Just a quick note for any followers of this blog who have 15.000 €: the antiquarian bookshop Margarita de Dios is selling a complete copy of the edition Venice: Pietro de Nicolini da Sabio, 1535, bound in parchment. More information and photos at the official website. By the way, they also offer one copy of the Venice, 1553 edition in Spanish for 18.000 €(see here).
Although this is one of the editions with the most surviving copies, it is surprising that this is the second copy that enters the market this year, as another copy of this edition was auctioned by El Remate in February (more information here). And the same applies to the 1553 one. Are they the same? I think so, because of certain stains that can be seen in the photos which look similar. In that case, considering that both copies started in 5.000 €, I am curious about the final prices. They must have been really high for Margarita de Dios to triple that amount, don’t they? In any case, I am not who is going to buy them.
In my last post, I described how serendipity led to an important discovery with regard to my reseach on the illustrations of the editions of the Italian translation of Celestina. More than a discovery, it was a confirmation of the dramatic status of Celestina in Italy, since the models for the illustrations of the Venice, Cesare Arrivabene, 1519 edition can be traced back to a particular Italian way of illustrating the works of Plautus and Terence in the 16th century. More concretely, there are reasons to believe that the model of Arrivabene’s edition was the Venice, Marchiò Sessa and Pietro Ravanis, 1518 edition of Plautus’ Comoediae in Latin.
A few days after I live-tweeted the whole process of establishing these relationships (follow me for more random thoughts on Celestina and some non-celestinqesque academic and –sometimes– non-academic stuff), serendipity did it again. This time, a colleague of mine asked me if I was familiar with a certain woodcut that looked German. It reminded me of the designs of Jost Amman’s Kunstbüchlin (Johann Feyerabend , Frankfurt am Main, 1599), but it was not among the many woodcuts there, so that I checked some books on jousting and tournaments, without results. Or, at least, without an answer for my colleague because, from the perspective of my research, it was far from being an unfruitful day.
Suddenly, among the “similar books” suggestions in one of the digital libraries I was checking, a title page caught my attention: the Frankfurt am Main, Hermann Schülfferich, 1553 edition of Die schöne Magelona. There it was, the same woodblock used by Heinrich Steiner for his 1534 edition of Christof Wirsung’s second translation of Celestina into German.
Not only that; this edition of Die schöne Magelona reuses the whole woodcuts set, including illustrations that are very tightly bound to the original text of Celestina, like, for example, Calisto’s death or the conversation of the parents of Melibea while she herself and her maid Lucrecia listen through the door:
But Schülfferichen was not the first person to associate this set of woodblocks to Die schöne Magelona. In 1535 Heinrich Steiner himself printed the first edition of the text, in which he used just one of the Celestina woodcuts.
In fact, this edition is characterised by a mix of illustrations of great artistic and technical quality, most of them attributable to Hans Weiditz, the artist behind the woodcuts of the German translation of Celestina, and traceable back to the printing press of Max Wirsung and Sigismund Grimm, and less artistic, more functional woodcuts.
What is really interesting about Steiner and Schülfferich reusing these woodcuts for their editions of Die schöne Magelona is not what it tells us about how woodblocks went from one printer to the other (which is interesting by itself), but about how German people might have equaled Celestina to the literary genre of romance instead of equaling it to the Roman comedies of Terence and Plautus. Not for nothing, Die schöne Magelona is Veit Warbeck’s translation into German of the French prose romance Pierre de Provence et la belle Maguelonne (ca. 1453). Therefore, it is possible that these two printers saw some kind of similarity between Celestina and Die schöne Magelona, so that they felt that the woodcuts of the former would fit the latter as well. Both tell a love story, after all (however, they could not be more different).
That German printers or, at lest, Heinrich Steiner perceived Celestina rather as prosa than as drama can be confirmed through his use of the full-page woodblock of the Celestina series for his edition of Etliche Historien unnd fabulen gantz lustig zu lesen (Augsburg, Heinrich Steiner, 1541). This text, as its title indicates, is a collection of short narrative stories, among which we find some tales of Ovid’s Metamorphosis, for example, and other stories in which love is one of the driving forces, but it is not limited to it. Therefore, love seems not to be the reason behind Steiner’s choice, but that a story (with a certain amount of action) is being told in prose.
