^{Note 1 in page 50} La erudiciôn espanola en el siglo XVII y el cronisla de Aragon Andrés de Uztarroz (Madrid, 1950), p. 866. See also pp. 805 and 873. Latassa's three-volume manuscript notes are preserved in the Biblioteca Publica de Huesca and were examined by del Arco.

^{Note 2 in page 50} I am indebted to the Wellesley College Library for a microfilmed copy of the entire manuscript and for permission to print portions of it, and to the Research Committee of Texas Technological College for defraying the cost of the microfilm. To Miss Hanna D. French, Research Librarian of the Wellesley College Library, and her assistant, Mrs. Hazel C. Godfrey, I am especially grateful for their kindness in checking folio numbers and dates of the individual poems in the original manuscript.

^{Note 3 in page 50} See Revue Hispanique, LXXVI (1929), 346–359.

^{Note 4 in page 50} A comparison of the handwriting, especially the signature, of this letter with that which appears in the dedicatory inscription on a photograph printed by Carlos Sanz (as the frontispiece to Henry Harrisse, “Principe de los america-nistas,” Madrid, 1958) proves that the writer of the letter was the historical bibliographer Henry Harrisse (1829-1910). He was the author of the famous Bibliotheca A mericana Vetustis-sima, New York, 1866; of the Excerpta Colombiana, Paris, 1887; and of other volumes dealing with the discovery of the New World, with Christopher Columbus, and with the library of don Fernando Colon.

^{Note 5 in page 50} Uztarroz may have wished to fill these blank leaves with poems by his friends, as he did on fols. 11, 12, 18, 28, 35, 52, 60, 62, 69, 93, and 187. However, in referring to another manuscript in which he had written only on one side of the leaf, Uztarroz explains as follows: “Escrito en hojas sueltas solamente por la haz, para poderse enmendar con facilidad y con menos cansancio.” Quoted from del Arco, La erudition espanola, p. 45.

^{Note 6 in page 51} Concerning the handwriting of Uztarroz, see del Arco, La erudition espanola, p. 851: “Su letra menuda, metida, de bastante correcta ortografia, es bien de erudito y escritor copioso.”

^{Note 7 in page 51} One of these volumes, the biography of Jeronimo Zurita, was published posthumously by Diego Dormer with the title Progresos de la Historia en el Reyno de Aragon, y elogios de Gerônimo Zurita, su primer Coronista (Zaragoza, 1680). The manuscript of the remaining Elogios is preserved in the library of the Real Academia de la Historia. See del Arco, La erudition espanola, p. 874, note 42; and Gallardo, Ensayo, I, 198.

^{Note 8 in page 51} In transcribing these poems I have expanded the abbreviations and modernized the punctuation and accentuation.

^{Note 9 in page 52} Marginal note of the MS: “valadre, voz catalana que signifka adelfa. Véase a Laguna.”

^{Note 10 in page 52} See del Arco, La erudicion espanola, pp. 642, 687.

^{Note 11 in page 52} An engraving of this emblem is given by del Arco, La erudicion aragonesa en el sigh XVII en tomo a Lastanosa (Madrid, 1934), p. 40. See also p. 8: “… la empresa de Lastanosa que es el Ave Fénix sobre la hoguera, y el lema Vetuslate fidget.”

^{Note 12 in page 53} See Adolphe Coster, Baltasar Graciân, Traducciôn y notas de Ricardo del Arco (Zaragoza, 1947), pp. 56–64. The first two letters sent by Salinas to Graciân, and the Iatter's answer to the second one, are transcribed in Appendix i, pp. 333–340. See also A. Bonilla y San Martin, “Un manuscrito inédito del siglo XVII con dos cartas autografas de Baltasar Graciân,” Résista crîtica hispanoamericana, n (1916), 123–127. A more recent appraisal of the disagreement is given by E. Correa Calderon, Baltasar Graciân (Madrid, 1961), pp. 86–98.

^{Note 13 in page 53} This letter and the one following are quoted from José M. Blecua, Cartas de Fray Jerônimo de San José al Cronista Juan F. Andrésde Ustarroz (Zaragoza, 1945), pp. 110–112.

^{Note 14 in page 53} For the relationship between this dispute and the coincidental denunciation of Graciân for having published books without the authorization of his Order, see the discussion by M. Romera-Navarro in his edition of El Criticon (Philadelphia, 1938–40), in, 180–181, note 43. See also Miguel Batllori, Graciân y el barroco (Rome, 1958), pp. 85–100; and Correa Calderon, Baltasar Graciân, pp. 99–116.

^{Note 15 in page 53} See my forthcoming article entitled “An Unpublished Poem by Andrés de Uztarroz Honoring Lastanosa's Dacty-liotheca,” in Homage to Charles Blaise Qualia, Texas Technological College Press, 1962.

^{Note 16 in page 53} Uztarroz also used the pseudonym of “el Encandilado.”

^{Note 17 in page 54} El Crilicôn, ed. Romera-Navarro, II, 149. Editor's note: “Poco feliz anduvo el autor en sacar una pluma del girasol, aunque bien ahora en comparar la pluma del historiador con esta planta, cuya flor se va tornando hacia donde el sol camina, buscando siempre la luz.” See also Correa Calderon, Baltasar Graciân, p. 96: “Graciân pone al margen … El doctor Juan Francisco Andrés, y escribe en el texto unas palabras enigmâticas que pueden considerarse como un elogio.”

^{Note 18 in page 54} Uztarroz also refers to his emblem in Entremis del Antruejo … (fol. 236) “La Empresa que alii descubro, / de Clice y del rubio Febo, / de la luz que sigue amante/dice el amoroso incendio.”

^{Note 19 in page 55} Altivez replaces liviandad, which was crossed out by the author.

^{Note 20 in page 55} Cierto replaces en ella.