[104] Pedro Jozé Suppico de Moraes, Collecção politica de apothegmas, ou ditos agudos, e sentenciosos (Coimbra, 1761), Parte 1., pp. 337-338.

[105] Zamora’s arrangement of Calderón’s auto entitled El pleito matrimonial was played at the Príncipe theatre in Madrid on the Feast of Corpus Christi, 1762.

[106] Philip IV. is usually described as a man of artistic tastes, but the evidence does not altogether support this view. For instance, on February 18, 1637, at a poetical improvisation in the Buen Retiro, Philip set Calderón and Vélez de Guevara the following subjects:—(1) ‘Why is Jupiter always painted with a fair beard?’ (2) ‘Why are the waiting-women at Court called mondongas, though they do not sell mondongo (black-pudding)?’ Time did not improve Philip. Some twenty years later, according to Barrionuevo, Philip arranged that women only should attend a certain performance at the theatre, and gave instructions that they should leave off their guardain-fantes on this occasion. His idea was to be present with the Queen, and (from a spot where he could see without being observed) watch the effect when a hundred mice were suddenly let out of mice-traps in the casuela and patio—‘which, if it takes place, will be worth seeing, and a diversion for Their Majesties.’ Owing (apparently) to remonstrances which reached him, Philip was compelled to abandon the project, but his intention gives the measure of his refinement. See an instructive article, entitled Los Jardines del Buen Retiro, by Sr. D. Rodrigo Amador de los Rios in La España Moderna (January 1905); and the Arisos de D. Jerónimo to de Barrionuevo (1654-1658) edited by Sr. D. Antonio Paz y Mélia (Madrid, 892-93), vol. ii, p. 308.

[107] It may be worth noting that the date of Pereda’s birth is wrongly given in all the books of reference, and he himself was mistaken on the point. He was born on February 6, 1833, and not—as he thought—on February 7, 1834.

INDEX