This “virtualexhibition ” aims to highlight the influence of the Renaissance on printed books in Navarre, specifically from 1501—marking the end of the incunabula period—through the early 17th century, when the Baroque era emerged. This purpose features representative book covers that illustrate the predominant typographic trends of this period.

The aesthetic purity and technical quality demonstrated by Miguel de Eguía, a printer in Estella in 1546, and his successor, Adrián de Amberes, who was active between 1547 and 1568, would diminish as the century progressed, as evidenced by the printers who followed them: Tomás Porralis de Saboya, who succeeded Amberes as head of the printing house and was active between 1569 and 1591; Pedro Porralis, who took over from his father and was active between 1591 and 1596; and finally Matías Mares, who married the widow of Tomás Porralis and continued his work into the 17th century, specifically until 1609. 

It is evident, in fact, that the printers who worked continuously in Navarre during the second half of the 16th century trace their origins and continuity to the workshop established in Estella in 1546 by Miguel de Eguía. The exception is Andrés de Borgoña, who was active between 1587 and 1588 and failed in his attempt to open another printing press in the Kingdom of Navarre. 

 
Itúrbide, *The Books of a Kingdom*, 2015, p. 60.

Incunabula—books printed from the invention of the printing press, around 1450, until 1500—like their predecessors, the codices (handwritten books), did not have a title page in their early days and, like the codices, might instead feature a brief incipit, with a rudimentary “ degree scroll,” and an explicitus —“colophon”—where the scribe would sometimes record his “ work,” the date of completion, and some reflection on the satisfaction he felt at having completed the task. 

The great innovation of the “wonderful new art of writing” lay in the fact that, while a manuscript was a unique work—and therefore exclusive and expensive—a printed work had hundreds of copies, which meant it reached a wider audience and was less expensive.

 
Incipit of the provincial constitutions of the Province of Cesaraugusta. Pamplona, Arnao Guillén de Brocar, 1501. 222 pages, two excellent woodcut engravings signed with the initials “I.D.,” depicting the Crucifixion and the Resurrection of the Dead. Folio. A two-color print by the “ Issue .” Texts are in Latin, with the exception of the “Tractatus sacramentorum et de confessione,” which appears in “ Spanish.” The * Issue * includes the Provincial Constitutions of Zaragoza —with their own pagination—the Synodal Constitutions of the Diocese of Pamplona, the *Tractatus sacramentorum et de confesione*, and the *Tractatus de restitutionibus domini Antonini archiepiscopus fiorentini* —with shared pagination for these four texts—; it is therefore a composite “ Issue ,” as it brings together or binds separate printed works. Copy: Pamplona Cathedral Library.

This is the last book that Brocar printed in Pamplona before moving his business to Logroño. As is well known, printed works dating from before 1500 are considered incunabula; therefore, these Constitutions fall outside that time frame, since the colophon indicates that they were completed on August 7, 1501. Consequently, it belongs to the post-incunabula period, during which certain formal aspects of incunabula persisted.

Although it has a rudimentary title page—consisting solely of the work’s degree scroll : “Constitutiones provinciales provincie cesaraugustane,” placed in the center of the blank page and printed in “letra colorada” (red ink)—the incipit appears at the beginning of the main text with the same data: “Incipit constitutiones provinciales provincie cesaraugustane.”

Also in the style of the codices, the printing details appear at the end of the text, in the colophon or explicit, where, after listing the works it contains, it states: “Impresse per magistrum Arnaldum Guillermum de Brocario, In regali civitate pampilonensi. Anno Domini Mil CCCCCI [1501] die septima mensis augusti,” and where the printer expresses his joy at having completed the work: “Feliciter finiuntur.”

As in the codices, here the red ink highlights relevant content: the incipit is set in a larger typeface than the rest of the work; the capitular letters—initials or capital letters—are ornate; throughout the text, the typeface is Gothic, arranged in two columns; and, of course, the * Issue * is in folio format. All these features are derived from the precious manuscripts that predate the printing press. 

