Item talk:Q42300
Griffin 1980:573:
“The title-page illustration used in this [Medina del Campo: Francisco del Canto] 1563 edition of La Celestina is of some interest, as it is clearly printed from the same block, now in a very worn state, as that used to illustrate Act 20 on r4b of the edition of La Celestina produced in Medina del Campo ‘a costa dl ĩp̃ssor’, dated tentatively by Penney as having been printed between the years 1530 and 1540 probably by Pedro de Tovans [manid 5799]. The illustrations of this latter edition of La Celestina, including that taken from the block which was used again by Francisco del Canto in 1563 [manid 5841], are either closely imitated by, or closely imitate, those of the versified La Celestina printed in Salamanca by Pedro de Castro in 1540 [manid 5846], whose blocks were, if we can trust the imprints of all these editions, still being used in Salamanca to illustrate Rojas’s work as late as 1575 when Alvaro Ursino de Portonariis employed them in his edition of that year [manid 5844]. Castro’s blocks subsequently travelled to Medina del Campo where Francisco del Canto used them in his 1582 edition of La Celestina printed in that city [manid 5845]. Although, as Maria Rosa Lida de Malkiel has written, ‘El estudio iconografico de la Tragicomedia está por hacerse’, it is evident that the illustrations used in sixteenth-century editions of La Celestina have a long and interconnected history, all deriving, ultimately, from two or three sets of much-imitated woodcuts, the most important of which were those used early in the century in Seville.”
Heredia: la encuad. está en “chag. r. dos orné, comp. dent. int. tr. dor.”