The drama was first brought to notice by Don Manuel Palacios, in the _Museo Erudito_, a periodical published at Cuzco in 1837. The learned Peruvian mineralogist and antiquary, Don Mariano Eduardo de Rivero,[32] in his work entitled _Antiguedades Peruanas_, gave two specimens from it, in Quichua and Spanish. Señor Rivero says that copies of _Ollantay_, written in the sixteenth and seventeenth centuries, are preserved in private libraries at Cuzco.[33] The whole text was first printed by Dr. von Tschudi at the end of his Quichua Grammar, but without a translation, in 1853.[34] The manuscript used by the learned German was copied from one preserved in the Dominican monastery at Cuzco by one of the monks, between 1840 and 1845, for the artist Ruggendas of Munich, who gave it to Dr. von Tschudi, the original being much damaged and in parts illegible. In April 1853 I had the opportunity of examining and transcribing a version of _Ollantay_, which, I was informed, contained the purest text. It belonged to Dr. Don Pablo Justiniani, the aged priest of the village of Laris, in the heart of the eastern Andes.[35] His father, Dr. Justo Pastor Justiniani, had copied it from the original manuscript belonging to Dr. Don Antonio Valdez, the priest of Sicuani in 1780, and the friend of the unfortunate Ynca Tupac Amaru. Dr. Valdez died in the year 1816. He is said to have been the first to reduce the drama to writing, and to arrange it for the stage,[36] but this is clearly an error, as there is a manuscript of 1730, and others dating from the previous century, according to Rivero. The manuscript of Valdez is, however, one of great value, as it preserves all the original forms, and the fame of the owner as a Quichua scholar is some guarantee for its accuracy. In 1853 it was in the possession of Don Narciso Cuentas of Tinta, the nephew and heir of Dr. Valdez. Another copy taken from the Valdez manuscript, was in possession of Dr. Rosas, the priest of Chinchero near Cuzco. I carefully collated the Justiniani and Rosas copies. In the year 1871 I published the text of my copy of the Justiniani version, with an attempt at a literal English translation.[37] But in three or four passages I adopted the reading of Von Tschudi’s version, and in all I was wrong. I should, as I have since convinced myself, have adhered closely to the Justiniani text. In this text, however, there are several additions inserted by a later hand when the drama was arranged for the stage. These I placed in brackets. In 1873 the Peruvian scholar, Dr. Don Manuel Gonzalez de la Rosa, informed me that he had in his possession the manuscripts of Dr. Justo Sahuaraura Ynca, Archdeacon of Cuzco, and a descendant of Paullu, the younger son of the great Ynca Huayna Ccapac. Among them is a version of the drama of _Ollantay_, which Dr. de la Rosa considers to be authentic and very accurate. This text has not hitherto been published.