References

Catalog description and digital edition: Biblioteca Navarra Digital (BiNaDi)

  
Alfonso López de Soto. *Antidotus contra Venerem ex sacrarum literarum Arcanis, & ex philosophorum ac poetarum libris excerpta cum argumento, & scholiis eam illustrantibus*. Estella, Miguel de Eguía, 1546. 80 pages, quarto format.

Half a century after the advent of the printing press and its rapid spread throughout Western Europe, the book had already taken on a distinct identity of its own—one that was largely popularized by the Venetian Aldo Manucio. It was now a manageable size, smaller than the voluminous codices and most incunabula, and it used new typefaces: Roman letters—which were round in civil service examination , unlike Gothic ones—and italics—also known as bastard, griff, or cursive. Furthermore, due to legal requirements and also the interests of authors and publishers, it is accessed through a “gateway”—the title page—which occupies the first page. Here, for the knowledge of the reader and also of the authorities responsible for book regulation, the degree scroll and its author are listed, along with the place of printing, the year, and the name of the printer, who was often also the publisher and the bookseller. In final , the printed book acquired its own distinct characteristics, different from those of manuscripts and incunabula, which remain to this day.

It contains a Latin poem in elegiac couplets—a Greco-Latin stanza of two verses—in which conflicting viewpoints on love and its excesses, personified as Venus, are presented, and measures to counteract them are proposed, hence the degree scroll “Antidote Against Venereal Disease,” as it could be translated at Spanish. The author, Alfonso López de Soto, is mentioned; it is specified that he is a priest, a professor of “bonarum artium” at the castle of Belorado in Burgos, and that biblical, philosophical, and poetic sources have been employee . This is his only known work.

The cover is notable for its large white space, against which the " degree scroll " and the colophon stand out, as well as for the absence of ornamental elements. Roman type is used, in keeping with the style that spread from Italy and was widely adopted in humanist editions such as this one.

The " degree scroll" from agreement , in keeping with the fashion of the time, consists of a lamp-shaped base—an inverted triangle—and is preceded by a floral heart motif—also known as an ivy leaf. In contrast, the "pie de imprenta" is centered and, like the " degree scroll," is preceded by a floral heart. 

As for the typeface styles, uppercase letters are used to highlight the first lines of the “ degree scroll ” and the colophon, as well as the Roman numerals. The rest of the text uses a rounded, lowercase typeface ( leave ).

It is considered a rare book; only three copies are known to exist, and they are housed at the National Library of Spain, the University of Salamanca Library, and the British Library.; d

References

Catalog description: Catalog Spanish Bibliographic Heritage Collective (CCPBE)

Digital edition: British Library

In the 16th century, book design was steeped in the Renaissance and, as a result, drew on its artistic elements. This is evident in the title pages, which feature Plateresque architectural iconography. Arnao Guillén de Brocar pioneered this “ subject ” of title pages, a style that would later be popularized by his successor, Miguel de Eguía.

 
Photograph: Library of Navarre. Rodrigo Fernández de Santaella. *Vocabularium ecclesiasticum*. Estella, Miguel de Eguía, 1546, 356 pages, illustrations, quarto format. Text in Latin and Spanish. 
 

The *Vocabularium ecclesiasticum* by the priest Rodrigo Fernández de Santaella, a theologian and humanist, is an alphabetical Latin-Spanish dictionary intended for scholars of biblical and ecclesiastical texts. First published in 1499, it was constantly reprinted until the 18th century, and it is estimated that during this period it had around eighty editions. Eguía knew from experience that it was a bestseller, having published it several times in Alcalá de Henares, the first time in 1527; for this reason, years later, in 1546, he republished it at his new printing press in Estella, specifying that this edition had been corrected of all typographical errors: “Nunc de integro correctum et emendatum.” 

