Of Sagittarii and Dogs: Two Graphical Representations of the Lope de Vega Brand

This article examines how Lope de Vega proclaimed his literary singularity with two graphical representations: an engraving with a centaur that appeared in several covers of his works between 1604 and 1625, and an allegorical portrait that Lope kept in his study and that was well known in his circle of friends. These cases show how Lope used graphic material to promote a certain image of himself and his work, supporting the one he spread through his verses. On the other hand, these examples shed light on opposite aspects of Lope’s career: the centaur shows how he adapted himself to the world of mass production; the allegorical portrait shows how he presented himself in more exclusive circles.