembre. In general, see Mercedes Garca Arenal and Miguel ngel Bunes, Los
espaoles en el norte de frica, siglos XV-XVIII (Madrid: MAPFRE, 1992). Hess points out that African
campaigns were more important to the people of Spain than to the larger imperial goals of Carlos V.
24

"Van aadidos muchos nu[n]ca vistos compuesto por vn cauallero Cesario, cuyo nombre se
guarda para mayores cosas," translating "Cesario" in terms of its significance rather than literally.
According to Peeters Fontainas, "cesreo caballero" perhaps refers to Cristbal Calvete de Estrella,
associated with both Nutius' and Steelsius' presses, and his own forthcoming major work, El felicissimo
viaie del mvy alto y mvy poderoso principe don Phelippe, which journey took place from 1548-1551.
This might lead one to suppose that Calvete had already arranged publication of the Viaje from Nutius'
press. See below for further discussion of this imprint.

Brocato CAS 12
("dealing with the same person" [que tratan una mesma persona], 3r), and has added a
number of other romances, some religious and some historical (2v-3r). In addition, this
suggests that Steelsius followed the order of the original Sevilla imprint.25 The absence
of the romance on the taking of the "ciudad de Africa" from Nutius' reorganized version
was perhaps an adjustment to the concerns of those Spaniards in Antwerp, for whom
campaigns in Africa were less compelling than for those whose livelihoods remained
more rooted in the recently-closed Reconquest.
In keeping with his habitual frugality with paper (the motivation that led to his
fame for rescuing the ballad from ephemeral orality; Peeters Fontainas 11), Nutius
declares on A6r in the rubric for the first romance (unique to his collection): "ballad of a
miracle which was put here outside the order [of the text] so that the paper wouldn't
remain blank" (first line: "A Tanagildo rey Godo").26 A cursory analysis of the romances
suggests that Nutius' edition leaves out some 18 included in Steelsius', and adds some 25
not found there (see also Rodrguez-Moino). In this, he followed the traditional
variation within manuscript culture (its mise en recueil27) for such collections of poetry
cancioneros or chansonnires which is part of the difficulty of tracing the tradition

25

Rodrguez-Moino suggests this as well in his discussion of the lost Sevilla edition in the
bibliography to Lorenzo de Seplveda, Cancionero de romances (Sevilla, 1584). Edicin, estudio,
bibliografa e ndices por Antonio Rodrguez-Moino. Coleccin de los Romanceros del Siglo de Oro
(Madrid: Castalia, 1967), 41.
26

"Romance de vn miraglo: el qual se puso aqui fuera dela orden, porque el papel no quedasse

blanco."
27

These are Dr. Fiona Maguire's terms mise en texte, mise en page, mise en recueil for the
version transcribed, how it is formatted on the page, and how cancionero anthologies are constructed.
Personal conversation, 27 April 2011.

Brocato CAS 13
and stabilizing the poetic texts collected therein.28
The parallel editions of Mena's works bear distinct titles. Nutius' edition is
entitled Todas las obras del famosissimo poeta Iuan de Mena con la glosa del
comendador Fernan Nuez sobre las trezientas: agora nueuamente corregidas y
enmendadas (ills.29-31), while Steelsius gives his edition the traditional "list" form (see
above n.9; ills. 32-37), Las trezientas d'el famosissimo poeta Ivan de Mena, glosadas
por Fernan Nuez, Comendador de la orden de Sanctiago. Otras XXIIII. Coplas suyas,
con su glosa. La Coronacion compuesta y glosada por el dicho Iuan de Mena. Tratado
de vicios y virtudes, con otras Cartas y Coplas, y Canciones suyas. These editions
differ substantially in their mise en page and mise en recueil, and will be analyzed in
detail below.
The editions of El cauallero determinado of Olivier de la Marche which close the
series of parallel editions are also assigned to different translators, although stating the
difference thus is somewhat misleading. In fact, the illustrated Steelsius edition
(princeps 1553) (ills. 38-42), the original translation of Hernando de Acua, is in coplas
castellanas, a very traditional native fifteenth-century Iberian verse form of 8 syllables,
while Nutius' edition (without illustrations) by Jernimo de Urrea is an adaptation of
Acua's translation but in Italianate verse of eleven syllables (Clavera 1524). Of his
own translation, Acua noted:
28

In her critical edition of Mena's shorter poetry, Carla de Nigris lists 40 manuscript testimonies
of some 60 short poems by Mena, plus five print cancioneros of the early sixteenth century, but compares
and analyzes these testimonies only in small clearly related groups. As she says of systematically
comparing the entire contents of the Cancionero de Romn o de Gallardo (her MH), the Cancionero de
Vindel (NY), and the Cancionero general (print 1511), it would be "not only fruitless, but in addition
senseless" [non solo infruttuoso, ma addirittura senza senso] (83). The same could be said of any attempt
to relate all the cancioneros, a truly rhizomous textual tradition. See also the Cancionero Virtual site,
directed by Dorothy Severin: http://cancionerovirtual.liv.ac.uk/main-page.htm.

Brocato CAS 14
I translated this in Castilian coplas rather than any other kind of verse,
first because it is the most used and known in our Spain, for whom I
primarily translated this book. And the other because French
versification, in which it was composed, has feet so short, that it couldn't
be translated into any lengthier form without mixing up what was being
translated, putting two or three strophes in one, or putting new matter, to
the point of damaging the work. Thus what is translated goes strophe by
strophe, and what is added occurs in places where it doesn't damage.29
Urrea's version shifted the poetics of the translation to the Italianate style of the
sixteenth-century Renaissance it was Garcilaso de la Vega, epitome of Renaissance
poetics, who said of traditional Spanish verse preceding the Italianate style (that is, his
own and Juan Boscn's) that there was nothing worth reading. As Juan Martn Cordero
stated in hisSonnet in praise of the new translation and translator of The Determined
Knight"30 in the preliminaries to the text:Go forth with a more elevated style and
weighty / show your grave and amorous style / . . . / Urrea has made you speak as
gravely / as a knight should" (A1v).31 Urrea himself said the same thing: "and since the
book deals with a weighty subject, I have translated it in weighty verse, as such a story

29

"Hizo se esta traducion en coplas Castellanas, antes que en otro genero de verso, lo vno por ser
este mas vsado y conoscido en nuestra Espaa, para quien principalmente se traduxo este libro. Y lo otro
porq[ue] la rima Francesa, en que el fu compuesto, es tan corta , que no pudiera traduzer se en otra
mayor, sin confundir en parte la traducion, comprehendiendo dos y tres coplas en vna, poniendo de
nueuo tanto subiecto, que fuera en perjuicio dela obra, y assi lo traduzido v vna copla por otra: y lo q[ue]
en ellas se aade , es en partes, donde no daa." (11v)
30

31

"Soneto . . . en loor dela nueua traducion y traductor del Cauallero determinado."

"Sal con canto mas alto y encumbrado / Muestra tu estilo graue y amoroso / . . . / Vrrea te hizo
hablar t graueme[n]te / Como cuiene que hable vn cauallero.

Brocato CAS 15
requires"(A3v).32
This potential conflict of traditional versus innovative poetic meter points to the
possibility of both a political and a generational split in the reading publics of the midsixteenth-century Hispanic world, particularly among those Spaniards resident in the
north of Europe, with each publisher targeting one sector. This also points to one of the
key differences in Hispanic political culture in the shift from a nationalist to an imperial
culture and esthetic. Yet Acua's translation is preceded by a Latin poem by Calvete de
Estrella himself, and is followed by an italianate octava real by Luis de Requesens y
Ziga (ill. 42), comendador mayor de Alcntara, page and intimate of Philip II (and
thus of Calvete de Estrella and Acua), who would go on to be governor of Milan and of
the Low Countries. This suggests that Urrea was perhaps posturing a bit, and that there
was considerable overlap.33
Group 3: Chronicles of Discovery
In the case of the three chronicles of discovery that Nutius and Steelsius
published in 1554,34 there are few if any obvious differences, and all reprinted recently

32

"Y por tratar el libro materia graue lo he traduzido en verso graue, assi como tal historia

requiere."
33

See Ignacio Navarrete, Orphans of Petrarch: Poetry and Theory in the Spanish Renaissance
(Berkeley: University of California Press, 1994).
34

Work on critical editions of these chronicles, of necessity detailing the relationships among the
early editions, has begun only recently, and as yet there are only preliminary studies. Monique Mustapha,
in her "Apuntes para una edicin crtica de la Historia general de las Indias de F. Lpez de Gmara:
problemas textuales y bibliogrficos" notes that there is no "careful and trustworthy edition" [edicin
cuidada y confiable] much less a critical edition that examines variants or is based on Lpez de Gmara's
own corrections in the second edition (Zaragoza 1554) (262). There are two other essays dealing with
critical editions of chronicles of discovery in the same volume. As textual criticism of these editions (or
any others) is beyond the scope of this project, I can only surmise on the basis of surface details and
cursory analysis what the relation of the two texts might be.

Brocato CAS 16
published works (princeps no more than 2 years previous to the publication in Antwerp
in this group of texts).35 The first of these, Pedro Cieza de Leon's Crnica del Per was
published by Nutius as La Chronica del Peru, nvevamente escrita por Pedro de Ciea de
Leon, vezino de Seuilla, while Steelsius' edition is entitled Parte primera de la Chronica
del Perv, qve tracta la demarcacion de sus prouincias, la descripcion dellas, las
fundaciones de las nueuas ciudades, los ritos y costumbres de los Indios, y otras cosas
estraas dignas de ser sabidas (ills. 43-48) again a list like his edition of Mena, in this
case perhaps tempting readers with an outline of its matter.36 Both editions may include
a map printed by Joannes Bellerus (Juan Bellero), and, indeed many copies bear the
imprint of Bellerus, not Steelsius, making this a triple edition rather than a double one.37
The "Tabla alphabetica" at the end of the Steelsius edition is signed "conpuesta por Iuan
Bellero" adding another layer to the latter's participation in the multiple editions of
these works, and the colophon indicates that it was printed by Juan Lacio (ill. 48). The
illustrations in both editions of the text are very similar; in fact, engravings are often
repeated several times in the text, when thematically general enough (ills. 44-45),
although there are illustrations so particular to what is described that they are specific to
a particular segment of Cieza's text and not repeated (ill. 46).38

35

Only Calvete de Estrella's Viaje and the translations of El caballero determinado seem to have
been first editions among the parallel editions.
36

Steelsius' title is more accurate, since Cieza de Len only published the first part of his work
before his death; the remainder of the text was preserved in manuscript, however, and published in the
late 19 th century.
37

38

According to C. J. Nuyts, Bellerus was Steelsius' son-in-law (1).

Some of the illustrations also appear in Nutius' 1555 edition of Augustn de Zrate's Historia del
Descvbrimiento y Conqvista del Peru (i ll. 49-50; compare 44-45 and 50). The illustration represented
here as ills. 44, 45, and 50 appears whenever Cieza de Len discusses local religion.

Brocato CAS 17
The second chronicle is a translation from the Portuguese of Ferno Lopes de
Castanheda's Historia del descubrimiento y conquista dela India por los Portugueses,
compuesta por Hernan Lopez de Castaeda en lenguaje Portuguesa, y traduzida
nueuamente en Romance Castellano, which Steelsius published in a French translation,
L'histoire des Indes de Portugal : contenant comment l'inde a este decouuerte par le
commandement du Roy Emanuel, & la guerre que les capitaines Portugalois ont menee
pour la conquete dicelles. That Lopes de Castanheda's work was translated into both
French and Spanish suggests a concerted effort to reach as wide an audience as possible:
Spain and the Spanish naciones in the Low Countries; France and the French-speaking
areas of the Low Countries. The largely Portuguese spice trade connected Portugal with
Brugges and then Antwerp as centers of wider distribution, and, in these years, trade
with the New World began to dominate commerce as had the spice trade, so there was
an urgent and vital interest in both arenas on the part of players profiting and
consumers benefitting from the trade, not to mention a general curiosity about this
entirely new world for Europeans.39 The eagerly-assimilated geographic component of
the information -- social, political, and physical is in fact signalled by Steelsius'
contents-as-title.
Finally, Francisco Lpez de Gmara's history was published by both, with titles
that differ very little and in spite of the governmental suppression of the chronicle by

39

On the Spanish nation in Antwerp, and other economic aspects of the Spanish presence in and
possession of the Low Countries, see J. A. Goris, tude sur les colonies marchandes mridionales
(Portugais, Espagnols, Italiens) Anvers de 1488 1567: Contribution lhistoire de dbuts du
capitalisme moderne. Reprint of 1925 ed. of Louvain thesis. Two vols. in one. Burt Franklin research &
source works, 678. Selected essays in history, economics, and social science, v. 237. New York: Burt
Franklin, 1971), particularly pp. 58-70, but passim.

Brocato CAS 18
royal decree in 1553. Nutius entitled his edition La historia general de las Indias y todo
lo acaescido enellas dende que se ganaron hasta agora y La conquista de Mexico, y de
la nueua Espaa (ill. 51-53), while Steelsius entitled his La historia general delas
Indias, con todos los descubrimientos, y cosas notables que han acaescido enellas,
dende que se ganaron hasta agora (ill. 54-58). A cursory comparison, via microfilm
copies of the imprints, as well as copies examined at the University of Illinois (UrbanaChampaign) and at the Hispanic Society, shows few significant differences, with only a
difference of some additional five leaves in the Steelsius edition, likely due to the Tabla
in the front matter (ills. 55-57; illustrating only a few pages of the tabla), a difference in
number of leaves that remains constant throughout the text. This table of contents was
itself hurried, and without the precision of other tables of contents, and indicated only
chapter number (which was not included in a running head and so requires finding the
chapter rubrics in order to navigate); but this contrasted with Nutius' edition, which
lacked even that (ill. 52).40 The illustrations in the editions of Steelsius and Bellerus are
the same, while those in that of Nutius are similar but are not the same engravings (ills.
53 and 58). Bellerus also published Lpez de Gmara's Historia de Mexico (the second
volume of the entire work) in a very similar format, and with similar navigational aids
(ills. 59-61).41

40

Both editions are foliated, and Steelsius' use of chapter numbers for a table of contents before
the text itself may suggest that he set his edition from a copy of Nutius', to which he added chapter
numbers before composing, which then rendered Nutius' folio numbers incorrect for his edition. Another
possibility is that they both set from the same copy (one of the editions from Spain of 1553 or 1554), and
Steelsius decided to include a table of contents.
41

This is the second part of the Crnical general de las Indias; Charles V made an ineffective
attempt to suppress the entire work after Corts' revolt (see Mustapha). All havthe editions have a
separate title-page, though few seem to be catalogued and bound separately now. Is this true?