Miguel de Eguía’s “ official document ” is evident in this print, among other aspects, in his mastery of the various styles of Renaissance typography; thus, the sobriety and balance of the title page of López de Soto’s *Antidotus* stand in contrast to the ornamental exuberance of the *Vocabularium ecclesiasticum*. It is worth noting that both publications date from the same year, 1546.

The frontispiece features a woodcut—printed with a wooden block or matrix—depicting a Plateresque structure topped by a triangular pediment inscribed within a circular one; it is supported by two balustraded columns resting on a predella—a bench. The monogram of Christ—IHS—dominates the “ cima ”; inside the pediment are the heads of three warriors, and in the lateral tondos—medallions or circular frames—are the faces of two men. All these figures are of classical inspiration, as are the two pairs of ornamental dragons similar to those found in candelieri reliefs—candelabrum-style, also known as grotesques. From this point on, the iconography is religious: Saint Gregory the Great occupies the center of the entablature; two evangelists appear on the columns; and finally, the remaining Church Fathers and evangelists, along with Saints Peter and Paul, are clustered on the bench.

This architecture, as powerful as it is solemn, frames the information on the title page, which, as is often the case, is preceded by a floral heart vignette followed by the author’s “ degree scroll ” and “ accredited specialization ” in a lamp-base composition. Uppercase Roman type is used for the date of printing and lowercase Roman type ( leave ) for the rest, with the exception that the place of printing and the printer’s name appear in italics—a typeface subject that Eguía had introduced in Alcalá de Henares around 1529. 

The quality of the edition is highlighted by the two-color “ employment ,” in which red predominates, while black is reserved for the names of the author and typographer, as well as the year of publication.

As for the interior pages, the text is set in Gothic type and laid out in two columns. The quarto format is well-suited for frequent use and allows for an affordable price. 

It is worth mentioning, even if only briefly, a A edition from the workshop of Adrian of Antwerp dated 1557: it is *Series totius sacrii Evangelii* by Pedro de Irurozqui, a Dominican friar from Navarre and a doctor of the Sorbonne—the digital edition is available at available on BiNaDi. The book features Renaissance-style front and back covers adorned with woodcut blocks and vignettes that, incidentally, had already been used by Miguel de Eguí employee .

References

Catalog description: Royal Academy of History Library

Digital Edition: Royal Academy of History Library

The popularity that certain humanists achieved in the 16th century was due in large part to the mass dissemination of their works through the printing press. Erasmus of Rotterdam is the prototypical successful writer, with editions published throughout Europe and, of course, in Spain. Another example, closer to home, is Martín de Azpilcueta, the “Doctor Navarro,” whose portrait frequently appears in European editions of his works, particularly the *guide * de Confesores*. In Spain, Antonio de Nebrija enjoyed extraordinary fame, and his works were reprinted in the workshops of Brocar, who was succeeded after his death in 1524 by his son-in-law, Miguel de Eguía. Indeed, the fame of these and other authors encouraged publishers to feature their likenesses on the title page as a marketing ploy. 

 
Photograph: Bibliothèque nationale de France. Antonio de Nebrija. *Aurea expositio hymnorum*. Estella, Adrián de Amberes, 1563. 128 pages, woodcut illustrations, quarto format. Published by * position * under Miguel de Suelves, a bookseller from Zaragoza. Text in Latin.

This publication contains 85 liturgical hymns, in stanzas of four lines, taken from the Roman Breviary—a liturgical book for the recitation of the Divine O official document —and which were therefore in Latin. Nebrija compiled them, corrected errors that had appeared repeatedly in previous editions, and explained their grammatical and religious aspects. This work was met with immediate and massive demand due to the rigor of the Latin text and the accompanying commentary.

The first edition had been published in Salamanca in 1498 with the title * degree scroll * of *Hymnorum recognitio*, and in 1501 it was republished with the * degree scroll *, which became the standard title: *Aurea expositio hymnorum*.

