Very elaborate variant of the composite model taken fromValencia (1514) andSevilla (1523).It differs in important details fromZaragoza (1545)'s model, which it cuts in dimension and compresses. Calisto's character is treated in a different way.
Three men speaking in the street, and a woman in a window watching them. It is unclear which scene of the work it refers to because of the very generic image.
Sempronio, accompanied by Celestina, arrives at her house, where Elicia is inside, occupied with some work. Outside, in the background, a crenelated wall with trees behind.
Celestina at Melibea's house, and she is with Lucrecia on a dais, while Alisa leaves with the messenger who came to summon her. One of the women has a pet.
At Calisto's house, Celestina speaks with him while Sempronio and Pármeno talk amongst themselves, apart. Background with battlements and therefore outside, different from the columns and arcs in the equivalent engraving of the edition of…
Outside, Celestina talks to Pármeno. In the other half of the image, a later scene of him lying with Areúsa. It is remarkable when compared the Zaragoza edition (1545)'s equivalent image that the position of lovers in bed, placed side by side and not…
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 scene after the meeting and agreement between Pármeno and Sempronio.
The banquet scene in Celestina's house with Pármeno, Sempronio, Elisa and Areúsa. Outside Lucrecia knocking at the door. Celestina drinking and a cat or a dog with a bone in front of the table.
Two consecutive scenes. On the right, Celestina, with the rosary, arrives at Melibea's house with Lucrecia. On the left side, inside the house, Celestina speaks with Melibea on the dais, and Alisa enters through the door.
Pármeno and Sempronio kill Celestina, who is on the floor, while Elicia watches in horror. Note how the image is a carbon copy of the equivalent illustration in the Zaragoza edition (1545), now Pármeno and Sempronio use their left hands…
Calisto climbing a ladder while Melibea and Lucrecia stand on the garden wall. On the left, Sosia and Tristán, stand guard outside. The image is repeated again in act XIX. Note that they have corrected the error from the equivalent image in…
Pármeno and Sempronio's execution. On the right, the judge and three characters, one of whom is probably Sosia. On the left, the execution, one of the prisoners decapitated and the other being decapitated. Two bearded figures on the right. In the…
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.
Lucrecia and Melibea, who is on a cushion, on the other side of a door listen to the conversation between Pleberio and Alisa who are seated in another room. Note how the image has been corrected and improved with respect to the equivalent image in…
Three bearded male figures contemplate Melibea's corpse, lying facedown and, beside her, Lucrecia, Alisa and Pleberio. Two female figures standing on the wall also contemplate the scene.
Hidden behind the door, a procuress or old woman watches the interaction of the couple. We can assume that she is calculating the amount of money she can get out of the boy to obtain the girl's favors.
Five factotums and seven names above: Calisto, Melibea --Elicia underneath --, Parmeno --underneath Crito--, Sempronio and Celestina. The double names are as if it were recognized that the same image is for two characters at a time.