Furthermore, thanks to Fernando Carmona’s answer to one of my tweets on the topic (yes, I did live-tweet this one as well), I checked page 67 of his thesis La recepción de “La Celestina” en Alemania en el siglo XVI (2007) and, following this, I decided to look for pre-1534 illustrated editions of the prosa romances printed by Steiner.
Thereby, I saw with my own eyes that there is a tradition of illustrating prosa stories with more or less detailed depictions of scenes of the text in 16th century Germany, and particularly in Augsburg. This is evident in the editions of the Fortunatus, as well as in the editions of the Melusina (and, for sure, in many more).
As a result, while in 1519 the Italian printer Cesare Arrivabene was printing the first illustrated edition of the Italian translation of Celestina with the editions of Plautus and Terence in mind, I am very certain that Max Wirsung and Sigismund Grimm were commissioning Hans Weiditz illustrations in the tradition of the Fortunatus and the Melusina, that is, scenes that support the story told in the text. That Steiner, afterwards, specialised in using illustrations with no direct relation to the text is irrelevant. What is important here is that Celestina was not treated like a piece by Plautus or Terence, but as a story told in prose.
Would this explain why the title page of the Zaragoza, Jorge Coci, 1507 edition of the Tragicomedia reuses the very same woodcut that was used for the Zaragoza, Pablo Hurus, 1493 edition of Cárcel de amor, a well-know prose romance, and avoids the Terentian model of the Burgos Comedia? Not for nothing, both Hurus and Coci were German, and they were from Konstanz, a city in the South of Germany, like Augsburg. But this is something that still needs some research.
As I did with COMEDIC and Philobiblion for the 16th-century editions of Celestina in Spanish with surviving copies (see the result here), I have compared my list of known copies of both editions of Christof Wirsung’s translation of Celestina into German with the lists provided by the USTC and VD16 and noticed that I have a few more. Here is the list (16 “new” copies):
Ain hipsche Tragedia von zwaien liebhabenden Mentschen, ainem Ritter Calixstus und einer edlen Junckfrawen Melibea genant, deren Anfangmuesam was, das Mittel sieβ, mit dem aller bittersten jr bayder Sterbenbeschlossen, Augsburg, Dr Sigismund Grymm and Marx Wirsung, 20thof December 1520 (AHT): 11 “new” copies
As part of the preliminar work for my current research I am revisiting my catalogue of the known editions of the Italian translation of Celestina (recently made available at CORE, because it does not seem as if I will be working on that for a while). Even if I thought that it was quite complete, I have found new copies in the on-line catalogues of different American and European libraries. Here is the list (26 “new”copies):
Tragicocomedia di Calisto e Melibea, Roma, Eucario Silber, 29th of January 1506 (R06): 4 “new” copies
Madrid, Biblioteca de D. Francisco Zabálburu (last leaves wanting)
Trent, Biblioteca Diocesana Vigilianum, dvgg2Y 106 (no title page)
Saint Petersburg, Rossijskaja Nacional’naja Biblioteka, 6.19.4.87
Santander, Biblioteca de Menéndez Pelayo, 30.023 (first leaves wanting)
Tragicocomedia di Calisto e Melibea, Vicenzo Minuziano, January 1515 (M15): 4 “new” copies
Huesca, Biblioteca Pública del Estado (according to CCPB)
In it, celestinesque scholars will find information on the known editions of the Italian translation of Celestina by Alphonso Hordognez, with or without known surviving copies, and on their current location. This catalogue identifies ghost editions and potentially lost editions, and provides extensive bibliographical information on the editorial history of Celestina in Italian as well.
This research dates from 2012 and my ideas on the topic might have changed since then, but it should still be up-to-date regarding the number of known copies and their location, although some of the links might be outdated. I aim to complete this catalogue some time with a preliminary study on the editorial history of Celestina in Italy and more detailed informations on the particular editions, however, I felt that it was a shame to keep this useful research tool to myself for so long. Luckily, CORE offers the opportunity to share unpublished work in a quotable way. So, please, take this as a late-Christmas present and feel free to use my catalogue for your research.