Arnao Guillén de Brocar had printed it in Logroño in 1506, and from then on, Nebrija entrusted him with other publications. Two years later, Jorge Coci’s * position * was published in Zaragoza; this edition stands out both for its meticulous typography and for the accuracy of the text. 

The colophon of the Estella edition states that it was commissioned by Miguel de Suelves, “Zapila,” a well- publisher , and bookseller from Zaragoza, while Adrián de Amberes was the printer. 

The cover is dominated by a portrait of Nebrija by profile, painted in the Roman style. It is set within a classicist tondo bearing his Latinized name: “Aelius Antonius Nebrisensis.”

This woodcut portrait of Nebrija is a replica—albeit of inferior quality—of the one that appeared in his *Dictionarium*, printed in Granada in 1536 at the printing press founded by his sons, Sancho and Sebastián.

The cover features generous white space, which lends it a sense of simplicity and balance. Roman epigraphic type is used for the “ degree scroll ,” and rounded block type ( leave ) is used for the author’s “ accredited specialization ” and the description of the work. The lines of text, like the colophon, taper toward the bottom in the style of a lampstand.

References

Catalog description: Catalog Spanish Bibliographic Heritage Collective (CCPBE)

Digital edition: Gallica (National Library of France, BnF)

These cover class feature a central woodcut that, in principle, is related in some way to the subject matter of the publication; this woodcut is framed by a border composed of several woodcut blocks.

 
Photograph: National Library of Spain . Feliciano de Silva (ca. 1491–1554). Lisuarte of Greece. The Seventh Book of Amadis, which recounts the great feats of arms of Lisuarte de Grecia, son of Espladián, and the great deeds of Perión de Gaula, in which the strange birth of the Knight of the Fiery Sword is recounted. Estella , Adrián de Amberes, 1564. 188 pages, folio format. Two-color front cover.

On this occasion, Adrián de Amberes published the work of a successful writer, Feliciano de Silva, a native of Ciudad Rodrigo, where he died in 1554. He was a renowned author of chivalric romances, which continued the series begun by *Amadís de Gaula* in 1508. The first edition of*Lisuarte de Grecia* had been published in Seville in 1514.

The cover is dominated by a woodcut depicting a knight on horseback, dressed in the fashion of the era, with the rider’s extravagant plume of feathers standing out. In the background, to his left, his squire accompanies him with a halberd slung over his shoulder. This cover “ model ” featuring a knight-errant was typical of chivalric novels. In this case, the illustration is rather cluttered due to the presence of the two figures, plant motifs on the left, and the profile of a city on the right. The engraving is a crude copy of the one that appeared in the 1514 Seville edition. Woodcut blocks like this one were reused until they were irreversibly worn out: in 1586, 22 years after this edition was published, Tomás Porralis used it on the title page of the *History of Duke Charles of Burgundy*, great-grandfather of Emperor Charles V, and in 1590 on the *Chronicle of His Most Serene Majesty King John II* of the same name. 

The knight is flanked by two rudimentary woodcut blocks featuring Plateresque decoration. cima ly, there are two men with swords, whose presence seems forced. It is likely that the printer resorted to them to fill the blank space left by the side blocks, which are lower than the central engraving. It is worth noting that both the side blocks and those depicting the knights are identical, indicating that they were used twice to print the title page, even though this required orienting them in opposite directions. Finally, at the bottom there is a horizontal block with symmetrical floral decoration that differs from the vertical ones in both subject matter and carving. Quite often, a printer with few typographic ornaments at his disposal had to resort to such professional ingenuity to lay out a title page that, in this case, presented the challenge of its folio size.

It is noteworthy that the main “ degree scroll ” is located at the top of the title page, where it occupies the narrow space between the two knights; for this reason, the typesetter used a very small typeface that makes it difficult to read. The rest of the text is arranged below the engraving in an appropriately sized Gothic typeface, which was used in chivalric novels to emphasize their archaic character.