Brocato CAS 19
Thus examination of copies of these groups of simultaneous editions provides a
more nuanced context for the 1552 editions of Mena's works, which I will examine after
laying out the overall tradition of page design and layout for Mena. More
printer/publishers than just Nutius and Steelsius were involved in production of many
of the titles, particularly the chronicles, both Joannes Bellerus and Hans de Laet.
Indeed, the imprints of Nutius and Steelsius point to the overlapping cooperation of
other kinds of players in various titles as we will see with other Steelsius and Nutius
imprints.
FEATURES OF THE EDITIONS
Editing Mena 1483-1582
The editions of Mena up to 1552 were published in a variety of formats, primarily
folio and quarto. The mise en page usually consisted of commentary surrounding the
stanzas of the major works (on 2 or 3 sides) and 3-4 columns for the cancionero poetry
(see ills. 1-5). The presence of commentary creates a need for a mise en page to signal
the complex textual dynamic of both the Coronacin and of Laberinto, and the rhythm
of the page is correspondingly busy. The authorial dynamics of the Coplas contra los
siete pecados mortales also create a slightly different complexity, as the commentator
(Olivares) also revises Mena's text. That is, for the running commentary of the first two,
not only must the commentary and poem be distinguished typographically, but the verse
commented as lemma must also be distinguished from the running prose of the
commentary. In the last-mentioned Coplas contra los siete pecados, while the

Brocato CAS 20
commentary simply precedes the text,42 the complexity comes from the need to signal
the revision or authorship of each stanza. Both sorts of complexity are more typical of
classical texts than of contemporary or relatively recent vernacular literature.
Typographically, gothic type was consistently used for Mena's works published in
Spain as late as the 1547 edition (M39), with different sizes used to distinguish titles,
chapter rubrics, poem, and commentary with lemmata. Major divisions of the longer
texts are often indicated by decorative initials in various sizes (see ills.4-6). Significant
marks of punctuation largely calderones, previous manifestations of the pilcrow ()
(see the examples from the Varela, 1528 edition in ill. 6) indicate rubrics, the
beginnings of verses, and lemmata in the commentary (see ills. 2, 5, and 5a).
After the Antwerp editions of 1552 (M40-41), roman and italic types also
characterized the Spanish editions: Alcal (1566; M43-4), and Salamanca (1582; M47)
editions. Records for the 1560 (M42) edition no longer indicate gothic types, and
Aranda's Glosa (M46) is in roman and italic fonts as well. These editorial choices were
conditioned by the copy-text from which the editions were composed, within a local or
national tradition. While the printers of Antwerp possessed gothic fonts, they were
seldom used except for works in Dutch or German (Vervliet 36, 56-8). Yet all in all, the
very abundance of editions implies some strong motivation to continue printing what
must have been a fairly expensive vernacular text to produce, although significant
cultural capital was accrued by a vernacular text complex enough to need commentary,
indexing, and mise en page like a classical text.

42

Indeed, it is interesting that Olivares' accompanying text was called a gloss or commentary,
since it is really a prologue or preface; I take this to be a kind of contagion from the gloss tradition of both
Laberinto and La coronacin.

Brocato CAS 21
In his Printing in Spain 1501-1520, Norton attests to the use of Italian types
(roman and italic) in Spain as early as 1507 by Arnao Guilln de Brocar (influenced by
Antonio de Nebrija; Norton Printing 42) and somewhat later by George Coci (Norton
Printing 73), but, as he notes of Brocar's 1517 edition of Seneca's Tragoediae, which is
"a piracy of the Giunta edition" printed with Italian types, but set by Coci in a traditional
Spanish gothic font because using italic types was far too risky for a Spanish reading
public (Norton Printing 42).43 Elisa Ruiz specifies further that in Spain, there was a
functional distribution of fonts: "gothic forms in their fractured modality were identified
with ecclesiastical or academic production in Latin; the less angular variety, called
round gothic, was used primarily for literary works in the vernacular; lastly, roman
characters were reserved for texts transmitting new currents of thought" (Ruiz 287).44
This largely corresponds to the use of fonts in sixteenth-century editions of Mena's
works printed in Spain, although it seems rather too broad a generalization, as the
Antwerp editions initiate the exclusive use in Spain of roman and italic for Mena's
works, which could hardly be characterized as a "new current of thought," although only
three more editions were produced (plus Aranda's gloss).
Only from the Antwerp editions of 1552 onward, the mise en page was one single
text block, without columns even for the courtly verse with its much shorter lines, and
with commentary following the stanzas of the poem, rather than surrounding it on three
43

I cite from the original English version of Norton's still-fundamental work; it has, however,
been edited and updated by Julin Martn Abad in a 1997 translation into Spanish. Martn Abad's PostIncunabula supercedes Norton's Descriptive Catalogue.
44

"Las formas gticas en su modalidad fracturada se identificaron con la produccin latina

eclesistica o acadmica; la variedad menos angulosa, llamada gtica redonda, se utiliz primordialmente
para las obras literarias en lengua verncula; por ltimo, los caracteres romanos se reservaron para los
textos transmisores de nuevas corrientes de pensamiento."

Brocato CAS 22
sides,45 making the process of reading move only on the vertical axis from line to line,
rather than tracking both vertically and horizontally (or diagonally) to find the textual
units.46 Editions of Las trezientas with commentary usually included running heads for
Laberinto locating the reader in the different "orders" that compose the text, though
most also began with "La primera orden | de la Luna" as running head long before the
text arrives at that Order (the order has, however, a rather weakly signaled beginning
distinguishing it from the introductory frame). In 1506, Coci included a table of
contents only for Las trezientas between his own preface and Nez's prologue on the
verso of Aii:
The table of contents of the present treatise follows: by which one can
easily find its contents by the number of the leaf. And it is to be noted that
the Trezientas that the author Juan de Mena wrote are divided into seven
orders: i.e. of the planets, and for each copla [here meaning section or
poetic unit] is only put the first line with its [folio] number, thus indicating
all the other [following] strophes.47

45

This is more like the earliest editions, e.g. that of the Coronacin of 1489, Toulouse: Juan Parix
y Esteban Clebat (ill. 1). This also makes for a much thicker volume, particularly when combined with
the shift to an octavo format, a choice perhaps conditioned by the Aldine octavo series of classics.
46

While the eye moves from left to right to read the lines, tracking the textual units depends on
their disposition on the page, and multiple columns require more complex movements to follow the
structure of the textual units as laid out. This makes the overall rhythm of reading simpler or more
complex in relationship to the page as the field of reading, i.e. how does the eye have to move down or
across the page to complete the textual unit(s) before proceeding to the next page. Imagine an arrow
indicating the order of textual units: two columns of continuous text would form a backwards N, for
example.
47

"Siguese la tabla del presente trattado: por la qual facilmente se hallara por el numero de sus
cartas lo contenido en ella. Y es de notar que estas trezientas que el autor Juan de mena hizo estan
diuididas en siete ordenes: esto es d[e] los siete planetas, y por cada copla por euitar prolixidad no se pone
sino el primer pie de toda la copla con su numero. y assi por consiguiente de todas las otras coplas." The

Brocato CAS 23
Here he used a caldern (see ill. 6) preceding each order's name, followed by the folio
number. This tabla was an unusual strategy for an edition of Mena's works in 1506, as
orientation of the reader was generally provided only by the changing running heads,
with copla numbers either in the rubric or in the outer margin, and foliation seldom
did editions of Mena have any indication of contents until the Steelsius edition of 1552, a
feature then taken up by Juan de Villanueva in 1566, who makes Steelsius' alphabetical
list of first lines into a strophe-by-strophe table of contents but divided into orders as
was Coci's tabla.
Snchez de las Brozas used the same page layout in one column though rather
more centered than justified to the left, but the commentary becomes "annotations"
[anotaciones], much reduced, with the commentary to the Coronation in third person,
rather than in first person as it had been transmitted up to that point. El Brocense also
left out a number of shorter poems, and adds two riddles (see Appendix III). The
rhythm of the page is more measured and simpler in one more or less centered column,
even more so than that of Steelsius and Nutius (see below), and all contrast greatly with
the 2-4 column complex rhythm of the gothic page. The clarity sought by Snchez de las
Brozas may also be called simplicity, in opposition to the density and obscurity of
Mena's own esthetic, and has its analog in the mise en page.
The 1552 Mena Editions
As noted above, the two editions have different titles. That of Nutius took a more
Renaissance approach, simply designating the collection as Todas las obras (ill. 29) and

use of "trattado" [treatise] and "copla" [group of verses, i.e. strophe or stanza] here follow the much
greater polysemy of the 16 th century.

Brocato CAS 24
removing the "copilacin de" that preceded the phrase beginning with the 1528 edition
from Juan Varela (M31) and that may well have signalled legal, ecclesiastical, and even
inquisitorial matters by the mid-sixteenth century.48 Steelsius, in much more traditional
fashion, entitled the collection with the usual list; Las trezientas d'el famosissimo poeta
Ivan de Mena . . . Otras XXIIII. Coplas suyas, con su glosa. La Coronacion compuesta
y glosada por el dicho Iuan de Mena. Tratado de vicios y virtudes, con otras Cartas y
Coplas, y Canciones suyas (ill. 32). While both are small 8o (page height is around 15
cm.), the first salient difference is their length. Nutius' edition is foliated as are many
sixteenth-century imprints (from both Spain and Antwerp), with 345 ff. totalling 690
pages; Steelsius' edition is paginated, with both the front and back matter unnumbered,
for a total of 894 pages.
Both combine roman and italic types in various sizes and weights in one column,
distinguishing titles, rubrics, verse, and commentary; both make use of running headers
(ills. 31, 33, 35). Nutius printed Mena's verse in roman and rubrics in roman small
caps.49 He set the commentaries to the longer works in italic, with lemmata initiated by
a pilcrow, printed in a smaller roman than the poem, and closed with a closing
parenthesis. The Coplas contra los siete pecados indicates authorship of the strophes
by either "Iuan" or "Ieronymo," sometimes in parentheses, sometimes simply printed,
48

A search of the Catlogo Colectivo del Patrimonio Bibliogrfico Espaol (CCPBE) for
"copilacin" as title keyword yields 17 titles of 16th -century imprints, the majority of which are legal and
ecclesiastical, with one devotional text, in addition to Mena's works, the only literary title among them.
Three of these are the Copilacion de las Instructiones del Officio de la sancta Inquisicion in various
imprints in the sixteenth century (and perhaps late fifteenth century), with another Inquisitorial title as
well. The CCPBE is not exhaustive, including only imprints held in Iberian libraries, but offers a
representative sample and a starting place for further research on this aspect of the title.
49

Considering Nutius first does not indicate any priority in his composition or anthologizing, and
merely serves the structure of my discussion.

Brocato CAS 25
either in regular font or in small caps. The continuation is signalled by the traditional
rubric. Steelsius set the verses and commentary as Nutius did: roman for the verse,
rubrics and commentary in italic, lemmata in a slightly smaller roman initiated with a
pilcrow and terminated with a closing parenthesis. Unlike Nutius, he continues the
traditional use of a pair of reversed parentheses ")(" to indicate revisions by
Olivares. Both Nutius and Steelsius justify the entire page to the left.
As was traditional, the running heads are more specific in Las trezientas in both
editions; Nutius' running heads remain (traditionally) more general for the remainder of
the text (no more specific than "Coplas | de Juan de Mena" or "Tratado de | vicios y
virtudes"). Steelsius, however, specifies for the "Coplas de Iuan de Mena | sobre un
macho" because it is separated from the remainder of the shorter verse, placed between
Las trezientas and La coronacin (ill. 6250); otherwise he uses the same general running
heads.
Nutius began the edition without prologues or prefaces at the beginning of
Nez's gloss, and proceeded through the by-now classically-structured corpus of
Mena's works established by Cromberger: Trezientas, shorter cancionero poetry,
Coronacin, "Coplas sobre un macho," and adding the Tratado de vicios y virtudes
(Coplas a los siete pecados mortales) (see Appendix II). According to Julian Weiss and
Antonio Cortijo Ocaa, he revised and shortened Nez's commentary significantly.51
50

Because I don't have an image of the opening in the book itself, this is as close as I can get, as
the pdf of the microfilm goes page by page, separating the opening and distorting the page proportions.
51

Personal communication of Julian Weiss, who, with Antonio Cortijo Ocaa, is preparing a
critical edition of Nez's commentary. A draft of their edition is available on the eHumanista site at
http://www.ehumanista.ucsb.edu/projects/Weiss%20Cortijo/index.shtml. According to their provisional
"Introduction" to this preliminary version, there are relatively few modifications to Nez's commentary
in the sixteenth-century editions, with the exception of "the more substantial interventions of Martn

Brocato CAS 26
The layout of the page is relatively simple, consisting of a one-column text block,
whether verse or prose commentary (ill. 31).
Steelsius, in contrast, began his edition with a long dedication to Gonzalo Prez,
secretary to Prince Philip and archdeacon of Seplveda, relating Mena's position and
work to that of Homer, which Prez translated, particularly in its encyclopedic aspects
and moral philosophy (ill. 33). This is followed by an alphabetical index of first lines of
all the poetry, strophe by strophe (rather than just the first line of each order, as Coci
had done) (ill. 34), and then Mena's works (ill. 35). Here, the mise en recueil is more
like Coci's cancionero editions, with sequence of the main works Trezientas,
Coronacin, and Tratado de los vicios y virtudes only interrupted by the "Coplas
sobre un macho" between Laberinto and Coronacin (ill. 62). The shorter courtly
works follow the Tratado de los vicios y virtudes.
The volume closes, however, with an extensive subject and onomastic index,
keyed to the most striking typographical aspect of the edition, the inclusion of upper
case letters (A-D) in the outer margins of those pages with commentary, that is, for the
vast majority of the text (ills. 35-37); the locator(s) for each entry include both page
number and page segment.52 One last value-added feature of the text is the errata,
complete with instructions on how to correct the errors, which are signaled not only by

Nucio, Antwerp, 1552" [las intervenciones ms sustanciosas de Martn Nucio, Amberes, 1552].
52

"Alphabetical table, of many family and given names, both of individual persons as well as of
peoples and nations, towns, mountains, cities, places, rivers, and of other somewhat notable things
contained in the commentaries on the works of the famous poet Juan de Mena" [Tabla Alphabetica , de
muchos apellidos y nombres, assi de personas particulares, como de gentes y naciones, pueblos, montes,
villas, lugares, rios, y de otras cosas algo notables, contenidas enlos commentarios sobre las obras del
famoso poeta Iuan de Mena] (Ggg8r-Iii8r]). I term the divisions of the page "segments" following a 17 th century usage by Caspar Princtius ("segmenta") found by Christopher Handy and adduced in a discussion
of marginal guide letters on Exlibris in mid-June of 2011.

Brocato CAS 27
page but by line number (ill. 37). As the unnamed editor says of himself:
I worked . . . to restore [Mena's works] by collating and conferring the
depraved places with old copies, communicating them to learned men of
grave judgment, and to print them in more comfortable and polished form
than they were before.53
While his editorial efforts may not have succeeded, although Snchez de las Brozas took
this edition as his base copy (see Appendix III), his compositorial criteria were certainly
successful.54
FURTHER EVIDENCE FROM OTHER IMPRINTS
Steelsius' edition of Mena's works is truly a deluxe reader's edition, and the costs
of producing it paper and ink, the amount of type necessary to set it and the
complexity of its composition, the time in various kinds of indexing were undoubtedly
high. Compared with the more traditional and workaday edition of Nutius, it might lead
one to think that Steelsius was simply a much more sophisticated and better funded (or
connected) publisher and printer. Yet looking beyond these two editions and the series
of parallel editions under consideration, there are clues that further nuance possible
interpretations. In particular, two additional imprints outside the series of double
53

"Trabaj, segun mejor pude, restituyrlas, cotejando y conferiendo los lugares deprauados con
exemplares antiguos, comunicandolos con hombres doctos y de graue juyzio, y imprimirlas en forma mas
commoda y polida que antes etauan," t2v -3r in the Steelsius edition.
54

I often use the pdf version of this edition for my own work as a means of finding what I'm
looking for, then turning to the latest critical edition. One wonders if Nutius himself or perhaps Bellerus
might have been the editor, who describes the circumstances of the commission as "mandando me lo Iuan
Steelsio, ho[m]bre aquien yo principalmente soy obligado de obedescer" (t2v ). Juan Martn Cordero is
also a possibility, although his sonnet in the Urrea version of El Caballero Determinado suggests that he
was more committed to sixteenth-century Italianate verse forms rather than fifteenth-century works like
Mena's.

