but most of the works were religious in nature and plays. A number of religious writers who are today considered saints by the Catholic Church saw their works appear in the Indexes. At first, this might seem counter-intuitive or even nonsensical—how were these Spanish authors published in the first place if their texts were then prohibited by the Inquisition and placed in the Index? The answer lies in the process of publication and censorship in Early Modern Spain. Books in Early Modern Spain faced prepublication licensing and approval (which could include modification) by both secular and religious authorities. Once approved and published, the circulating text also faced the possibility of post-hoc censorship by being denounced to the Inquisition—sometimes decades later. Likewise, as Catholic theology evolved, once-prohibited texts might be removed from the Index. At first, inclusion in the Index meant total prohibition of a text. This proved not only impractical and unworkable but also contrary to the goals of having a literate and well-educated clergy. Works with one line of suspect dogma would be prohibited in their entirety, despite the orthodoxy of the remainder of the text. In time, a compromise solution was adopted in which trusted Inquisition officials blotted out words, lines or whole passages of otherwise acceptable texts, thus allowing these expurgated editions to circulate. Although in theory, the Indexes imposed enormous restrictions on the diffusion of culture in Spain, some historians argue that such strict control was impossible in practice and that there was much more liberty in this respect than is often believed. And Irving Leonard has conclusively demonstrated that, despite repeated royal prohibitions, romances of chivalry, such as Amadis of Gaul, found their way to the New World with the blessing of the Inquisition. Moreover, with the coming of the Age of Enlightenment in the 18th century, increasing numbers of licenses to possess and read prohibited texts were granted. Despite the repeated publication of the Indexes and a large bureaucracy of censors, the activities of the Inquisition did not impede the development of Spanish literature's "Siglo de Oro", although almost all of its major authors crossed paths with the Holy Office at one point or another. Among the Spanish authors included in the Index are Bartolomé Torres Naharro, Juan del Enzina, Jorge de Montemayor, Juan de Valdés and Lope de Vega, as well as the anonymous Lazarillo de Tormes and the Cancionero General by Hernando