The use of two inks—black and “letra colorada”—enhances the edition, as this “ resource ” was rarely employee in the printing presses of the time, among other reasons, because it required two passes through the press. In fact, of the hundred or so books printed in the 16th century in Navarrese workshops, fewer than ten were embellished with two inks.

On the interior pages, the typeface—as on the cover—is Gothic, and the text is laid out in two columns to make it easier to read a large, multi-page “ Issue ” such as this one. The main text is set in a small typeface, supplemented by a box of larger text, which necessitated narrowing the margins and the narrow central space separating the columns. The folio format was uncommon in entertainment books such as this one.

References

Catalog description: National Library of Spain (BNE)

Digital edition: BNE Digital

In institutional publications—both secular and ecclesiastical—the covers feature their coats of arms to highlight the significance of the “ publisher ” and the authenticity and authority of their content. Furthermore, private publications often include the coats of arms of the patrons who finance the printing and to whom the publication is usually dedicated.

In 1553, the notebook of the laws passed at the Cortes held in Pamplona was published. Until then, it had been circulated through a few handwritten copies, but now, thanks to the printing press, reproduction was more widespread and inexpensive, with print runs that soon reached five hundred copies.

 
Photograph: Library of the Public University of Navarra. *notebook * of laws, ordinances, and provisions enacted at the request of the Three Estates of the Kingdom of Navarra […] in the year 1553. Estella, Adrián de Amberes, 1553. 82 pages, folio format.

The cover is dominated by the coat of arms of Emperor Charles V, as the publication was issued under the “ position ” of the Viceroy and the “ committee ” of Navarre—the dominant political institutions following the Castilian conquest of 1512. The quarters of the coat of arms feature the shields of the monarch’s territories, including that of Navarre.

The “ degree scroll ” is lengthy because it was important to clearly establish the relationship between the monarch and the Cortes: The “laws, ordinances, and provisions,” which took effect upon publication, had been proposed “at the request of the Three Estates of the Kingdom of Navarre” and “enacted”—approved—by His Majesty and, in his name, by the Viceroy and the Royal “ committee ” of Navarre. Furthermore, a significant portion of this lengthy paragraph is devoted to listing the noble titles that attested to the Viceroy’s nobility and authority.

The Cortes of Navarre opposed the Castilian authorities taking over the publication of the laws approved by the assembly, because they feared that Castile’s political interests would take precedence over those of Navarre in their essay . After average a dozen sessions, in 1569 they secured the right to publish the laws approved by the Three Estates—the clergy, the nobility, and the “good towns”— and from that date onward, over the course of four centuries, until the last session held in 1828, the Law Books were drafted and published by the Cortes; consequently, the cover bore the coat of arms of the Kingdom, except on rare occasions when it featured that of the town where the assembly had convened.

The title page does not list the place, the printer, or the year of publication—three pieces of data that would become mandatory within a few years, starting in 1558; however, the last page includes the following colophon: “Printed in the most noble City of Stella by Adrián de Anverez. Year MDLIII.” At that time, Antwerp was the only printer in the Kingdom of Navarre.

As an example of heraldic coats of arms promoted by the Church, we can cite the Synodal Constitutions of the Diocese of Pamplona, published in 1591. Of particular note here is the coat of arms of Bishop Bernardo de Rojas y Sandoval, which sample features the emblems of his religious authority: the crosier, the miter, the pectoral cross, and the ring. The cape with twenty tassels frames and further ennobles the coat of arms.

References

notebook Laws, Ordinances, and Provisions (1543)

Catalog Description: Public University of Navarra Library (BUPNA)

Digital edition: Academica-e – Public University of Navarra.

Synodal Constitutions of Bishop Bernardo de Rojas (1591)

Catalog description and digital edition: Biblioteca Navarra Digital (BiNaDi)

As the 16th century progressed, classical purity in the arts—including typography—gave way to more complex and numerous elements characteristic of the Baroque period. On the other hand, architecture took a back seat, since the title page was conceived as an altarpiece featuring the characters who would appear on the inside pages. An example of this is the monumental *Crónica general de la Orden de San Benito* by Fray Antonio de Yepes, which began to be printed at the monastery of Irache in 1609.

