The iconographic programmes of the illustrated editions of the translations of “Celestina” into Italian, German, French and Dutch printed in the first half of the sixteenth century are compared to those of the editions in Spanish that appeared before the Zaragoza: Pedro Bernuz y Bartolomé de Nájera, 1545 edition. They are considered within their cultural backgrounds and their discrepancies with the Spanish models are analyzed to show the different perception and reception of “Celestina” in Europe.