Brocato CAS 28
editions provide relevant data.
The first shows that both Steelsius and Nutius added such reader's aids to many
of their publications, and that they both produced such deluxe editions. Nutius also
published in 1552 a structurally similar deluxe edition in folio of Cristbal Calvete de
Estrella's The Most Felicitous Tour of the Most High and Powerful Prince Philip, Son of
the Emperor Charles V The Greatest, From Spain to his Realms in Flanders, with the
Description of All the States of Brabant and Flanders. Written in Four Books (ills. 6364).55 The front matter includes the usual privileges, but for all the realms of the
Spanish Empire (in Spanish and French), and Latin poems in praise of the work.
Calvete included a prologue dedicating it to Charles V, and, like his maestro Hernn
Nez in the first edition of his commentary to the Laberinto, also included a
"Catalogue of the authors both classical and modern that I have followed in this work."56
This, however, is followed by an index that could have been commissioned by
Nutius or even by Calvete himself and possibly prepared by Joannes Bellerus (the
indexer of Steelsius' edition of Cieza de Len) "Index of the main subjects that are
contained in these four books of The Most Felicitous Tour. The number signifies the
leaf." (6r-8r)57 again, complete with instructions. There is as well another index at
the end, the "General and very copious index of the weighty sayings and most important

55

El felicissimo viaie Del mvy alto y mvy Poderoso Principe Don Phelippe, Hijo del Emperador
Don Carlos quinto Maximo, desde Espaa sus tierras de la baxa Alemaa: con la descripcion de todos
los Estados de Brabante y Flandes. Escrito en quatro libros.
56

57

"Catalogo de los avtores assi antigvos como modernos, que en esta obra he seguido."

"Tabla delas principales cosas, qve en estos qvatro libros del Viaje se contienen. El numero
significa la hoja. "

Brocato CAS 29
and memorable things contained in these four books" (Lll1r-Nn4r),58 as well as an errata
statement at the end of the volume (NNn5r-NNn6r). The text also includes an engraving of a triumphal arch erected for the imperial entry with an explanation (ill. 64).59
In prefacing the errata Nutius alluded to the complexity of the text, and the
difficulties entailed in its production:
In the printing of this book, it has not been possible to put as much diligence as was required, so that it could come out without any defects. Since
who can be completely diligent, in a work as varied, and requiring as much
effort as the present one, in which are considered so many varied subjects
and histories, and in which mention is made of so many details, antiquities, and customs, of so many lands, provinces, nations, states and realms.
Even more so since the author, occupied in finding out and verifying many
places touching on the above-mentioned subjects, was unable to monitor
the details of printing. For this reason the work has appeared with some
vices, that will be emended, God willing, in the second printing, and in the
meanwhile you, Kind Reader, can easily correct them, following the
present suggestion, put on the following page.60 (NNn4v)

58

"Tabla general y copiosissima de las sentencias y cosas mas insignes y memorables, contenidas
en estos quatro libros" (LLl1r).
59

60

"Declaracion del arco trivmphal. La delos vocablos se puede ver enel Libro tercero."

"Enla impression deste libro no se ha podido poner tanta diligencia como se requeria, para que
saliera a luz sin defectos. Porque quien basta en obra tan varia, y de tanto trabajo como la presente, donde
se tratan tan diuersas materias y historias y se haze mencion de tantas particularidades, antiguedades, y
costumbres, de tantas Tierras, Prouincias, Naciones, Estados y Seorios, ser del todo diligente? Quanto
mas que el Auctor ocupado en aueriguar y verificar muchos lugares tocantes alas dichas materias, no
pudo tener cuenta con las menudencias dela impression. A esta causa sale la obra con algunos vicios, que
se emendaran, plaziendo a Dios, enla segunda impression, y entre tanto tu Benigno Lector los podras

Brocato CAS 30
The edition (folio in 8s and 6s with a page height of around 27 cm.) is truly impressive,
even with the "vicios" to which Nutius alludes in his apology and defense, similar in
structure to Steelsius' Mena yet even more elegant and sophisticated, because of its
august subject and purpose (propaganda for the imperial heir, the purpose of the entire
tour of his various North European realms, which Philip would inherit in another four
years) and its folio format. The "most felicitous tour" [felicssimo viaje] itself from
1548 to 1551 corresponded to the initial phase of the series of parallel editions, and
doubtless brought a tremendous influx of Spaniards to the Low Countries which in itself
created a demand for imprints celebrating and documenting the tour of the heir.61
In addition to the similar value-added readers' tools of the edition of Mena and
The Most Felicitous Tour, one further detail connects Calvete's Tour with the series of
parallel editions. As Peeters Fontainas points out, the design of the heraldic device on
its title page reappeared in 1553 and 1555 on the title page of Acua's translation of El
caballero determinado (ills. 38 and 63) published by Steelsius, and, as he also notes,
Calvete held the privilege for El cavallero determinado (Peeters Fontainas Officine 56),

facilmente corregir, siguiendo el presente auiso, que se pone ela hoja, que se sigue."
61

These include books of engravings of the decorations and structures having to do with triumphal
entries to the main cities of the Low Countries, e.g. Cornelius de Schryver, Spectaculorum in susceptione
Philippi Hisp. Prin. ... (Antwerp: Petro Alosten, 1550), showing the structures and decorations for Philip's
entry into Antwerp; a triumphal arch is reproduced on p. 33 in Fernando Checa Cremades, ed., Cristobal
Plantino: un siglo de intercambios culturales entre Amberes y Madrid (Madrid: Fundacin Carlos de
Amberes, Ed. Nerea, 1995). See particularly Fernando Bouza's essay "De poltica y tipografa: en torno a
Felipe II y los Pases Bajos," pp. 31-52 in the same volume; also of interest is Checa Cremades'
contribution, "La imagen y el texto: el valor de la actividad artstica en la poca de Cristbal Plantino,"
pp. 77-101. Josep Llus Martos analyzes the "self-censoring" [autocensura] in Nutius' 1557 edition of the
Cancionero general, first published in Valencia in 1511, with additional recently-composed poems by
Philip II's retinue, many on the events of their lengthy tour with Philip, such as his marriage to Mary
Tudor (subject of the suppressed poem).

Brocato CAS 31
and personally funded its publication.62 Steelsius' edition of Acua's translation was
even more closely connected to the court, as well, in that it is asserted that Charles V
read Olivier de la Marche's French text often, as it was written by a well-loved courtier of
the circle of his great-grandfather, grandfather and aunt, and then translated it into
Spanish prose himself, to then be versified by Acua and published by Calvete de
Estrella (Clavera 55, 61-7). Both versions of La Marche's text lay out Charles V's
genealogical connections with the principals in de la Marche's poem, the Houses of
Burgundy and Habsburg, with Urrea's account going into tedious detail, according to
Clavera (153).
The second imprint related to the parallel editions of Mena is Steelsius' edition of
La Vlyxea, the full translation of the Odyssey into Spanish by Gonzalo Prez, to whom
Steelsius' Mena of 1552 is dedicated (ills. 65-68). Steelsius, along with Andrea de
Portonariis of Salamanca, published the first editions of Prez's translation of books 1-13
of the Odyssey in 1550.63 Also beautiful publications in terms of typography and mise en
page (all three editions are very similar), Prez dedicated his translation of the full text
of the Odyssey to Philip II, already king as of 15 January 1556, praising him for having
all the heroic virtues of which Homer writes (particularly in regard to his returning

62

In 1564, he was granted an extension of the previous privilege since some 700 copies were lost
at sea, and the merchant who was supposed to sell other copies ran off with them, one of which may be
represented in the record in Peeters-Fontainas, . See Paz y Meli, xxv.
63

A bibliography of the editions of Gonzalo Prez's translation is found in ngel Gonzlez

Palencia's Gonzalo Prez: secretario de Felipe Segundo (Madrid: CSIC, Instituto Jernimo Zurita, 1945),
344-7. The first edition appeared simultaneously in 1550 in Salamanca from the presses of Andrea de
Portonariis, and in Antwerp from those of Juan Stelsio. Both have similar format and page layout, which
is continued again with the 1556 imprint of the full translation, only from Steelsius. As Prez also
accompanied then-prince Philip on the Viaje felicsimo of 1548-1551, he too would have spent time in
Antwerp in September of 1549 (Hernando Snchez xiv).

Brocato CAS 32
England to orthodoxy).64 The imprint, also in 8s, has none of the navigational aids of
Steelsius' edition of Mena, but does include an errata statement (ill. 68). There is no
commentary and no indexing, only a brief initial introduction to the argument of each
book set in roman type, while the poem itself is set in italic (ill. 67). It does not at all
emphasize the encyclopedic aspects of Homer's work praised in the dedication to the
latter work by its unknown editor, who describes himself as a colleague of Steelsius, and
a servant of Gonzalo Prez (a courtier or functionary).65
In all these editions, there is a common network of collaborators beyond Nutius
and Steelsius. In the same year that he republished Jarava's translation of Erasmus'
Apothegmas while Nutius published Tamara's, Steelsius also published the latter's
translation of a series of Ciceronian treatises, and included Jarava's translation of
Xenophon's Economica: Libros de Marco Tvlio Ciceron, en qve tracta Delos Officios,
Dela Amicicia, y Dela Senectud. Co[n] la Economica de Xenophon, traduzidos de Latin
en Roma[n]ce Castellano. Aadieronse agora nveuamente los Paradoxos, y el Sueo de
Scipion, traduzidos por Iuan Iaraua (Antwerp: Joannes Steelsius, 1549) (ills. 69-71).
This imprint is also an example of the kinds of relatively sophisticated indexing practiced in this group of printer/publishers, making use of printed marginalia (ill. 70)
which also serve as the lemmata for the index (ill. 71). Juan Martn Cordero, by Nutius'

64

Fernando Bouza's "De poltica y tipografa: en torno a Felipe II y los Pases Bajos," pp. 31-52 in
Fernando Checa Cremades, ed. Cristobal Plantino: un siglo de intercambios culturales entre Amberes y
Madrid (Madrid: Fundacin Carlos de Amberes; Editorial Nerea, 1995) contextualizes this emphasis on
the part of Gonzalo Prez; see particularly pp. 46-9. The first edition was also dedicated to Philip, then
the prince and heir designate, but not yet wed to Mary Tudor nor king, emphasizing the value of the
moral philosophy of the Odyssey and the example of Ulysses as a wise and educated ruler.
65

El Brocense's edition of Mena is in line with this avoidance of the encyclopedic gathering of
erudition in commentary, but is thus also the last edition of Mena's poetry until the eighteenth century.

Brocato CAS 33
request, lived with and worked for him, and in the same period, while Cordero was still
living with Nutius, Plantin published his translation of the Flores of Seneca, one of the
first books Plantin brought out (Moll 18), and his Italianate sonnet prefaces Urrea's
"translation" of El Caballero Determinado. The 1539 edition of Guevara's Libro Aureo
carries a Steelsius imprint (ill. 20), but the colophon states that it was printed by Juan
Grapheus (175r; ill. 20a). Many Nutius, Steelsius, and Bellerus imprints carry colophons that they were printed by Hans de Laet (ills. 19, 37, 48, 57, 61). As with the
chronicles of discovery, there is thus every indication of a network of cooperation and
collegiality which certainly did not preclude conflict and competition, as can be seen
from the records of Plantin's press among the printers in Antwerp. Plantin's records
show a great deal of trade and subcontracting among the various officines, and Nutius'
and Steelsius' imprints themselves indicate such.66
OF SPANISH IMPRINTS IN 16TH -CENTURY ANTWERP
While certain aspects of the series of imprints by Steelsius and Nutius might
suggest competition between the two printers, many more aspects suggest a cooperative
division of labor and perhaps a different kind of competition to reach divided audiences,
and, without more direct evidence of such a "war" beyond Peeters-Fontainas' assertion,
does not stand. Each category of imprints suggests different possibilities. The popular
morality texts show considerable overlap of participants in their production, and a
trading-off of more elaborate vs. simpler editions, and the same is suggested by the

66

See Voet II: 12, 14, 26, 245 n.4, 472 for dealings with Steelsius and Nutius; and I: 67 for a
conflict over a privilege with the heirs of Steelsius in 1571, whose spokesman was Pieter Bellerus, which
was resolved by both presses issuing editions.

Brocato CAS 34
romance literature imprints. Steelsius may have included a preponderance of valueadded navigational aids for readers, suggesting a possible difference of opinion on what
the market required or reaching either scholars or more cultured readers. Or this could
still represent a more cooperative division of expense and labor, taking turns providing
more sophisticated and thus more expensive editions for a more affluent sector of the
market, a notion supported by the fact that each brings out a deluxe edition in the same
year and for those at the highest levels of the court (Nutius with Calvete de Estrella's The
Most Felicitous Tour and Steelsius with the edition of Mena dedicated to Gonzalo
Prez). These editions might well be directed to a sector of the market that perhaps
wanted ready-to-cite editions of either current events or classics, i.e. that didn't require
intensive reading, rubrication, and internalization on the part of the reader, who was
then armed with readily accessible tokens of high culture or with readily available
inspirational reading by topic. These "classics," both in the sense of writers of antiquity
and in the sense of already-canonical and thus much cited authors like Mena, were also
tokens of culture and social status, rather than deeply internalized erudition, and,
indeed, citing The Most Felicitous Tour would have garnered the cachet of power from
the imperial court.
Seplveda's romances and the chronicles of discovery are indicative of a market
clamoring for new works. Both are historical, the former in a much looser sense and the
latter more strictly, with the added dimension of carrying new geographical knowledge.
The ballads recount history, both distant and recent, along with religious and fictional
themes, rather like topical popular songs (which is in essence what they were). The
chronicles are the most compelling of recent news of exciting new realms, realms that

Brocato CAS 35
had everything to do with everyday commerce and personal fortunes among the Spanish
communities (Goris 58-69 et passim), particulary that resident in Antwerp, which had
become the trading center of the first globalization (Goris 2). Not only that, but the very
shape of the world changed with the discovery of the New World signaled in corrections to Nez's commentary to Laberinto on the torrid zone by readers throughout the
sixteenth century. As one of them wrote in a copy of the edition of Sevilla: Pegnizer,
Magno, y Toms, compaeros alemanes, 1499 (M9; BNE INC/651), "O my Comendador,
and how deceived you are along with the ancients" (xxiiv).67 Enthusiastic curiosity for
new details was rampant, pricking ambitions, and, as noted, prompting integration of
that information into encyclopedic texts like the commentary to Mena's Trescientas.
The conquest of the New World had just been more or less completed, and new
markets were opening, creating the commercial boom (that would go bust more than
once in the financial cycles and speculation of the 16th century). But in the 1540s and
1550s, Antwerp was a vibrant center of intellectual, religious, and commercial freedom,
and jealous of those liberties (which would be lost during the rebellion against Spanish
rule and then after Alessandro Farnese's crushing reconquest of the city in 1585) (Goris
2; Tellier 309). With Philip II's rule, the Spanish population grew from the increase of
government functionaries and soldiers as well as merchants (Goris 69) indeed, his
"tour" of the Low Countries and his attendance on Mary Tudor in England included
some 3,000 courtiers in his train.
In addition to the significant Spanish population in Antwerp itself, the Low
Countries, and other zones of northern Europe, Flemish printers along with those of

67

"O mi Come[n]dador y q[ue] engaado estais ta[m]bie[n] como los antiguos."