 
Photograph: Complutense University Library. Antonio de Yepes. General Chronicle of the Order of Saint Benedict, Patriarch of Monks. Volume I, Centuria I. Irache Monastery, Matías Mares, 1609. 900 pages, one folded sheet with an engraving. Folio format.

The Benedictine monk Antonio de Yepes, after a distinguished career in monasteries of the Order, settled at the monastery of Irache around 1609 with the dual purpose of obtaining the Degree of professor at the university that had been in operation there since 1569 and of beginning the printing of the General Chronicle of the Order of St. Benedict, which included the history of the Benedictine monasteries, from the founding of the first such monastery in Monte Cassino, around the year 529, until 1169. 

Matías Mares, the only printer in Navarre at the time, was entrusted with the important task of carrying out the printing. It so happened that in 1607 he had set up a printing press at the Navarrese monastery to print two books written by the abbot, Friar Antonio Alvarado. As soon as he had finished those, he began printing the Crónica de Yepes, the first two volumes of which were published in 1609. Mares died in June 1609, and his successor, Nicolás de Asiain, continued the project, which must have been well underway, since he delivered the third volume the following year. That same year, in 1610, Yepes was appointed abbot of the monastery in Valladolid— position , a site of extraordinary importance—and for this reason he moved to the Castilian capital, where he completed the publication of his magnum opus with four additional volumes, printed between 1613 and 1621. 

The frontispiece of the *Crónica* is designed in the style of a three-section altarpiece. The central section is wider, and at the top, a tondo depicts the bust of the Virgin and Child, flanked by Saint Benedict and his twin sister, Saint Scholastica, as the founders of the Order—representing the male and female branches, respectively. The large central space features the “ degree scroll ” (text title), the author, the “ issue ” (title of the volume corresponding to the entire work), the printer, and the place and year of publication. At the bottom is a large Benedictine coat of arms, flanked by two winged pilasters—an architectural element that tapers at the base—featuring a rampant lion holding the abbatial crozier, a fortress crowned by a cross, and two columns that have been toppled and split in half.

The side aisles have four sections—floors—with two niches featuring semicircular arches that house a saint of the Order; the one on the left sample tes eight “foreign saints,” all from different countries, and among them is a woman: Saint Gertrude the Great, a German Benedictine. The other aisle is dedicated to “Spanish saints,” among whom is one woman: Saint Irene of Tomar, a 7th-century martyr, to whom the Portuguese Benedictines had a special devotion—it is worth recalling that the Kingdom of Portugal had been incorporated into the Spanish Crown in 1580. Finally, it is worth noting that no Benedictine from Navarre has been depicted, such as Saint Virila, abbot of Leire. 

For the cover of this ambitious edition, a chalcographic engraving—created on a metal plate—was commissioned, which was a novelty for the Navarrese printing industry of the time, which continued to rely on woodcut blocks. However, the major Spanish printing houses had already been using “intaglio” engravings—created with a burin on a copper or lead plate—since the 1580s. As was customary in editions such as this one, the “ publisher ”—in this case, the Benedictine Order—would have commissioned the intaglio plate, which then became its property; this explains why it was used in all seven volumes of this work that were published over the 22 years it took to print. 

In accordance with a common internship practice, the engraver signed his work, which in this case appears on one of the columns of the abbey coat of arms on the portal: “Jacob Neran f[ecit.]”—made by Jacob Neran. This artist, likely of Flemish origin, had previously worked for the Benedictines on the engraved title page of *Laurea salmantina* by Fray Antonio Pérez, published in 1604 in Salamanca. On both title pages, sample skill , he demonstrated his skill with the burin and a creativity inspired by the emerging Baroque style. 

