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(1950), 223-245. [See Girodon, above, and our 1952-L] Comedia—Performances Miscellaneous. Los estudiantes. A history of the interlude. Presented by Professor Ernesto Giménez Caballero, Madrid. Including Juan del Encina, El aucto del Repelón, Cervantes, La cueva de Salamanca, Ramón de la Cruz, El maestro de rondar, and Ricardo de la Vega, Pepa la frescachona o el colegial desenvuelto.—Spanish Cultural Index, No. 87 (Apr. 1, 1953), 371. Don Juan Theme. La moglie dì Don Giovanni play in three acts by Carlo Terrón, performed for the first time in Turin by the Company of the "Nómadas," May 5, 1953. —Teatro (Madrid), No. 7 (May, 1953), 75-76. Calderón de la Barca. Auto sacramental, La cena del rey Baltasar, performed at the Pius Palace Auditorium, Vatican City, at the Feast of the Ascension of our Lord, by the Lope de Vega Company, directed by José Tamayo. With the accompaniment of the Sistine Chapel Choir and the corps de ballet of the Rome Opera House.—Spanish Cultural Index, No. 89 (June 1, 1953), 630631 . Calderón de la Barca. La Dévotion à la Croix. Pièce en 3 journées. Texte français d'Albert Camus. "Marcel Herrand ... a choisi d'en donner trois représentations, cette année, à l'occasion du Festival d'art dramatique qu'il organise dans la court du château d'Angers."—Gallimard, Bulletin, Aug., 1953. Calderón de la Barca. Auto sacramental, El gran teatro del mundo, in the repertory of the Dettweiler (Lower Alsatia) Catholic Club.—Spanish Cultural Index, No. 86 (Mar. 1, 1953), 314. Calderón de la Barca. Das grosse Welttheater . Performance announced for the 1952-1953 season, Landestheater Salzburg. Calderón de la Barca. Auto sacramental, No hay más fortuna que Dios, performed by the Teatro Nacional de Educación y Descanso , under the direction of Piai Enciso Pellico, in the Gardens of the National Palace, Madrid.—A B C, June 28, 1953, p. 63. Rojas, Fernando de. La Celestina, adapted by Corrado Alvaro, performed in the Piccolo Teatro di Genova, directed by Camillo Pilotto, December 6, 1952.—// Dramma, Nos. 170-171-172 (Jan. 1, 1953), 112. Tirso de Molina. Don Gil de las calzas verdes, directed by Luis González Robles, under the auspices of the Ministerio de Informaci ón y Turismo, in the Gardens of the National Palace, Madrid, July 10, 11, 12, 1953. More on Lopean Chronology by Courtney Bruerton, Cambridge, Mass. In 1940 there was published in Seville a little book of 106 pages: Teatros y comediantes sevillanos del siglo XVI. Estudio documental por Celestino, López Martínez. I do not know when it reached American libraries during the war years; I know only that Mr. Thornton Wilder, who had seen it in the Library of Congress, called it to my attention in 1950. Many comediantes may be thoroughly acquainted with the book; but, since it has some interesting and important material with regard to Lope, it seems desirable that none should fail to know what it contains. Like the work of Pérez Pastor and F. B. de San Román, it is based on the documents of notaries, but is different in one respect: the author does not print the documents, he merely summarizes them, occasionally quoting . Rennert and Castro (Vida de Lope de Vega, p. 161) were not sure when Lope returned from Seville in 1604. López Martínez shows, by a document of July 28, 1604 (p. 39), that Lope was then still in Seville but on the point of leaving. The most important new information 30 furnished, however, deals with chronology. On page 31, López Martínez notes that in 1588 (and quite evidently towards the end of that year), Gaspar de Porres authorized the Sevillian autor, Mateo de Salcedo, to perform in Granada, on or after January 6 (1589?) two plays by Lope with which Porres had had success: Los celos de Rodamonte and Las ferias de Madrid. It may be recalled that the MS copy of El trato de la corte y ferias de Madrid in the Biblioteca de Palacio is dated Granada, January 17, 1589. Thus López Martinez...


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