This article identifies the potential models of the artist Hans Weiditz when designing the woodcuts for the first print of the first German translation of “Celestina” (Augsburg, Sigismund Grimm and Max Wirsung, 1520). A detailed comparison between the woodcuts of the German translation and the woodcuts of the Spanish and Italian “Celestinas” printed before 1520 leads to the conclusion that Hans Weiditz necessarily knew the woodcuts of the Burgos’ “Comedia” and of the illustrated “Tragicomedias” that follow the pictorial scheme of Jacobo Cromberger.