Antwerp (1616)

Title

Antwerp (1616)

Creator

Heyndric Heyndricz and anonymous illustrator

Date

1616

Description

 
(Click the image for more information and other engravings)
 

Tragicomedie van Calisto ende Melibea. Anónimo trad. TʼHantwerpen: Heyndric Heyndricz, 1616.

Anonymous translation to Dutch.

26 illustrations including the cover and emblem of the printer. Some are repeated. Most of the illustrations are copies generated from the illustrations in Zaragoza (1545) but realized in a less careful fashion.

Complete edition available on Google Books.

There are copies contained in the British Library, among them:  UIN: BLL01000574002

This edition does not appear in USTC but there are others from the years 1574 and 1580.

In total there are 4 Dutch editions, all of them illustrated with the same engravings: 1550 (Hans de Laert), 1574 y 1580. See Kathleen Kish, "Celestina en Amberes" 

Source

GooogleBooks
https://play.google.com/store/books/details/Celestina_een_Tragicomedie_van_Calisto_ende_Melibe?id=h0JoAAAAcAAJ

Cover of the Antwerp edition (1616)
Cover that looks like a rotated copy from the Zaragoza edition (1545)but from a much less careful production. See the description on Zaragoza's cover. It is an edition with illustrations that can be seen here.

Emblem in the prologue of the Antwerp edition (1616)
Likely the printer's emblem that depicts an animal, such as a fox or a wolf in vegetable form that appears to be the letter V.

Illustration of act I of the Antwerp edition (1616)
This is a copy taken from the engraving from act V from the Zaragoza edition (1545). A double scene in which Calisto is shown seated on the left, and Pármeno standing, and on the right, Celestina accompanied by Sempronio. Note the black veil…

First illustration of act III of the Antwerp edition (1616)
Double image that shows Calisto and Celestina'smeeting while Pármeno and Sempronio talk amongst themselves. This does not appear to be a copy of the illustrations in Zaragoza (1545), one of the few cases in the book. Due to the simplicity of…

Second illustration of act III of the Antwerp edition (1616)
A copy of the engraving of act XVII in the Zaragoza edition(1545). Where it is used to represent Areúsa in her house, receiving Sosia, while Elicia listens in hiding. Bed and stairs in the background. Here it appears to represent Sempronio…

Illustration of act IV of the Antwerp edition (1616)
A simplified copy of the engraving from act IV in the Zaragoza edition (1545).Celestina at Melibea's house, where she is with Lucrecia on the side, while Alisa leaves with the messenger that has come for her.Note that in the Zaragoza version there is…

Illustration of act V of the Antwerp edition (1616)
The same illustration used in act I, which in turn is a copy of the illustration of Act V in the Zaragoza edition (1545). A double scene in which Calisto is shown seated and Pármeno standing, and on the right Celestina arriving at Calisto's…

Illustration of act VI from the Antwerp edition (1616)
The same illustration that was used for act III and is used again for act VIII.

Illustration of act VII of the Antwerp edition (1616)
A variation of the scene of act VII of the Zaragoza edition (1545). Celestina speaking with Pármeno at Areúsa's door, while she is lying in bed. Note that in this version, different from the image in Zaragoza, that the couple in bed are…

Illustration of act VIII of the Antwerp edition (1616)
The same illustration as was used in act IV. A simplified copy generated from the engraving of act IV of the Zaragoza edition(1545).Celestina at Melibea's house, and she with Lucrecia sitting on a dais, while Alisa leaves with the messenger who has…

Illustration of act IX of the Antwerp edition (1616)
Banquet scene at Celestina's house in an illustration completely unrelated to the equivalent illustration in the Zaragoza edition (1545), of which, generally speaking, almost all the illustrations here have been copied.

Illustration of act X of the Antwerp edition (1616)
The same image, already used in acts IV y VIII. A simplified copy generated from the engraving of act IV in the Zaragoza edition (1545). Note that in the Zaragoza edition there is a pet that has been erased here.

Illustration of act XI of the Antwerp edition (1616)
Already used in acts III y VI. It does not appear to be a copy of illustrations in the Zaragoza edition (1545), one of the few instances in the book. It is, however, due to its simplicity, a provision that calls to mind a composition of factotums,…

First illustration of act XII of the Antwerp edition (1616)
A copy of the illustration of act XIV of the Zaragoza edition(1545).Calisto climbing a ladder while Melibea and Lucrecia are looking out of two arches. To the right, Sosia y Tristán, stand guard outside. This is used again in acts XIV y XIX

Second illustration of act XII of the Antwerp edition (1616)
A copy of the illustration of act XV Zaragoza edition (1545). Elicia y Areúsa plot their revenge against Calisto with Centurio, shown with a sword. In the background, a bed and stairs. It is used again in acts XV y XVIII.

First illustration of act XIII of the Antwerp edition (1616)
An image of a man arriving to a tower with a woman at the door and another man inside. This image does not seem to have anything to do with the events in act XIII, other than the generic idea of arriving to give news, but the female character does…

Second illustration of act XIII of the Antwerp edition (1616)
Scene in which Pármeno and Sempronio are executed. This is one of the rare cases in which this edition does not follow the images in Zaragoza (1545).This image was possibly taken from one of the books ofthe period depicting the extermination…

Illustration of act XIV of the Antwerp edition (1616)
A copy of the illustration of act XIV of the Zaragoza edition(1545).Calisto climbs the ladder while Melibea and Lucrecia look out from two arches and two servants on guard outside. This has been used in act XII and is also used in act XIX.

Illustration of act XV of the Antwerp edition (1616)
Elicia and Areúsa orchestrate 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 of the Antwerp edition (1616)
A copy of the engraving of act XVI in the Zaragoza edition (1545).Lucrecia and Melibea on a cushion, on the other side of a door, listening to the conversation between Pleberio and Alisa, who are seated in another room. This is used again in act XX.

Illustration of act XVII of the Antwerp edition (1616)
A copy of the engraving of act XVII of the Zaragoza edition (1545). Areúsa in her house, receiving Sosia, while Elicia listens in hiding. A bed and stairs in the background. This has already been used in act III.

Illustration of act XVIII of the Antwerp edition (1616)
A copy of the illustration of act XV of the Zaragoza edition(1545). It has already been used in acts XII and XV. Now it is being used to represent Elicia helping Areúsa make peace with Centurio.

First illustration of act XIX of the Antwerp edition (1616)
A copy of the illustration of act XIV of the Zaragoza edition(1545).Calisto climbing a ladder while Melibea and Lucrecia are watching from two arches. On the right Sosia and Tristán, standing guard outside.This has been used in acts XII and…

Second illustration of act XIX of the Antwerp illustration (1616)
A copy of the image of act XX of the Zaragoza (1545) edition. Sosia and Tristán remove Calisto's corpse.

Illustration of act XX of the Antwerp edition (1616)
A copy of the engraving of act XVI of the Zaragoza (1545)edition.Pleberio, behind him Alisa in bed, knocking on Melibea's door. Lucrecia answering and Melibea saddened sitting on the dais.This has already been used in act XVI with a different…

Illustration of act XXI of the Antwerp edition (1616)
A copy of act XXI of the Zaragoza edition (1545).Three bearded male characters contemplate Melibea's body lying face down, and beside her, Lucrecia, Alisa and Pleberio. One unidentified character watching from the wall also contemplates the scene…
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