Brocato CAS 36
Lyons and Venice exported a significant quantity of books both to Spain and to the New
World (Griffin 106). According to Moll, Flemish penetration into the Spanish book
trade was not a result of Christopher Plantin's mythical imperial privilege, but a
condition of the cost of manufacturing books and the failure of Spanish publishers to
take advantage of the market for Spanish books in the rest of Europe, something that
Plantin and his successors pursued quite successfully (Moll 21). Goris documents those
foreigners importing and exporting in Antwerp in 1553, as well as locals, and Martinus
Nutius appears on the list (Goris 250). Books and paper also figure largely in Antwerp's
exports to Spain and Portugal (Goris 302-316), corroborating Griffin's data from
Spanish sources, and suggesting that paper, one of the most expensive elements of
printing, was cheaper in the Low Countries (not so cheap, however, that Nutius was
willing to let it remain blank in his imprints).68 Nutius and Steelsius also appear in
transactions with Christopher Plantin in the records of the latter, buying bindings from
Plantin (Voet II:265n.4), buying books from and selling them to Plantin (Voet II:472).
As both Jos Simn Daz and Lon Voet document, the legalities of publishing in
Spain and the Spanish Empire, while apparently closely legislated, were much more
difficult to enforce, and only come into full legal effect in the 1550s (Simn Daz chaps.
2-3; Voet v.2, chap. 10, particularly 258-267). While the privileges granted to Steelsius
and Nutius were often issued by different functionaries in the imperial court in Brussels

68

We know from Voet that Steelsius bought paper from Plantin (Voet II:26). Llus Martos is
puzzled by the retention of the rubric of a poem in Nutius' 1557 Cancionero general on the recto of a leaf,
and its suppression on the verso of the same leaf (397r-397v), which caused a series of anomalies in the
imprint (a missing title in the table of contents, oddities in composition). This may be explained by
Nutius' habitual frugality with paper, as the forme for the recto of the leaf was already printed when the
editorial decision was made to suppress the remainder of the poem, requiring the shifts in the other forme
in order to use what had already been printed.

Brocato CAS 37
(and usually the same ones for each), and may thus indicate the "underhanded war" that
Peeters Fontainas theorizes, this does not seem to me to be a crucial element in their
production of the dual editions under consideration here. The conflict over the privilege
granted for a liturgical imprint between Plantin and the heirs of Steelsius, resolved by
both parties producing an edition also suggests that exclusive rights were not pursued
rigidly (Voet I:67). Rather, as I have shown, a number of different factors were in play
in each group of parallel editions, and, as a relatively tight community of
printer/publishers with equally tight connections to the imperial court, they could
pursue opportunities for market penetration and niche markets that required coordinated efforts of their entire community to take fullest advantage.69
Thus the simultaneous editions of Mena's works seem to me to be not so much
doubled as divided in order to conquer (to turn the figure around) parallel editions,
designed for different audiences. As the material features of the imprints indicate and
the various contemporary imprints of their presses also show, particularly the editions
of Mena's works, each often produced a more traditional, lower-cost edition for a wider
audience, and also produced deluxe readers' editions connected to and aimed at those
with the means to buy them and the social ambitions to need them in easily navigated
versions, as well as at the highest level of the Spanish elite of not only the Netherlands,
but the farthest reaches of the Spanish Empire. The notion that different editions were
designed to more effectively penetrate a diverse market is borne out by the remaining

69

It is possible that, with some of the works most directly connected with the imperial court,
individuals like Cristbal Calvete de Estrella or others, played one printer off against the other to get a
better deal. This does not, however, preclude cooperation among Nutius, Steelsius, Bellero et al. to
counter such a tactic.

Brocato CAS 38
copies of the 1552 editions of Mena: 40 of Nutius' edition, and 39 of Steelsius', the
highest totals and widest distribution of any early edition of Mena's works that I have
registered and tallied.70 What an irony: turning Antwerp's integration into the Hapsburg Spanish empire into a means to undercut economically that very empire, much
resented by many Flemish citizens.
In addition, these Spanish editions from Antwerp point to a rich vein of research
to pursue in both literary and bibliographical studies, as well as the history of indexing
and of the book. For example, a study dedicated to the transmission of Guevara's Libro
aureo and the Relox de principes both dedicated to guiding the morality of the
powerful, particularly emperors like Marcus Aurelius himself, in order to discourage
tyranny might well reveal interesting social and political dimensions to their production and transmission, particularly in the Low Countries.71 Particularly interesting is the
difference between the two Spanish versions of Olivier de la Marche's El caballero
determinado, in the context of both traditional versus italianate poetics and nationalist
versus imperialist ideologies, an aspect of particular interest in understanding the
publishing history and reception of Mena's works in the sixteenth and seventeenth
centuries. Furthermore, La Marche's poem has clear similarities to much of Iberian
poetry of the fifteenth century as well as profound connections to the attachment to
chivalresque novels on the part of royals around Europe (think of not only the vogue of
70

See Appendix III, particularly regarding the 1517/1520 Cromberger editions of Mena's works.
The copy held by the Municipal Library of Besanon belonged to Nicolas Perrenot de Granvelle, Minister
of Justice for Charles V.
71

See http://www.filosofia.org/guevara.htm, which links to digital editions of Guevara's work, and

includes a brief biography. According to the latter, the third book of the Reloj de prncipes protests
tyranny that is abusive of its subjects, in defense of the natives of the Americas. The same might be
applied to the situation of the Low Countries under the Hapsburgs.

Brocato CAS 39
Amads de Gaula and its continuations and translations, but the Pisanello frescos in the
Palazzo Ducale in Mantua72).
Closer examination of the differences in the text of Nez's commentary in the
1552 Antwerp editions may further clarify the differences in audience to which each
printer was directing his editorial endeavor (see n.51). The Aldine octavo classics are
clearly a model for editions of canonical authors, and should be integrated into a full
understanding of their mise en page. The effect of Steelsius' edition is apparent in the
1566 editions (M43-4), and (one suspects) the 1560? edition, all from Alcal de Henares
and the presses of Juan de Villanueva and Pedro de Robles, and that of 1582 (M47), and
the effect of the change of mise en page with a mise en recueil that is much more
characteristic of the late fifteenth century is quite curious.
My analysis here has not only outlined the major trends in publishing Mena's
works, but also suggested differing audiences for different editions, and raised questions
about the uses of Mena's work in the shifting poetics and ideologies of the sixteenth
century. Mena's position, however, was clearly not simply that of the "famosssimo
poeta" but as an icon of traditional Spanish culture and a repository for erudition and
doctrine, indicated by the commentaries on his longer poems (and the kinds of annotations to which copies were subjected), and by the doctrinal tradition (what I have here
called the cancionero tradition), which reappears in the strange editions of 1566. The
esthetic impact of the Antwerp editions of 1552 is clear, and the integration of Mena's
works into the ideology and esthetic of Renaissance culture and literature was signaled

72

See Joanna Woods-Marsden, The Gonzaga of Mantua and Pisanellos Arthurian Frescoes
(Princeton, N.J. : Princeton University Press, 1988).

Brocato CAS 40
by both the editing and the typography of his works, their mise en recueil and their mise
en page at the ebullient center of power of the Habsburg empire. With the downplaying
of erudition, and its locus in the commentaries to Mena's works, early modern editions
of Mena cease, and his works only reappear again in the context of erudition in the
eighteenth century, reprinted in the complete works of El Brocense and in anthologies of
the history of Spanish poetry. This aspect, too, calls for further research and analysis.
Clearly, a further accounting of the specific interventions of Spanish writers,
intellectuals, and political figures in the publishing history of Spanish editions in the
Low Countries Cristbal Calvete de Estrella, Gonzalo Prez, Juan Martn Cordero, the
unnamed editor of Steelsius' 1552 edition of Mena is called for and has yet to be
written and will require archival research in Brussels and Antwerp. This small slice of
the rich history of editions of Spanish books in Antwerp as well as in Spain in itself
suggests important intellectual and editorial activity at the highest levels of the households of the Habsburg monarchs of the sixteenth century, promoting the culture of the
book.73 Combining the insights offered by detailed bibliographical analysis with recent
vigorous scholarship on the libraries of Spanish monarchs and elites (Isabel the Catholic, Charles V, Philip II and others74), should provide a richer and more nuanced

73

Bouza's essay documents a profound interest in typography on the part of Philip II, and a deep
awareness of not only political, esthetic, and communicative aspects of printing, but also marketing
aspects of publishing.
74

See among others: Fernando Bouza, Imagen y propaganda : captulos de historia cultural del
reinado de Felipe II, prol. Roger Chartier, Akal universitaria: Serie Historia moderna, (Madrid: Akal,
1998); Pedro Ctedra, Nobleza y lectura en los tiempos de Felipe II: la biblioteca de Don Alonso Osorio
Marqus de Astorga (Valladolid: Junta de Castilla y Len, Consejera de Educacin y Cultura, 2002);
Gonzalo Snchez-Molero, Jos Luis, La "Librera rica" de Felipe II: estudio histrico y catalogacin
(San Lorenzo del Escorial (Madrid): R.C.U. Escorial Ma. Cristina, Servicio de Publicaciones, 1998);
Elisa Ruiz Garca, Los libros de Isabel la Catlica: arqueologa de un patrimonio escrito, Serie Mayor v.
6 (Salamanca: Universidad de Salamanca, Instituto de Historia del Libro y de la Lectura, 2004) and Isabel

Brocato CAS 41
understanding of the politics and culture of the book. But not only among the elite of
the late fifteenth and the sixteenth centuries, it should also provide a better idea of the
dissemination of culture and doctrine among all levels of society by means of the kinds
of imprints sponsored or promoted.

la Catlica: los libros de la reina (Casa del Cordn, Burgos, 3 de diciembre de 2004 a 5 de enero de
2005) (Burgos: Fundacin Instituto Castellano Leons de la Lengua, 2004).

Brocato CAS 42
A PPENDIX I: J UAN DE M ENA : E ARLY E DITIONS (1483-1582)
My research has thus far garnered some 47 editions, some of which will doubtless turn out to be
"ghosts" or miscatalogued, as, for example, the five copies of a 1520 Cromberger edition of the
Trezientas, said date being that of the separate imprint of the Coronacin with which it is
frequently bound (see below). This spurious edition is not counted in the above tally nor does it
appear in the bibliography of early editions of Mena.

1.
1483 ca.

Cancionero

Coplas contra los siete pecados in Vita xpi fecho por coplas por frey yigo de me[n]doa a
petiio[n] dela muy virtuosa seora doa juana de cartagena. Zamora: Antn de Centenera.
GW Online M18727: 2o 90 ff. a-e8 f6 g10 h-m 8 [2]. Wilkinson: not listed.

2.
1486 ca.
Las .CCC. Salamanca: Printer of Nebrissensis, Introductiones. ISTC online: im00484500. GW
Online M2277710: 44 ff. a-e8 f4 (also identified there as 1481? vora or Salamanca). Wilkinson:
not listed.

3.
1489 ca.
Coronacin. Toulouse?: Juan Parix y Esteban Clebat. ISTC online: im00482000. GW Online
M22775: 4o 82 ff. a-i8 k10 (Ill. 1; microfilm BNE) Wilkinson: 12783. (Ill. 1)

4.
1489 May 8
Coblas de Juan de Mena. Zaragoza: Hans Hurus. ISTC online: im00485000. GW Online
22783: 4o 46 ff. a-e8 f6 (Incipit: "Comie[n]a el labirintho de Iuan de mena poeta castellano").
Wilkinson: 12784.

5.
1490-91 ca.
La coronacin a Don Iigo Lopez de Mendoa, Marques de Santillana. Zaragoza?: Pablo

Brocato CAS 43
Hurus? ISTC Online im00482500: 4o . GW Online M22776. Wilkinson: 12785.

6.
1496 January 12
Las ccc sive el Labirintho. Sevilla: [Meinardus Ungut and Stanislaus Polonus], A instcia y
espesas de juan thomas fauario de lumelo. ISTC online: im00485300. GW Online 22779: 4 o 44
ff. a-e8 f4 Wilkinson: 12787.

7.
1499
Coronacin de Juan de Mena al Marqus. Zaragoza: Hurus. GW Online M22776: 4 o 104 ff. a-n 8
Wilkinson: not listed.

8.
1499 August 28
Las .CCC. del famosissimo poeta juan de mena c glosa. Sevilla: Ympressos c mucha
dilige[n]cia y correci por Jones pegnizer de Nurenberga y magno y Thomas cpaeros
alemanes. ISTC online: im00486000. GW Online M22780: F o . 190 ff. a-z8 [et]6 Foliated.
Wilkinson: 12790. (Ill. 2)

9.
1499 October 7
Las .ccc. de Jua[n] de me[n]a. Sevilla: Acabse las .ccc. de Juan de mena empremidas en Seuilla
enel a de Mill. cccc. e xcix. a. vij. dias dOctubrio: por Johnes pegnizer de nuremberga y
magno herbst compaeros alemanes. ISTC online: im00485500. GW Online M22778: 4 o 44 ff.
a-e 8 f4 Wilkinson: 12791.

10.
1499 November 5
Coronaci cpuesta por el famoso poeta Iu de Mena: al muy illustre cauallero don Yigo
lopez de mendoa marques de santillana. Salamanca: Typ. de Nebrija: Gramtica (Haeb.
470); Second Gothic Group? (HSA PB ) ISTC online: im00483000. GW Online M22774: 2 o 34
ff. a-c6 d 4 e8 f4 Wilkinson: 12788.

Brocato CAS 44

11.
1499 November 12
Coronacin. Sevilla: Lanalao Polono. ISTC online: im00483500. GW Online M22774: 4 o 80
ff. a-k 8 Wilkinson: 12789.

12.
1500
Coplas dlos siete peccados mortales hechas por el famoso poeta Juan de mena. (Por
fallecimiento del famoso poeta Jua[n] de mena prosigue Gomez ma[n]rrique a q[ue]sta obra
por el comenada: haze vn breue prohemio.) Salamanca: [Printer of Nebrissensis, 'Gramtica']
ISTC online: im00481800. GW Online M22771: 40 20 ff. a8 b-d 4 Wilkinson: 12792. ISTC online:
im00481800

13.
1500 ca.
Coplas de los siete peccados mortales, glosadas y acabadas por Hieronymo de Oliuares. N.p.:
n.p., n.d. Wilkinson: Not listed.

