Zaragoza (1545)


Zaragoza (1545)


Jorge Coci, Pedro Bernuz, Bartolomé de Nájera and anonymous illustrator




(Click the image for more information and other engravings)

Rojas, Fernando de, Tragicomedia de Calisto y Melibea. Zaragoza: at Jorge Coci & Pedro Bernuz & Bartolomé de Nájera's house, 1545.

Total of 26 engravings, including the cover page.

Page in UTSC 344235

An analysis of the cover can be seen in:

Álbalá Pelegrín, Marta. “Gestures as a Transnational Language through Woodcuts: Celestina’s Title Pages.” Celestinesca 39, “Sección especial: La cultura visual de Celestina” (2015): 79-112. online.

There is another edition with the same engravings,  of which only a copy has survived (photocopy), printed in Zaragoza, 1554, Pedro Bernuz.  A new facsimil edition with a preliminary study has been published recently:  La Celestina de Fernando de Rojas sale de nuevo a la luz en facsímil con una introducción de Mª Remedios Moralejo Álvarez. [Edición a expensas y al cuidado de Alfonso Fernández González, bibliófilo]. Zaragoza-Sabadell. Establecimiento tipográfico de Francesc Fusté Serena. 2018.

Cover of the Zaragoza edition (1545)
Very elaborate variant of the composite model taken fromValencia (1514)andSevilla (1523).Illustrated edition with 26 engravings (plus cover) that can be seen by clicking here:Zaragoza (1545).

Illustration of act I from the Zaragoza edition (1545)
Three scenes separated by columns. The first is of a couple talking inside a building, the woman seated on a dais, which is thought to be in some way representative of Calisto and Melibea's first meeting. The second is a man that seems melancholic,…

Illustration of act II from the Zaragoza edition (1545)
Three men in a street speaking, while a woman watches them from the window. It is unclear which scene of the work is referenced here because the image is so generic.

Illustration of act III from the Zaragoza edition (1545)
Sempronio, accompanied by Celestina, arrives at her house, where Elicia is inside, occupied with a task. Oustide, in the background, a crenellated wall with trees behind.

Illustration of act IV from the Zaragoza edition (1545)
Celestina in Melibea's house, and she, with Lucrecia on a dais, while Alisa leaves with the messenger who has come to call on her. A pet next to one of the women.

Illustration of act V from the Zaragoza edition (1545)
Sempronio and Celestina arrive at Calisto's house. He speaks with Pármeno, while seated inside. A bed in the background.

Illustration of act VI from the Zaragoza edition (1545)
At Calisto's house, Celestina is speaks with him, while Sempronio and Pármeno talk amongst themselves apart from them. A background with columns and arches.

Illustration of act VII from the Zaragoza edition (1545)
On the left, Celestina speaking with Pármeno. On the right, the following scene of him lying with Areúsa.

Illustration of act VIII from the Zaragoza edition (1545)
Double scene. On the right, Pármeno has awoken to go to his master's house after spending the night with Areúsa. On the left, the following scene is of the encounter and agreement between Pármeno and Sempronio.

Illustration of act IX from the Zaragoza edition (1545)
The banquet scene in Celestina's house with Pármeno, Sempronio, Elisa y Areúsa. Outside Lucrecia knocking on the door. Celestina drinking and a cat or dog with a bone in front of the table.

Illustration of act X from the Zaragoza edition (1545)
Two consecutive scenes. On the left, Celestina, holding the rosary, arrives at Melibea's house with Lucrecia. On the right, inside the house, Celestina talks with Melibea while sitting on the dais, and Alisa enters through the door.

Illustration of act XI from the Zaragoza edition (1545)
Celestina is accompanied by Pármeno and Sempronio, in the street. Calisto on his knees in the church of the Magdalen.

First illustration of act XII from the Zaragoza edition (1545)
While Pármeno and Sempronio, well armed, stand watch, Calisto speaks with Lucrecia and Melibea, who are not represented, through the garden door.

First illustration of act XIII from the Zaragoza edition (1545)
Sosia and Tristán talk in the doorway about the execution of Pármeno and Sempronio while Calisto lies in his bed.

Second illustration of act XIII from the Zaragoza edition (1545)
Pármeno and Sempronio's execution. On the left, the judge and three people, one of which is probably Sosia. On the right, the execution, one of the defendants already decapitated and the other being decapitated. Two people with beards on the right.…

Illustration of act XIV from the Zaragoza edition (1545)
Calisto climbing a ladder while Melibea and Lucrecia watch from two arches. On the right, Sosia and Tristán stand guard outside. The same image is repeated again in act XIX.

Illustration of act XV from the Zaragoza edition (1545)
Elicia and Areúsa plot their revenge against Calisto with Centurio, shown with a sword. In the background, a bed and stairs. This image is used again in act XVIII.

Illustration of act XVI from the Zaragoza edition (1545)
Lucrecia and Melibea, on a cushion, on the other side of a door listen to the conversation between Pleberio and Alisa, who are sitting in another room.

Illustration of act XVII from the Zaragoza edition (1545)
Areúsa in her house receiving Sosia, while Elicia listens hidden. Bed and stairs in the background.

Illustration of act XVIII from the Zaragoza edition (1545)
The same image as used in act XV, now to represent Elicia helping Areúsa to make peace with Centurio.

First illustration of act XIX from the Zaragoza edition (1545)
The same illustration used in act XIV, now for Calisto's fatal visit to Melibea.

Second illustration of act XIX from the Zaragoza edition (1545)
Sosia and Tristán remove Calisto's corpse.

First illustration of act XX from the Zaragoza edition (1545)
Pleberio, and behind him Alisa in bed, knocking on the door of Melibea's bedroom. Lucrecia answering while saddened Melibea is sitting on the dais.

Second illustration of act XX from the Zaragoza edition (1545)
Melibea throws herself from an elevated location with locked doors meanwhile Pleberio joins his hands in a sign of prayer.

Illustration of act XXI from the Zaragoza edition (1545)
Three bearded male characters contemplate Melibea's corpse lying facedown and, beside her, Lucrecia, Alisa and Pleberio. Two unidentified people leaning over the wall also contemplate Melibea's corpse.

Second illustration of act XII from the Zaragoza edition (1545)
Pármeno and Sempronio kill Celestina, who is on the floor, while Elicia watches horrified.