The title page is separate from the rest of the book and is attached using a cartivana—a strip of paper to which a sheet or loose page is glued so that it can be bound; furthermore, the paper employee used to print this page on the printing press is thicker and of higher quality than that of the rest of the print, and finally, the central space on the title page reserved for the “ degree scroll ” and other data has been printed with movable type. These elements indicate that the intaglio-printed title page was printed outside of Navarre, as there is no record of a printing press at the printing shops in Mares and Asiain. Therefore, it is possible that, in addition to commissioning the plate from a professional outside the Kingdom, the engraving was also printed at an out-of-region printing house and that a sufficient print run was produced from it to cover the title pages of the subsequent volumes, since the engraving remains unchanged in those volumes, whereas the typography is altered to update them with the relevant data . 

The typeface used in the Chronicle is new and of high quality. It was likely purchased by the Benedictines, as was customary for special commissions. 

A work of this scope required the folio size, which allowed for the reproduction of a lengthy text, since each volume had around a thousand pages. Furthermore, this format lent prestige to the “ publisher ”—in this case, the influential Order of Saint Benedict.

References

Catalog description: Complutense University of Madrid (UCM) Library

Digital Edition: Digital Heritage - Complutense University of Madrid (UCM)

The overall output of Renaissance printing in the Kingdom of Navarre during the period covered here—from 1546 to 1610—can be summarized as the printing of more than a hundred books, not counting the countless “remiendos y papeles de workshop”—such as loose sheets and pamphlets. The printing business founded by Miguel de Eguía in 1546 was successively carried on by the four printers mentioned here.

 In the words of Antonio Odriozola, the works of Miguel de Eguía and Adrián de Amberes “exude that elegance and typographic clarity that make the 16th century—especially its first half—a favorite among bibliophiles. Luxurious Renaissance title pages, magnificent white paper, elegant round and Gothic typefaces, artistic capitals, and meticulously crafted headings and colophons.” 

The title pages analyzed here show—thanks to the initial impetus provided by Miguel de Eguía—that the Renaissance was present in them, albeit with the modesty that characterized most workshops of that era and with a tendency toward typographical decline as the 17th century approached and printing activity increased in quantity but declined in quality.

Gallego Gallego, A. History of Printmaking in Spain. Madrid, Chair, 1979.

García Vega, V. Engraving in Spanish Books: 15th–16th–17th Centuries. Simancas Cultural Institution, 1984. Valladolid: Simancas Cultural Institution, Provincial Council, 1984.

Goñi Gaztambide, J. “Printing in Estella in the 16th Century,” in Printing in Navarre. Pamplona: Provincial Council of Navarre, 1974, pp. 125–159.

Itúrbide Díaz, J. The Books of a Kingdom: A History of Publishing in Navarre (1490–1841). Pamplona: Government of Navarre, 2015.

Itúrbide Díaz, J. “The Art of Typography in the Kingdom of Navarre in the 16th Century: From the Golden Book to the Artisan,” in *Pulchrum: Scripta varia in honorem Mª Concepción García Gainza*. Ricardo Fernández Gracia (ed.). Pamplona, University of Navarre, 2011, pp. 430–438.

Odriozola, A. “Books Printed in Estella in the 16th Century: Twelve Reproductions Followed by Brief Notes,” in Príncipe de Viana, 1940, no. 1, pp. 155–163.

Ostolaza Elizondo, M.I. Printers and Booksellers in Navarre during the 15th and 16th Centuries. Pamplona, Public University of Navarre, 2004.

Pérez Goyena, A. *essay * from * bibliography * Navarra: *From the Founding of the Printing Press in Pamplona to the Year 1910*. Volume I, 1489–1600. Pamplona: Provincial Council of Navarre, Príncipe de Viana Institution, 1947.

Rodríguez Pelaz, C. “Baroque Engraving in Basque-Navarrese Printed Matter,” in Ondare: Journal of Visual and Monumental Arts, 2000, no. 19, pp. 151–182.