14.
1500 ca.

Cancionero

De los VII peccatos mortales que fizo Joan de Mena and Obra de Joan de Mena intitulada La
Flaca barquilla de mis pensamientos in Coplas de Fernan Perez de Guzman de vicios e
virtudes. N.p.: n.p., n.d. ISTC online: not listed. GW online: not listed. Paris Bibliothque
National FRBNF31081042 (RES- YG- 14): Fo A-N (without further specification). Wilkinson:
not listed (or not findable).

15.
1501 December 7
Las trezientas de Iuande mena. Toledo: Pedro Hagembach et socios. Norton 1021: 4 o a-e 8 40 ff.
unn. 9a: 31 lines, 160 x 74 mm. Gothic. Without commentary. Wilkinson: 12793.

16.

Brocato CAS 45
1504 May 13
Coronacion conpuesta por el famoso poeta Juan de mena al muy ylustre cauallero d yigo
lopez de me[n]doa, marq[ue]s de stillana. Toledo: [Sucesor de Pedro Hagembach]. Norton:
1038: 4o a-f8 g6 . 54 ff. unn. 6a: 40 lines (commentary) 152 x 96 mm. Gothic. Wilkinson: 12795.

17.
1504-1505
[Coplas de los siete pecados mortales.] Ad. Gmez Manrique. Toledo: [Sucesor de Pedro
Hagembach]. Martn Abad Post-incunables 1031: 4 o . a8 b 8 c4 20 ff. unn. 2a: 30 lines, 163 X 103
mm. Wilkinson: 12794.

18.
1505?
Coplas de los siete pecados mortales: fechas por el famoso poeta Juan de mena: glosadas [et]
acabadas por Jeronimo de oliuares: cauallero de la orden de alcantara. Sevilla?: Jacobo
Cromberger. Martn Abad Post-incunables 1032: 4 o . Wilkinson: 12796.

19.
1505 November 7
Las .CCC. del famosissimo poeta juan de mena c glosa. Granada: Juan Varela de Salamanca.
Martn Abad Post-incunables 1038. Norton 350: Fo . a-r8 136 ff.: [1] ij-cxxxvj; 4a: 48 lines
(gloss), 253 X 153 mm.; headlines. Gothic. Wilkinson: 12797.

20.
1506 May 5

Cancionero

Las CCC .. con su glosa, e Las cinque[n]ta con su glosa, [y] otras obras aragoa: George coci, a
insta[n]cia del varon Loys malferit. Norton 616: Fo . A6 a-p8 q10 . 136 ff.: [6] I-CXXX. 25a: 63 lines
(commentary), 239 x 157 mm.; headlines. Marginalia. 2-3 columns. Gothic. Wilkinson: 12798.

21.
1509 September 23

Cancionero

Las. ccc. co. xxiiij. coplas agora nueuamete aadidas: del famosissimo poeta Juan de Mena con
su glosa las cinquenta con su glosa: otras obras. Zaragoza: George coci. Norton 631: F o. [* 2] a-

Brocato CAS 46
l8 ll6 m-p8 q10 . 138 ff. [2] I-LXXXVIII, [6], LXXXIX-CXXVIII, CXXVI, CSSS. 3a: 63 lines
(commentary), 243 x 158 mm.; headlines Two-three columns. Gothic. Wilkinson: 12799.

22.
1512 May 25
Las .CCC. : c otras xxiii. coplas y su glosa y la Coronacion : otras cartas : [et] coplas [et]
ccies. Agora nueuamente aadidas. Sevilla: Jacobo cronberger. Norton 821: F o. a-n 8 . 104 ff.:
[1] ij-ciiij. 5a: 57 lines, 237 x 154 mm.; headlines. Two columns, final poems in three and four
columns. Gothic. Martn Abad: 1039. Wilkinson: 12801.

23.
1512 February 8
La coronacion compuesta por el famoso poeta Juan de Mena : con otras coplas anadidas ala
fin hechas por el mesmo poeta.. Sevilla: Jacopo Cronberger. Norton 815: F o . a8 b 8 c6 . 22 ff.: [1]
ij-xxij. 3a: 58 lines, 242 x 167 mm. Two columns. Gothic. Martn Abad: 1035. Wilkinson: 12800.

24.
1514 ante quem
[Arte de poesa castellana en coplas.] [Coplas sobre el Ecce Homo.] N.p.: n.p. Norton 1357: 4 o.
citing Reg. Colomb. 3973 as reliable testament to its existence. Martn Abad 1030. Wilkinson:
12802.

25.
1515 October 5
Las .ccc. del famosissimo poeta Juan de Mena con su glosa: & las Cinquenta c su glosa: &
otras obras. Zaragoza: George Coci. Norton 672: Fo . [ 2 ] a-l8 ll6 m-p8 q10 . 138 ff.: [2] ILXXXVIII, [6], LXXXIX-CXXVIII, CXXX. 3a: 63 lines (commentary), 242 x 157 mm.; headlines.
Two to three columns. Gothic. Wilkinson: 12803.

26.
1517 October 10
Crnica de Juan II. Logroo: Arnao Guillen de Brocar. Norton 427: F o a 10 A 8 B 8 a 8+1 b-z8 aa-hh 8
ii6 . 281 ff.: [26], j-v, v-ccliiij (31 is an insertion with omitted text). 7a: 54 lines, 267 X 183 mm.;

Brocato CAS 47
headlines. Marginalia (last part). Two cols. Gothic. Wilkinson: 14605.

27.
1517 September 24
Las .ccc. del famosissimo poeta Iu de mena: c otras .xxiiij. coplas y su glosa y la coronacion
de mesmo poeta: [et] otras cartas: [et] coplas [et] ccies. Agora nueuamente aadidas.
Seuilla: Jacobo Cromberger. Norton 904: Fo . a-n8 . 104 ff.: [1] ij-ciiij. 5a: 56 lines (commentary,
232 x 162 mm.; headlines Two-four columns. Gothic. Martn Abad: 1040. Wilkinson: 12804.

28.
1519 April 23
Yliada en romance Esta es la yliada de homero en romce. Traduzida por Iuan de mena.
Valladolid: Arnao Guillen de Brocar. Norton 1328: 4 o a-c8 d 6 . 30 ff. unn. 3a: 32 lines, 147 x 94
mm. Gothic. Wilkinson: 10402.

29.
1520 c.
Coplas de los siete pecados mortales. Glosa y ad. Jernimo de Olivares Coplas de vicios y
virtudes. Burgos: Alonso de Melgar. Norton 335: 4 o Wilkinson: 12805.

30.
1520 March 8
La coronacion compuesta por el famoso poeta Iuan de mena: al illustre Cauallero don yigo
lopez de Mendoa marques de Santillana: c otras coplas aadidas ala fin fechas por el mesmo
poeta. Sevilla: Jacobo Cromberger. Norton 927: F o . a8 b8 c6 . 22 ff. unn. 17a: 58 lines, 243 x 167
mm. Two columns. Gothic. Wilkinson: 12806.

31.
1528 May 16
La coronacion co[m]puesta por el famoso poeta Juan de Mena : con otras coplas aadidas a la
fin hechas por el mesmo poeta. Sevilla: Juan Varela. lmb: a-b 8 , c 10. Two-four columns. Page
height: 28.1 x 20.1 cm. Gothic. (Ill. 5, 6) Wilkinson: 12810.

Brocato CAS 48
32.
1528 May 20
Copilacion de todas las obras del famosissimo poeta Juan de mena: co[n]uiene saber : Las .ccc.
con otras .xxiiij. coplas y su glosa: y la coro[n] acio[n] y las coplas de los siete pecca dos [sic]
mortales co[n] otras cartas y coplas y canciones suyas / Agora nueuame[n] te aadidas.
Sevilla: Juan Varela. lmb: a-n8 Two-four columns. Page height: 28.1 x 20.1 cm. Gothic.
Wilkinson: 12808, 12809. (Ill. 3-4, 6)

33.
1534 May 20
Copilacion de todas las obras del famosissimo poeta Juan de mena: co[n]uiene saber : Las .ccc.
con otras .xxiiij. coplas y su glosa: y la coro[n]acio[n] y las coplas de los siete pecados mortales
co[n] otras cartas y coplas y canciones suyas / Agora nueuame[n]te aadidas. Sevilla: Juan
Varela. Wilkinson: 12811.

34.
1534 October 6
Coronacin. Sevilla: Juan Varela. Wilkinson: 12812.

35.
1536
Copilaci de todas las obras del famossisimo poeta J. de Mena conviene saber las CCC c otras
xxiiii coplas y su glosa y la Coronaci, de las coplas de los Siete Peccados mortales con otras
cartas y coplas y canciones suyas. Agora nuevamente aadidas. Valladolid: Juan de
Villaquirn, a costa de Cosme damian. Wilkinson: 12813.

36.
1536 June 28
Coronacin. Valladolid: Juan de Villaquirn por Cosme Damin Wilkinson: with 12813?

37.
1540
Copilacin de todas las obras del famossisimo poeta Juan de Mena: cviene saber las .ccc. con

Brocato CAS 49
otras .xxiiij. coplas y su glosa: y la coronaci de las coplas de los siete pecados mortales con
otras cartas y coplas y canciones suyas. Agora nueuamente aadidas [et] imprimidas.
Valladolid: Juan de Villaquirn. Wilkinson: 12814

38.
1540 December 12
Coronacin. Valladolid: Juan de Villaquirn. Wilkinson: with 12814?

39.
1547 December 15 (-1548)
Copilacion d[e] todas las obras del | famosisimo oeta Ju de mena: c | uene saber Las .ccc. c
otras .xxiiii. | coplas y su glosa.y la Coronacin | delas coplas delos siete Pecca | dos
mortales:con otras cartas | y coplas y canciones suyas. Agora nueuamente aadidas [et]
Imprimidas. Toledo: Fernando de Santa Catalina defunto. Wilkinson: 12816, 12817.

40.
1552
Todas las obras del famosissimo poeta Iuan de Mena con la glosa del comendador Fernan
Nuez sobre las trezientas: agora nueuamente corregidas y enmendadas. Antwerp: Martin
Nucio. lmb: 8o A-Vv8 345 numbered lvs.; page height: 15.5 cm. (Ills. 29-31) Wilkinson: 12823.
Peeters-Fontainas Bibliographie: 774.

41.
1552
Las trezientas d'el famosissimo poeta Ivan de Mena, glosadas por Fernan Nuez, Comendador
de la orden de Sanctiago. Otras XXIIII. Coplas suyas, con su glosa. La Coronacion compuesta
y glosada por el dicho Iuan de Mena. Tratado de vicios y virtudes, con otras Cartas y Coplas, y
Canciones suyas. Todo con exquisita diligencia corregido, y emendado de infinitos errores,
allende de otras qualquier impressiones: aadidas de nueuo dos tablas. vna de las coplas, otra
de las materias principales, declaradas por todo el discurso delos Commentarios. Antwerp:
Juan Steelsio. lmb: 8o i8 A-Iii8 [32], 830, [34] p.; page height: 14.8 cm. Wilkinson: 12821,
12822. Peeters-Fontainas Bibliographie: 773. (Ills. 32-37, 62)

Brocato CAS 50
42.
1560?

Cancionero

Glosa sobre las trezientas del famosissimo poeta Iuan de Mena co[m]puesta por Fernan Nuez
... ; Comiena la Coronaio[n] compuesta por el famoso poeta Iuan de Mena ... ;Tratado de
vicios y virtudes hecho por Iuan de Mena, glosado y acabado por fr. Ieronimo de Olivares de la
Orden de Alcantara ; Siguense los diez mandamientos y los siete pecados mortales con sus
virtudes contrarias, y las quatorze obras de misericordia temporales y espirituales y en breue
trobadas por fray Iuan de ciudad rodrigo frayle de la orden de santa maria dela merced ....
Alcal de Henares?: en casa de Iuan de Villanueva y Pedro de Robles : a costa de Alonso
Gosner? Wilkinson: 12826.

43.
1566

Cancionero

Las Trezientas del famosissimo poeta Iuan de Mena ; con su glosa, y las cinquenta con su
glosa, y otras obras. Alcal: Juan de Villanueva: Impresso en casa de Iuan de Villanueua y
Pedro de Robles : acosta de miguel Rodriguez. Provisional collational formula:75 [ 1 ] 2 4 A 4 B-Ll8
A-L8 Wilkinson: 12830. [Digitized microfilm of imperfect copy from the Biblioteca Histrica de
la Universidad de Alacal de Henares: Hathi Trust]

44.
1566

Cancionero

Las Trezientas del famosissimo poeta Iuan de Mena ; con su glosa, y las cinquenta con su
glosa, y otras obras. Alcal: Juan de Villanueva: Impresso en casa de Iuan de Villanueua y
Pedro de Robles : acosta de Alonso Gomez librero en corte. Provisional collational formula: [ 1]
2

4 A4 B-Ll8 A-L8 Wilkinson: 12829; 12830 with date of 1567. [Digitized microfilm of imperfect

copy from the Biblioteca Histrica de la Universidad de Alacal de Henares: Hathi Trust]

45.
1573

75

The collation of both M43 and M44 has been determined from a digitized microfilm, of the
Computense copy which lacks the title page. That the preliminaries form a quaternion without the t.p. is
curious, unless the t.p. were tipped on, or perhaps because it was being printed for two booksellers or
perhaps because it contains an engraving. I infer the first preliminary gathering, although the copy on
Hathi Trust lacks it.

Brocato CAS 51
Obras. N.p.: n.p. [British Library record: C.20.b.33] Wilkinson: 12832? (Toledo: s.n., 1574)

46.
1575 November 15
Glosa intitulada segunda de moral sentido, differencia de otra deste nombre, los muy
singulares prouerbios del Illustre seor don Yigo Lopez de Mendoa, Marques de Santillana :
contiense mas eneste libro otra glosa veynte y quatro coplas de las trezientas de Iuan de
Mena compuestas por Luys de Aranda, vezino de Vbeda. Granada: Hugo de Mena. Wilkinson:
not listed.

47.
1582
Las Obras del famoso Poeta Iuan de Mena nueuamente corregidas y declaradas por el Maestro
Francisco Sanchez Cathedratico de Prima de Rhetorica en la Vniuersidad de Salamanca.
Salamanca: En Casa de Lucas de Iunta. CCPBE: 8 A-M 12 N 4 Wilkinson: 12834.

Brocato CAS 52
A PPENDIX II: A NTWERP E DITIONS
("Parallel" editions signalled by *.)

1539 Steelsius
Guevara, Antonio de. Libro aureo de Marco Avrelio, emperador, y eloquentissimo Orador,
nueuamente corregido. Vendense en Enueres por Iuan Steelsio, enel escudo de Borgoa.
Colophon: Fue impresso en la triunfante villa de Enueres por Iuan Grapheus. Ao del Seor de
mill e quinie[n]tos e XXXIX. 8o A-Y8 (UIUC A-X8 Y8-1 ) [Microfilm; UIUC x937.06 Au64Wg
1539] Peeters-Fontainas Bibliographie: 560. Wilkinson: 9895. (Ills. 20-20a).

*1549 Steelsius
Erasmus, Desiderius; trans. J. Jarava, Libro de vidas, y dichos graciosos, agudos y
sentenciosos, de muchos notables varones Griegos y Romanos. [Not examined] PeetersFontainas Bibliographie: 387. Wilkinson: 6930.

*1549 Nutius
Erasmus, Desiderius; trans. Francisco Tamara. Libro de apothegmas qve son dichos graciosos
y notables de muchos reyes y principes illustres, y de algunos philosophos insignes y
memorables y de otros varones antiguos que bien hablaron para nuestra doctrina y exemplo:
agora nueuamente traduzidos y recopilados en nuestra le[n]gua castellana 8 o a-z 8 A-Z 8 Aa 8
Bb4 . [Hispanic Society] Peeters-Fontainas Bibliographie: 386. Wilkinson: 6928, 6929. (Ills.
11-16)

1549 Steelsius
Cicero; trans. Francisco Tamara. Libros de Marco Tvlio Ciceron, en que tracta delos Officios
DelaAmicicia, y Dela Senectud. C la Economica de Xenophon, traduzidos de Latin en Romce
Castellano. Aadieronse agora nvevamente los Paradoxos, y el Sueo de Scipion, traduzido
por Iuan de Iarava. [UIUC Rare Books MINI00376] Peeters-Fontainas Bibliographie: 250.
Wilkinson: 3265, 3263. (Ills. 69-71)

*1550? Nutius
Seplveda, Lorenzo de. Romances nvevamente sacados de hystorias antiguas dela cronica de
Espaa por Loreno de Sepulueda vezino de Seuilla. Van aadidos muchos na vistos

Brocato CAS 53
compuesto por vn cauallero Cesario, cuyo nombre se guarda para mayores cosas. [Hispanic
Society] Peeters-Fontainas Bibliographie: 1186. Wilkinson: 17692. (Ills. 25-26)

*1550 Steelsius
Guevara, Antonio de. Libro aureo, dela vida y cartas de Marco Aurelio, Emperador, y
eloquentissimo Orador, nueuamente corregido, y enmendado. Aadiose de nueuo la Tabla de
todas las Sentencias, y buenos dichos, que en el se contienen. En Anvers. En casa de Iuan
Steelsio. (5th edition for Steelsius.) [Microfilm] Peeters-Fontainas Bibliographie: 565.
Wilkinson: 9954. (Ills. 17-19)

*1550 Nutius
Guevara, Antonio de. Libro avreo de Marco Aurelio conel Relox de principes. Imprimiose en
Anvers en el vnicornio dorado a costa de Martin Nucio imprimidor jurado. [Microfilm]
Peeters-Fontainas Bibliographie: 566. Wilkinson: 9953. (Ills. 21-24)

1551 Steelsius
Ovid; trans. Las metamorphoses, o Transformaciones del muy excelente poeta Ouidio,
repartidos en quinze libros y traduzidos en Castellano. [UIUC Rare Books IUA09365] PeetersFontainas Bibliographie: 1013. Wilkinson: 14063.

*1551 Steelsius
Seplveda, Loreno de. Romances Nueuamente sacados de historias antiguas dela cronica de
Espaa compuestos por Loreno de Sepulueda. Aadiose el Romance dela conquista dela
ciudad de Africa en Berueria, en el ao M.D.L. y otros diuersos, como por la Tabla parece.
[Hispanic Society] Peeters-Fontainas Bibliographie: 1185. Wilkinson: 17691. (Ills. 27-28)

1552 Nutius
Calvete de Estrella, Iuan Christobal. El felicissimo viaie Del mvy alto y mvy Poderoso Principe
Don Phelippe, Hijo del Emperador Don Carlos quinto Maximo, desde Espaa sus tierras de
la baxa Alemaa: con la descripcion de todos los Estados de Brabante y Flandes. Escrito en
quatro libros, por Iuan Christoual Caluete de Estrella. [Hispanic Society] Peeters-Fontainas
Bibliographie: 170. Wilkinson: 2403. (Ills. 63-64)

Brocato CAS 54
*1552 Nutius
Todas las obras del famosissimo poeta Iuan de Mena con la glosa del comendador Fernan
Nuez sobre las trezientas: agora nueuamente corregidas y enmendadas. Antwerp: Martin
Nucio. lmb: 8o A-Vv8 345 numbered lvs.; page height: 15.5 cm. Peeters-Fontainas Bibliographie:
774. Wilkinson: 12823. (Ills. 29-31)

*1552 Steelsius
Las trezientas d'el famosissimo poeta Ivan de Mena, glosadas por Fernan Nuez, Comendador
de la orden de Sanctiago. Otras XXIIII. Coplas suyas, con su glosa. La Coronacion compuesta
y glosada por el dicho Iuan de Mena. Tratado de vicios y virtudes, con otras Cartas y Coplas, y
Canciones suyas. Todo con exquisita diligencia corregido, y emendado de infinitos errores,
allende de otras qualquier impressiones: aadidas de nueuo dos tablas. vna de las coplas, otra
de las materias principales, declaradas por todo el discurso delos Commentarios. Antwerp:
Juan Steelsio. lmb: 8o i8 A-Iii8 [32], 830, [34] p.; page height: 14.8 cm. Peeters-Fontainas
Bibliographie: 773. Wilkinson: 12821, 12822. (Ills. 32-37, 62)

*1554 Nutius
Cieza de Len, Pedro. La Chronica del Perv, nvevamente escrita por Pedro de Ciea de Leon,
vezino de Seuilla. T.p. imprint: En Anvers. En casa de Martin Nucio, M.D.LIII. Con previlegio
imperial. A-Bb8 Cc4 . 8o , 204 leaves; wood engravings, some repeateds. [Description from
Peeters Fontainas, "Officine" 60] Peeters-Fontainas Bibliographie: 256. Wilkinson: 3312.

*1554 Steelsius
Cieza de Len, Pedro. Parte primera de la chronica del Perv, qve tracta la demarcacion de sus
prouincias, la descripcion dellas, las fundaciones de las nueuas ciudades, los ritos y
costumbres delos Indios, y otras cosas estraas dignas de ser sabidas. Hecha por Pedro de
Ciea de Leon, vezino de Seuilla. Aadiose de nueuo la descricion y traa de todas las Indias,
con vna Tabla alphabetica delas materias principales enella contenidas. T.p. imprint: "En
Anvers, en casa de Iuan Steelsio, M. D. LIIII." Colophon (358v): "Impresso en Anvers por Iuan
Lacio. M. D. LIIII." [Hispanic Society] Peeters-Fontainas Bibliographie: 254. Wilkinson: 3315,
3311 (dated 1544) . (Ills. 43-48)

*1554 Steelsius

Brocato CAS 55
Lpez de Gmara, Francisco. La Historia general de las Indias con todos los descubrimientos, y
cossas notables que han acaescido enellas, dende que se ganaron hasta agora . . . Aadiose de
nuevo la descripcion y traa delas Indias, con vna Tabla alphabetica delas Prouincias, Islas,
Puertos, Ciudades, y nombres de conquistadores y varones principales que alla han passado.
[Microfilm] Peeters-Fontainas Bibliographie: 716. Wilkinson: 11520, 11518 (Hist. de Mexico).
(Ills. 54-58)

*1554 Joannes Bellerus

Lpez de Gmara, Francisco. La Historia general de las Indias con todos los descubrimientos, y
cossas notables que han acaescido enellas, dende que se ganaron hasta agora . . . Aadiose de
nuevo la descripcion y traa delas Indias, con vna Tabla alphabetica delas Prouincias, Islas,
Puertos, Ciudades, y nombres de conquistadores y varones principales que alla han passado.
Peeters-Fontainas Bibliographie: 715. Wilkinson: 11521. (Ills. 54-58) [UIUC Rare Books x970
G58h 1554]

*1554 Joannes Bellerus

Lpez de Gmara, Francisco. Historia de Mexico, con el descvbrimiento dela nueua Espaa,
conquistada por elmuy illustre y valeroso Principe don Fernando Cortes, Marques del Valle,
Escrita por Francisco Lopez de Gomara, clerigo. Aadiose de la nueuo [sic] descripcion y
traa de todas las Indias, con vna Tabla Alphabetica de las materias, y haza-as memorables
enella contenidas. [Hispanic Society; UIUC Rare Books x972.02 G584h 1554] PeetersFontainas Bibliographie: 715 (v. II). Wilkinson: 11517. (Ills. 59-61)

*1554 Nutius
Lpez de Gmara, Francisco. La Historia general delas Indias, y todo lo acaescido enellas
dende que se ganaron hasta agora. Y la conquista de Mexcio, y dela nueuva Espaa. La
segunda parte dela historia general delas Indias. que contiene La conquista de Mexico, y dela
nueua Espaa. [Hispanic Society: 2 vols.; microfilm] Peeters-Fontainas Bibliographie: 713,
714. Wilkinson: 11522. (Ills. 51-53)

*1554 Nutius
Lpez de Castaeda, Hernn. Historia del descvbrimiento y conquista dela India por los
Portugueses, compuesta por Hernan Lopez de Castaeda en lenguaje Portuguesa, y traduzida

Brocato CAS 56
nueuamente en Romance Castellano. [Hispanic Society] Peeters-Fontainas Bibliographie: 712.
Wilkinson: 2872, 2876.

*1555 Nutius
Marche, Olivier de la; trans. Jernimo Urrea. Discvrso dela vida humana, y aventvras del
Cauallero determinado, traduzido de Frances por don Ieronymo de Vrrea. [Hispanic Society]
Peeters-Fontainas Bibliographie: 664. Wilkinson: 11068.

*1555 Steelsius
Marche, Olivier de la; trans. Hernando de Acua. El cavallero determinado tradvzido de
lengva Francesa en Castellana por Don Hernando de Acua, y dirigido al Emperador Don
Carlos Quinto Maximo Rey de Espaa nuestro Seor. [Hispanic Society] Peeters-Fontainas
Bibliographie: 661. Wilkinson: 11065. (Ills. 38-42)

1555 Nutius
Zrate, Augustn de. Historia del Descvbrimiento y Conqvista del Peru con las cosas natvrales
que sealadamente alli se hallan, y los sucessos que ha auido. La qual escriuia Augustin
arate, exerciendo el cargo de Contador general de cuentas por su Magestad en aquella
prouincia, y en la de Tierra firme. En Anvers En casa de Martin Nucio . . . Ao. M. D. LV.
[microfilm] Peeters-Fontainas Bibliographie: 1393. Wilkinson: 19772. (Ills. 49-50)

1556 Steelsius
Homer; trans. Gonzalo Prez. La Vlyxea de Homero, traduzido de griego en lengua Castellana,
por el Secretario Gonalo Perez. Impressa en la insigne ciudad de Anuers, en casa de Iuan
Steelsio, 1556. 8 o A-Kkk8 [UIUC Rare Books] Peeters-Fontainas Bibliographie: 604.
Wilkinson: 10406. (Ills. 65-68)

Brocato CAS 57
A PPENDIX III: S TRUCTURE OF C ONTENTS OF M ENA C OMPILATIONS
1. C ANCIONERO - LIKE A NTHOLOGIES
Mena's work entered print via the 1483 imprint of the Coplas de la vita Christi of Fray
igo de Mendoza (M1). This cancionero-like anthology begins with some eleven works by
Mendoza, and ends with a series of works by other fifteenth-century Castilian writers, including
Las coplas de los siete pecados mortales, here printed with its first continuation, that of Gmez
Manrique (subject of the preceding poem in the Vita Christi anthology, the "Coplas a la muerte
de su padre" of Jorge Manrique) (see below). Another printed cancionero of around 1500 (M14)
centers on the work of Fernn Prez de Guzmn, but includes several of the same texts and
authors found in the Vita Christi anthology, including Mena's Coplas de los siete pecados
mortales, plus an excerpt from the closing stanzas of Las trezientas, "La flaca barquilla de mis
pensamientos," which Foulch Delbosc took to be a separate poem appended to Las trezientas.
This cancionero combination was shifted slightly but continued under the aegis of
Mena's name through a good bit of the sixteenth century. Beginning with George Coci's
illustrated 1506 anthology of Las .CCC. (M20), only his major texts (Trezientas, Coronacin,
and Siete pecados mortales, with no shorter courtly poetry) are found accompanied by doctrinal
works of other fifteenth-century authors: Fray Juan de Ciudad Rodrigo on the ten commandments and the seven mortal sins; fray igo de Mendoza on the tourney of reason against
sensuality; Diego de San Pedro on despising worldly fortune; Fernn Prez de Guzmn directing
a caution to the powerful that we all must die (see below). It is significant that a nexus of 15 th century poets igo de Mendoza, Diego de San Pedro, Fernn Prez de Guzmn remains
constant, that the slant of the mise en recueil is doctrinal, and that Mena's name comes to the
fore as the umbrella under which these texts were gathered in this tradition, which continued a
strongly rooted manuscript tradition. Coci illustrated this cancionero doctrinal with large
woodcuts, some full page and also found in his edition of the Flos sanctorum (129-140, see
particularly fig. 103 on p. 136).
These compilations were an editorial phenomenon that extended and focused the
cancionero approach, and a series of printers chose to print Mena's works in this mise en
recueil, presumably to reach a certain group of readers willing to pay for illustrated editions in
the case of Coci's, the only editions of anything besides La coronacin printed with illustrations

Brocato CAS 58
beyond the decorated title page.76 Coci republished this edition in 1509 (M21) and 1515 (M26);
it was reprinted without illustrations at Valladolid by Juan de Villanueva and Pedro de Robles in
1560? (M42) and in 1566 (M43, 44), the latter in two separate issues for different booksellers,
one in Alcal (?) and one associated with the court ("librero en la corte"). In its mise en texte
and mise en page, the 1566 edition is laid out and formatted like the Antwerp editions, and, like
those editions, uses roman and italic fonts, but its mise en recueil is that of the late medieval
doctrinal compilation, with the oddity of integrating La coronacin in terms of pagination, but
paginating the other doctrinal works separately. This cancionero tradition did not appear again
as such after 1566.
2. S INGLE W ORKS
Las Trezientas or Las .CCC. was next to enter print, and it initiated a series of editions of
the major works generally without other texts that continues into the early years of the sixteenth
century. Las trezientas circulated without commentary from 1486 (M2), through three more
editions (M5, 6, 9), one of which(1499, M9) is an edition without gloss finished on 7 October
1499 by the same printers who a little more than a month before (28 August 1499) published
Las .CCC. with Nez's commentary. Another single edition of the uncommented text was
issued by Pedro Hagembach et socios in Toledo in 1501 (M15). These two uncommented
editions point to a group of readers (and thus a market) for the text in its traditional form.77 The
second edition of Nez's commented edition of 1505 (M19) was the last to consist only of the
text of Las Trezientas, and this version is included in all the remaining compilations of Mena's
works except the last edition of the sixteenth century (1582; M47). Copies of Nez's commented edition become the basis of the later anthologies that take shape after 1505, combined
with other imprints or manuscripts of Mena's works.
3. A NTHOLOGIES
During the sixteenth-century proliferation of Mena's works, they were published in
various combinations, with three works as singletons that appeared once and were not inte-

76

Editions of Coronacin have an illustration of the human body with signs of the zodiac on the
parts of the body they rule, and of a "pyramidales" the cone-shaped rays of light that hit the eye and are
the basis of sight.
77

Until I can examine copies of the 1499 and 1501 uncommented editions, it is hard to suggest
particulars or the profile of their readership implied/encoded in its mise en texte or mise en page.

Brocato CAS 59
grated into anthologies of Mena's works: an Arte de poesa castellana en coplas with Coplas
sobre el Ecce Homo that is no longer extant (M24), La crnica de Juan II of 1517 attributed in
part to Mena (M26), and the Yliada en romance of 1519, his translation of the Ilias latina
(M28).78 In addition, Luis de Aranda selects 24 coplas from Laberinto de Fortuna, glosses
them, and publishes them (M46) along with his glosses to several proverbs of igo Lpez de
Mendoza, Marqus de Santillana, contemporary and friend of Mena.79 This corresponds to the
lively 16th -century cultural and editorial interest in the nucleus of foundational Castilian writers
of the 14th and 15th centuries marked by the publication of such works as Jorge Manrique's
Coplas a la muerte de su padre, Santillana's Proverbios and his Bas contra fortuna, the
historical and doctrinal works of Fernn Prez de Guzmn, the continuously popular and
reprinted works of Fray igo de Mendoza, and other works from the cultural patrimony of the
late Middle Ages.
Mena's principal works, however, remained his consistently-reprinted longer poems, the
Coronacin, Las trezientas, and the Coplas a los siete pecados mortales. From 1506 onward
these works were the core combination: Las trezientas with Nez's second revised (and
simplified) edition of his commentary; the Coronacin with Mena's own self-authorizing
commentary virtually without exception; and the Coplas contra los siete pecados mortales,
generally with the additions and commentary of Jernimo de Olivares. The final sixteenthcentury edition of 1582 (M47) is El Brocense's, and he reduced and tremendously rewrote
Nez's commentary.
With the edition of Jacobo Cromberger in 1512 (M22-23), a basic pattern was set for
content in publishing Mena, though Cromberger's editions were still in gothic founts. The

78

Juan de Mena, Comiena la cronica del serenissimo rey don Iuan el segundo deste nbre
impressa enla muy noble [et] leal ciudad de Logroo: por mdado del catholico rey d Carlos su visnieto
(Logroo: Arnao Guilln de Brocar, 1517 October 10); Esta es la yliada de homero en romce. Traduzida
por Iuan de mena (Valladolid: Arnao Guilln de Brocar, 1519 April 23).
79

Luis de Aranda, Glosa intitulada segunda de moral sentido, differencia de otra deste nombre,
los muy singulares prouerbios del Illustre seor don Yigo Lopez de Mendoa, Marques de Santillana :
contiense mas eneste libro otra glosa veynte y quatro coplas de las trezientas de Iuan de Mena
compuestas por Luys de Aranda, vezino de Vbeda (Granada: Hugo de Mena, 1575 November 15). The
Biblioteca Nacional in Madrid also holds a manuscript of Aranda listed as Cancionero que contiene
quatro obras de provechosa erudicion, which includes "Contra hechas de Juan de Mena" (ll. 1-30v),
followed by "Glosa estravagante de Juan de Mena" (ll. 31-64). As it also includes the "Glosa de los
Proverbios del Marques de Santillana" (ll. 97-127), one suspects that this is the manuscript of the
"traslacin" that he had made " a good while back: [muchos dias ha] (l. 4v) mentioned in the "Prologo" to
the 1575 glosa.

Brocato CAS 60
principal works were Las trezientas and La coronacin, which continued to have separate titlepages and imprints, though the title-page of Las trezientas often alluded to the inclusion of La
coronacin, along with a set of shorter cancionero poems.80 These courtly poems are a relatively
stable set, but are distributed differently in different editions.81 In Cromberger's editions after
1512, they followed Laberinto in the first volume, while La coronacin was followed by the
Coplas . . . sobre vn macho (the latter omitted in the 1520 edition of the Coronacin).82
For a good bit of the 16th century, the Coronacin remained a separate imprint, even if
coordinated with editions of the Trescientas. Julin Martn Abad notes in his catalogue of Postincunables ibricos, apropos of Cromberger's edition of 1512 (his n. 1039; M22 here) and of 1517
(his n. 1040; M27) "debe tenerse en cuenta que el texto de la [sic] coronacin, anunciado en el
ttulo, no se incluy" (Martn Abad 369-370). In the first of these entries, he cross-references his
n. 1035 (M23), the 1512 edition of the Coronacin. In the second entry, many of the copies he
lists have shelfmarks indicating that they are bound with some edition of the Coronacin, and in
citing privately purchased and missing copies, his notes indicate that they are all bound with the
1520 Cromberger edition (M30).
My inquiries to libraries holding the supposed 1520 edition of Las .CCC. have generally
resulted in finding that the Trezientas is from 1517 with the date of the entire volume (assumed
to be one imprint) taken from the colophon of the 1520 Coronacin. OPAC records (never
completely reliable) of five libraries indicated a 1520 edition of Las .CCC.. The Bibliothque
Municipale of Besanon, the Biblioteca Palatina of Parma, and the British Library all reported
that Las trezientas was actually the 1517 imprint (which even Dennis Rhodes didn't catch);
Grngingen and Freiburg require further inquiry. For example, the Biblioteca Nacional of

80

Cromberger does not include the Coplas a las siete pecados mortales which he had likely
published in 1505? (M18), and I have not adequately traced its path through the various editions. It does,
however, consistently appear in what I have termed the cancionero strand of Mena editions, and is thus
consistently available for reprinting. It appears in both Antwerp editions. Recently it was edited with
Gmez Manrique's continuation in Coplas de los siete pecados mortales and First Continuation, ed.
Gladys M. Rivera (Madrid: Porrua Turanzas; Potomac, Maryland: Studia Humanitatis, 1982).
81

See Carla de Nigris' edition of these works, Juan de Mena, Poesie minori (Napoli: Liguori,
1988), pp. 99-104. She asserts that Steelsio's edition derives from Cromberger's edition of 1517 (102).
82

Carla de Nigris includes the 1517 edition of Cromberger's copilacin, asserting that the 1512
edition which establishes the publishing of Mena's shorter works cannot be found ("oggi introvabile");
nonetheless, copies are found at the Biblioteca Nacional, Biblioteca Real, and the Escorial in Madrid; the
British Library and Cambridge; and in the United States at Yale and the Hispanic Society (De Nigris 701).

Brocato CAS 61
Madrid holds two copies of Cromberger's 1517 .CCC. (BN R/13020(1) and R/31567(1)) that are
bound with his 1520 Coronacin, as is the copy held at the Biblioteca Palatina of Parma (Italy).
The copy held at the Bibliothque Municipale of Besanon's copy is the 1517 Trezientas bound
with the 1520 Coronacin, in a sixteenth-century binding, that belonged to Nicolas Perrenot de
Granvelle, Minister of Justice for Charles V and father of Cardinal Antoine Perrenot de
Granvelle.
Thus, there is evidence that suggests that the naming of the Coronacin on the t.p. of the
Trescientas indicates that the imprints form a set of two volumes corresponding to the two main
works for which Mena was "el famosissimo poeta." These separate imprints were either from the
same year or from the same printer, but left the possibility for separate sale. Copies in
sixteenth-century bindings may well indicate that the imprints were bought/sold together, as
well as bound together. In terms of the business motivation for the difference in years for the
1517/1520 editions, perhaps it indicates either an increase in sales of Las trezientas or a slowing
of sales of La coronacin after Cromberger's 1512 editions, leading him to republish only Las
.CCC. in 1517, as he still had sufficient stock of the 1512 Coronacin.83
It is not just from Cromberger that editions of Mena's two main works appeared either in
the same year but with separate imprints , or within a very few years (the case with
Cromberger's 1517/1520 editions). That they are separate is indicated by a colophon at the end
of Las trezientas, a separate t.p. for La coronacin, with its own separate foliation and separate
signing, beginning the sequence again without having come to the end of the alphabet (e.g., a-n 8
a-b8 c10 in the case of Varela's 1528 edition [M31-32]). In addition, these coordinated editions
are often found bound together, but are also found bound separately: Sevilla: Cromberger 1512
(M22-23) and 1517/1520 (M27, 30); Sevilla: Juan Varela 1528 (M31-32) and 1534 (M33-34);
Valladolid: Juan de Villaquirn 1536 (M35-36) and 1540 (M37-38), and the 1547-8 edition from
Toledo: Fernando de Sancta Catalina defuncto (M39). The latter is signed and foliated separately, with a separate t.p. for La coronacin, and separate dates (15 December 1547 in the
colophon of the Trezientas and 1548 on the t.p. of Coronacin) but does not appear in current
catalogs as bound separately . With the editions of 1552 onward (M40-45, M47), the two main
text units were integrated in terms of pagination or foliation and signing, even though La
coronacin retained a separate t.p. throughout the 16 th century.
The structure of the contents of the 1552 editions is presented in Appendix IV.

83

If this is the case, one expects to find combinations of 1517/1512 bound together.

Brocato CAS 62
Cancionero-type Compilations

Zaragoza: Coci, 1506

1:

Glosa sobre las trezientas

2:

El labyrinto [i.e. Las trezientas, w. the commentary of Fernando Nez de Guzmn

3:

Comiena la coronacion compuesta por el famoso poeta Juan de mena

4:

Siguense las coplas que hizo el famoso Juan de mena contra los pecados mortales

5:

Siguense los diez mandamientos [et] los siete pecados mortales con sus virtudes

contrarias: [et] las quatorze obras de misericordia temporales y espirituales: y en breue

trobadas por fray Juan de cibdad rodrigo frayle de la orden de santa maria de la merced
6:

De las justas de la razon contra la sensualidad... compusolo fray Yigo de mendoa

indigno frayle menor de obseruancia de sant Francisco

7:

Esta obra hizo san pedro y llamase desprecio de la fortuna

8:

Este dezir muy gracioso [et] sotilmente hecho [et] discretamente fundado hizo y ordeno

Fernan perez de guzman por contemplacion de los emperadores reyes [et] principes [et] grandes
seores que la muerte cruel mato y leuo deste mundo [et] como ninguno no es reuelado [sic por
releuado] della
Later editions remove the last poem of Fernn Prez de Guzmn.

Alcal: Villanueva y Robles, 1560? and 1566 (both issues)

1.

Glosa sobre las trezientas

2.

el Laberyntho de Juan de Mena

3.

la Coronacion compuesta por Juan de Mena

4.

las Coplas que hizo Juan de Mena contra los siete pecados mortales

5.

Los diez mandamientos y los siete pecados mortales con sus virtudes contrarias, por

Juan de Ciudad Rodrigo

6.

La historia de la question y differencia que ay entre la razon y sensualidad, sobre la

felicidad y bienauenturana humana, compusolo Yigo de Mendoa

7.

Desprecio de la fortuna, hecha por sant Pedro

Cromberger Editions
Las .CCC.
1:

Las trescientas with Nez commentary [2 cols]

Brocato CAS 63
2:

Carta de Juan de mena: La lumbre se recogia [4 cols]

3:

Otras suyas: [precedes each new poem; 3 cols]

4:

El sol clarescia los mtes acayos

5:

Al fijo muy claro de ynerion [sic: Hyperion]

6:

Canci que hizo Juan de mena estando mal: Donde yago en esta cama

7:

Canci d[e] Ju de mena: O quien visto nos oviesse

8:

Canci que hizo el rey don Juan nuestro seor que dios aya: Amor nunca pense

9:

Ju de mena al rey don Juan qudo salio de Madrigal contra el pripe que venia de
Areualo: [et] quedaron en cortes: Santa paz santo mysterio [debate w/Juan II with both
parts printed as one poem]

10:

Cancion d[e] Juna de mena: Oyga tu merced y crea

11:

Juan de mena: cuydar me haze cuydado

Coronacin
1:

Coronacin con glosa

2:

Coplas que fizo Juan de mena sobre vn macho que compro de vn frayle

Note that Cromberger does not include the Coplas de los siete pecados mortales.

Snchez de la Brozas Edition

1. El Labyrintho
2. Siguese veinte y quatro aadidas a las trecientas
3. La Coronacin
4. Claro escuro de Juan de Mena (El sol clarecia los montes Acayos)
5. Otros suyas: Ya el hijo muy claro de Hyperion
6. Sobre un macho que compr de un Arcipreste
7. Cancion del Rey don Juan: Amor yo nunca pens
8. Juan de Mena al Rey don Juan quando salio de Madrigal . . .: Santa paz, santo misterio
9. Decidme qual es la cosa milagrosa
10. Que es el cuerpo sin sentido
11. Coplas contra los siete pecados

Brocato CAS 64
A PPENDIX IV: C OMPARISON OF THE C ONTENTS OF THE 1552 E DITIONS
Nucio

Steelsio

Todas las obras del famosissimo poeta Iuan de Mena

Las trezientas d'el famosissimo poeta Ivan de Mena,

con la glosa del comendador Fernan Nuez sobre las

glosadas por Fernan Nuez, Comendador de la orden de

trezientas: agora nueuamente corregidas y

Sanctiago. Otras XXIIII. Coplas suyas, con su glosa. La

enmendadas. En Anvers. En casa de Martin Nucio.

Coronacion compuesta y glosada por el dicho Iuan de

Con priuilegio Imperial de cinco aos. An.M.D.LII.

Mena. Tratado de vicios y virtudes, con otras Cartas y

Coplas, y Canciones suyas. Todo con exquisita
diligencia corregido, y emendado de infinitos errores,
allende de otras qualquier impressiones: aadidas de
nueuo dos tablas. vna de las coplas, otra de las materias
principales, declaradas por todo el discurso delos
Commentarios. En Anvers, En casa de Iuan Steelsio.
M. D. LII. Con Priuilegio Imperial.

A-Vv 8

8 A-Iii 8

8 o 345 numbered ff.; 15.5 cm.

8 o [32], 830, [34] p. Headlines; pagination begins with

Colophon (345v): "DEO GRATIAS"

Labyrintho on B1, ends on p. 830 (foliation and signatures of .CCC. and Coronacin are continuous). Colophon (830): Fin delas obras de Iuan de Mena.
Colophon (Iii8v): "Fue impresso en Anuers por Iuan
Lacio."
1: El Priuilegio. (t.p. verso)
2: Al muy Magnifico y muy reverendo Senor [sic], el S.
Gonalo Perez, Arcediano de Sepulueda, y secretario
del muy alto, y muy poderoso Seor, don Phelipe ,
principe de Espaa, &c. y seor nuestro. [2r-3v]]
3: Tabla de todas las Coplas de Iuan de Mena. [4r-A7r]

1: Glosa sobre las Trezientas del famoso poeta Iuan de

4: Glosa sobre las Trezientas del famoso poeta Iuan de

Mena, compuesta por Fernand Nuez Comendador dela

Mena, cpuesta por Fernan Nuez, Comendador dela

orde[n] de Santiago (Nuezs prologue)

orden de Sanctiago . . . Prologo [A7v-A8v]

2: El Labyrintho de Iuan de Mena Poeta Castellano

5: Comiena el Labyrintho de Iuan de Mena Poeta

Castellano

3: Siguense veynte y quatro coplas

4: Sigue[n]se vnas Coplas aadidas nueuamente del
muy famoso Poeta Iuan de Mena: Carta de Iuan de
Mena. La lumbre se recogia
5: Otras svyas. El sol esclarecia los montes Acayos

6: Siguense .xxiiii. coplas ... aadidas

Brocato CAS 65
6: Otras svyas. Al hijo muy claro de Hyperion
7: Cancion qve hizo Ivan de Mena estando malo. Donde

7: Coplas que hizo Iuan de Mena, sobre vn macho que

yago enesta cama

compro de vn frayle.

8: Cancion de Ivan de Mena O quien visto nos ouiesse

8: La Coronacion compuesta y glosada por el famoso

poeta Iuan de Mena, dirigida al illustre cauallero don
Yigo Lopez de Mendoa, marques de Santillana.
Tractado de vicios y virtudes, come[n]ado por Iuan de
Mena, acabad oy [sic] glosado por fray Ieronymo de
Oliuares, cauallero dela orden de Alcantara, con otras
cartas, y coplas, y canciones suyas. [printers device:
res parvae crescunt concordia] En Anvers. En casa de
Iuan Steelsio. M. D. LII. Con Priuilegio Imperial.
[Rr1r]

9: Cancion qve hizo el rey Don Iuan nuestro seor que

9: Comiena la Coronacion, compuesta por el famoso

dios aya. Amor nunca pense

poeta Iuan de Mena, al illustre cauallero don Yigo

Lopez de Mendoa, marques de Santillana. Prologo.

10: Ivan de Mena al rey don Iuan quando salio de Mad-

10: Tratado de vicios y virtudes, hecho por Iuan de

rigal contra el principe qt venia de Areualo: y quedarot

Mena, glosado y acabado por fray Ieronymo de

en cortes. Santa paz santo mysterio [dialogue:

Oliuares, cauallero dela orde de Alcantara.

Respvesta del rey. -- Mena.]

11: Cancion de Ivan de Mena. Oyga tu merced y crea

11: Hasta aqui llego Iua[n] de Mena con esta su obra, la

qual el dicho fray Ienymo [sic] igualo en coplas, y
corrigio el estilo. Y agora tracta delos otros tres vicios
que quedaron por hazer, quando Iuan de Mena murio,
y hablando sobre su muerte, dize assi.

12: Ivan de Mena. Cuydar me haze cuydado

12: Coplas aadidas nueuamente alas obras del muy

famoso poeta Iuan de Mena. [Carta de Iuan de Mena:
La lumbre se recogia

13: Comiena la co ronacion: compuesta por el famoso

13: Otras suyas El Sol esclarecia los montes Acayos

Poeta Iuan de Mena al ilustre cauallero don Yigo

Lopez de Mendoa Marques de Santillana.
14: Coplas que hizo Iua[n] de Mena sobre vn macho

14: Otras suyas al hijo muy claro de Hyperion

que compro de vn frayle.

15: Tractado de vicios y virtudes hecho for Iua[n] de

15: Cancion que hizo Iuan de Mena estando mal.

Mena, glosado y acabado por fray Ieronymo de

Oliuares, cauallero dela orden de Alcantara.
16: Hasta aqui llego Iuan de Mena con esta su obra, la

16: Cancion de Iuan de Mena. O quien visto nos

Brocato CAS 66
qual el dicho fray Ieronymo ygualo en coplas y corrijo el

ouiesse,

estilo.
17: Cancion que hizo el rey Don Iuan nuestro seor, que
dios aya. Amor nunca pense
18: Iuan de Mena al rey don Iuan, quando salio de
Madrigal contra el principe que venia de Areualo, y
quedaron en cortes.
19: Cancion de Iuan de Mena. Oyga tu merced y crea,
20: Iuan de Mena. Cuydar me haze cuydado
21: Tabla Alphabetica , de muchos apellidos y nombres,
assi de personas particulares, como de gentes y
naciones, pueblos, montes, villas, lugares, rios, y de
otras cosas algo notables, contenidas enlos
commentarios sobre las obras del famoso poeta Iuan de
Mena. [Ggg8r-Iii8r]
22: Las faltas qve se cometieron enla impression deste
libro, corregiras primero quelo leas, enesta manera.
[Iii8v]

Brocato CAS 67
A PPENDIX V: I LLUSTRATIONS
1. Mena, Coronacion (M3) (Toulouse: Juan Parix y Esteban Clebat, 1489), f. ix r (text with
commentary on two sides).
2. Mena, Las .CCC. del famosissimo poeta juan de mena c glosa (M8), (Sevilla: Ympressos c
mucha dilige[n]cia y correci por Jones pegnizer de Nurenberga y magno y Thomas cpaeros
alemanes, 1499 August 28), f. viir (text with commentary on three sides, and printed marginalia)
3. Mena, Copilacion de todas las obras del famosissimo poeta Juan de mena (M31) (Sevilla: Juan
Varela, 1528 May 20), t.p. (two colors)
4. Mena, Copilacion (M31) (Sevilla: Juan Varela, 1528 May 20), f. 104 r (courtly poetry in three
columns; calderones)
4a. Mena, Copilacion (M31) (Sevilla: Juan Varela, 1528 May 20), f. 29 r (text and commentary in
two columns; decorative initials; calderones; specific running head)
5. Mena, Coronacion, "Tratado de vicios y virtudes..." (M32) (Sevilla: Juan Varela, 1528 May
20), f. 22 v
5a. Mena, Coronacion, "Tratado de vicios y virtudes..." (M32) (Sevilla: Juan Varela, 1528 May
20), f. 25v (text in four columns; calderones; indications of revision, ")(" means that Olivares
polished the style)
6. Mena, Copilacion (M31) (Sevilla: Juan Varela, 1528 May 20), examples of calderones
7. Guevara, Libro aureo... ([Rome: Antonio Blado], 1531), t.p.
8. Guevara, Libro aureo... ([Rome: Antonio Blado], 1531), A1 v-A2 r, combination of roman and
gothic fonts.
9. Guevara, Libro aureo ... (Alcala de Henares: en casa de Sebastian Martinez, 1566), t.p.
10. Guevara, Libro aureo ... (Alcala de Henares: en casa de Sebastian Martinez, 1566), A3 v-A4 r,
combination of roman and gothic.
11. Erasmus, Apothegmas ... (Antwerp: Martinus Nutius, 1549), t.p.
12. Erasmus, Apothegmas ... (Antwerp: Martinus Nutius, 1549), ()2r , Index of proper nouns
13. Erasmus, Apothegmas ... (Antwerp: Martinus Nutius, 1549), a1 r, [Preface]
14. Erasmus, Apothegmas ... (Antwerp: Martinus Nutius, 1549), 5 v -6 r , running head for
individual.
15. Erasmus, Apothegmas ... (Antwerp: Martinus Nutius, 1549), 150v -151r , running head for
group.
16. Erasmus, Apothegmas ... (Antwerp: Martinus Nutius, 1549), 167 r, subject index.
17. Libro aureo ... (Antwerp: Joannes Steelsius, 1550), t.p., 12mo.
18. Libro aureo ... (Antwerp: Joannes Steelsius, 1550), &8 r , subject index.
19. Libro aureo ... (Antwerp: Joannes Steelsius, 1550), &12 r , colophon.
20. Libro aureo ... (Antwerp: Joannes Steelsius, 1539), t.p., 8 o , note "I.G." in woodcut decorative
frame/border.

Brocato CAS 68
20a. Libro aureo ... (Antwerp: Joannes Steelsius, 1539), 171r , colophon, "I.G." is "Iuan
Grapheus."
21. Libro aureo ... (Antwerp: Martinus Nutius, 1550), t.p., 8 o.
22. Libro aureo ... 3 vols. (Antwerp: Martinus Nutius, 1550), I: A2r , table of contents of Libro
primero.
23. Libro aureo ... (Antwerp: Martinus Nutius, 1550), I: 37r , beginning of text of Libro primero,
with commentary on edition.
24. Libro aureo ... (Antwerp: Martinus Nutius, 1550), III: Hh4r , table of contents for Libro
tercero, with commentary on edition.
25. Seplveda, Romances ... (Antwerp: Martinus Nutius, 1550?), t.p., 12mo.
26. Seplveda, Romances ... (Antwerp: Martinus Nutius, 1550?), A3v -A4r , index of first lines; *
indicates additional ballads.
27. Seplveda, Romances ... (Antwerp: Joannes Steelsius, 1551), t.p., 12mo.
28. Seplveda, Romances ... (Antwerp: Martinus Nutius, 1550?), Y7v -Y8 r , index of first lines.
29. Mena, Obras ... (Antwerp: Martinus Nutius, 1552), t.p.
30. Mena, Obras ... (Antwerp: Martinus Nutius, 1552), A1v -A2r , beginning of Nez's commentary.
31. Mena, Obras ... (Antwerp: Martinus Nutius, 1552), A4r , beginning of Laberinto.
32. Mena, Trezientas ... (Antwerp: Joannes Steelsius, 1552), t.p.
33. Mena, Trezientas ... (Antwerp: Joannes Steelsius, 1552), *1v -*2r , dedication to Gonzalo Prez.
34. Mena, Trezientas ... (Antwerp: Joannes Steelsius, 1552), *4 r , index of first lines (of all the
strophes, not just of all the poems).
35. Mena, Trezientas ... (Antwerp: Joannes Steelsius, 1552), A2 r , beginning of Laberinto with
marginal guide letters for index of the commentaries.
36. Mena, Trezientas ... (Antwerp: Joannes Steelsius, 1552), Ggg8 r , subject index with the page
number and letter for the segment of the page.
37. Mena, Trezientas ... (Antwerp: Joannes Steelsius, 1552), Iii8 v , errata and colophon.
38. El Cavallero determinado ... (Antwerp: Joannes Steelsius, 1555), t.p., compare device to that
of ill. 63.
39. El Cavallero determinado ... (Antwerp: Joannes Steelsius, 1555), A5 r , dedication to Charles
V.
40. El Cavallero determinado ... (Antwerp: Joannes Steelsius, 1555), f. 12v , first illustration
(forms an opening with 41).
41. El Cavallero determinado ... (Antwerp: Joannes Steelsius, 1555), f. 13 r , beginning of poem
(forms an opening with 40).
42. El Cavallero determinado ... (Antwerp: Joannes Steelsius, 1555), 115 v , octava real of Luis de

Brocato CAS 69
Ziga.
43. Cieza de Len, Crnica del Per ... (Antwerp: Joannes Steelsius, 1554), t.p.
43a. Cieza de Len, Crnica del Per ... (Antwerp: Jean Bellre, 1554), map (tipped in at A8 v,
folded).
43b. Cieza de Len, Crnica del Per ... (Antwerp: Jean Bellre, 1554), map (tipped in at A8 v,
unfolded)
44. Cieza de Len, Crnica del Per ... (Antwerp: Joannes Steelsius, 1554), 171v , illustration
(compare to 45 and 50).
45. Cieza de Len, Crnica del Per ... (Antwerp: Joannes Steelsius, 1554), 216 r , illustration
(compare to 44 and 50).
46. Cieza de Len, Crnica del Per ... (Antwerp: Joannes Steelsius, 1554), 264 v, unique
illustration.
47. Cieza de Len, Crnica del Per ... (Antwerp: Joannes Steelsius, 1554), [286]r , subject index
by chapter (which are not indicated in the running heads).
48. Cieza de Len, Crnica del Per ... (Antwerp: Joannes Steelsius, 1554), [294]v , errata and
colophon.
49. Augustn de Zrate, Historia ... del Per ... (Antwerp: Martinus Nutius, 1555), t.p.
50. Augustn de Zrate, Historia ... del Per ... (Antwerp: Martinus Nutius, 1555), 19v, illustration (compare to 44 and 45).
51. Lpez de Gmara, Historia general de las Indias ... (Antwerp: Martinus Nutius, 1554), t.p.
52. Lpez de Gmara, Historia general de las Indias ... (Antwerp: Martinus Nutius, 1554), 6 v-7 r,
first chapter (note lack of chapter numbers).
53. Lpez de Gmara, Historia general de las Indias ... (Antwerp: Martinus Nutius, 1554), 288 r,
illustration ("vaca corcobada;" compare to 58)
54. Lpez de Gmara, Historia general de las Indias ... (Antwerp: Joannes Steelsius, 1554), t.p.
55. Lpez de Gmara, Historia general de las Indias ... (Antwerp: Joannes Steelsius, 1554), A6 r,
beginning of index (by chapter numbers; no table of contents and no specific running heads)
56. Lpez de Gmara, Historia general de las Indias ... (Antwerp: Joannes Steelsius, 1554), B8 r,
index by chapter numbers.
57. Lpez de Gmara, Historia general de las Indias ... (Antwerp: Joannes Steelsius, 1554),
B8v -A'1r , errata, colophon, and beginning of text.
58. Lpez de Gmara, Historia general de las Indias ... (Antwerp: Joannes Steelsius, 1554),
275v , illustration ("vacas corcobadas;" compare to 53).
59. Lpez de Gmara, Historia de Mxico ... (Antwerp: Joannes Bellerus, 1554), t.p.
60. Lpez de Gmara, Historia de Mxico ... (Antwerp: Joannes Bellerus, 1554), 349 v, index
signed by Bellre.
61. Lpez de Gmara, Historia de Mxico ... (Antwerp: Joannes Bellerus, 1554), Yy8 v , errata and

Brocato CAS 70
colophon.
62. Mena, Trezientas ... (Antwerp: Steelsius, 1552), 604-605, running head for "Coplas . . . sobre
un macho," marginal guide letters to zones in commentary on 604.
63. Calvete de Estrella, Viaje ... (Antwerp: Martinus Nutius, 1552), t.p. (compare device to 38).
64. Calvete de Estrella, Viaje ... (Antwerp: Martinus Nutius, 1552), A8 v , engraving of triumphal
arch.
65. La Ulyxea ... (Antwerp: Joannes Steelsius, 1552), t.p.
66. La Ulyxea ... (Antwerp: Joannes Steelsius, 1552), A2r , dedication to Philip II.
67. La Ulyxea ... (Antwerp: Joannes Steelsius, 1552), A8 v -B1r , beginning of text (summary and
poem).
68. La Ulyxea ... (Antwerp: Joannes Steelsius, 1552), Kkk8 v, errata.
69. Libros de ... Cicern ... (Antwerp: Joannes Steelsius, 1549), t.p.
70. Libros de ... Cicern ... (Antwerp: Joannes Steelsius, 1549), 112 r , text with marginal gloss (see
71).
71. Libros de ... Cicern ... (Antwerp: Joannes Steelsius, 1549), *2r , subject index (see 70).

Brocato CAS 71
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Library of Congress and the National Union Catalog Subcommittee of the Resources Committee
of the Resources and Technical Services Division, American Library Association.
National Union Catalog, pre-1956 imprints. London: Mansell, 1968-81.
Martn Abad, Julin. Post-incunables ibricos. Madrid: Ollero & Ramos, 2001.
Norton, F. J. A descriptive catalogue of printing in Spain and Portugal, 1501-1520. Cambridge
and New York: Cambridge University Press, 1978.
Peeters Fontainas, Jean. Bibliographie des impressions espagnoles des Pays-Bas Meridionaux.
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Palau y Dulcet, Antonio. Manual del librero hispano-americano; bibliografa general espaola
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Brocato CAS 73
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