Browse Items (3223 total)

Cover
On the top part, Elicia (Gemma Cuervo) is shown in mourning and Areúsa (Tina Sáinz) is eating.
Celestina (Tony Solder) is smiling in the bottom part.

Back cover
In the image in the top part Celestina (Tony Solder) is arguing with Pármeno…

Cover
On the top part, Elicia (Gemma Cuervo) is shown in mourning and Areúsa (Tina Sáinz) is eating.
Celestina (Tony Solder) is smiling in the bottom part.

Back cover
In the image of the top part you can see the face of pain that Elicia feels…

Callisto playing the lute

Prostitutes in a brothel with matchmaker to the left. Reference to an absent bullfighter or picador.

Original title: "Mujeres de la vida"

A group of young women, supposedly prostitutes, and behind them an older woman, that could be their procuress.

In the image there is a figure seated in a chair with a fan with her back to the viewer. By the silhouette it is understood that she is an old woman with her head covered following the Celestinesque tradition, and that therefore the drawing…

A scene in the Hermitage of the Virgin of the Port. In the lower left corner of the table, there is a group of people acting similarly as characters inLa Celestina. A soldier dressed in red, with a young girl who seems to be flirting, while an old…

Hungarian translation.

Original title: Interieur mit illustrer Gesellschaft beim Austern Essen("Interior with illustrious company eating oysters").The image shows a group of people around a table eating oysters. There are several young women who appear embracing men. Note…

Original title:Les musicien("The musicians"). In the image there are two young women and two men playing instruments. To the right appears an old woman bent over with her head covered following the Celestinesque tradition. The old woman can act as a…

The image shows a group of people around an outdoor table. There are two young women who appear, one embracing a man and the other holding hands with another man. The third man appears playing a musical instrument. Note the old woman who appears on…

The image shows an interior scene where young men and women appear at a table. In the center of the image a couple and the woman touches the man on the chest in a suggestive way. Note the old woman who appears on the left with her head covered, who…

Original title: Elégante compagnie dans un intérieur("Elegant company in an interior").The image shows an indoor scene where young men and women appear, some hugging and even kissing. Note the old woman who appears on the left with her head covered,…

Original title: Höfische Gesellschaft im Freien, rechts Blick in einen Barockgarten("Courtly company in the open air, right view of a baroque garden").The image represents an outdoor scene where young men and women appear around a table. Some couples…

The image shows an outdoor scene where young men and women appear around a table. Talking to one of the customers on the left appears an old woman with her head covered following the Celestinesque tradition who can act as a procuress for the young…

The image shows an indoor scene where young men and women appear in a room. Another hugging couple is seen through the bedroom door. Note the old woman who appears on the right with her head covered, following the Celestinesque tradition, which may…

The image represents an outdoor scene where young men and women appear on a terrace. Two of the men play musical instruments. Note the old woman who appears in the window on the right looking at the scene with her head covered, following the…

Original title: Interiör med galant sällskap("Interior with gallant company").In the image a young couple appears in a room. To the left appears an old woman with her head covered following the Celestinesque tradition. The three figures in the scene…

Original title: Scène d'auberge("Hostel scene").The image shows an indoor scene where several young men appear drinking and a young woman among them. To the right in the foreground is an old woman with her head covered following the Celestinesque…

The image shows an outdoor scene where young men and women appear around a table on a terrace. Note the old woman who appears in the center with her head covered following the Celestinesque tradition, which may act as the procuress of the young…

Nocturnal scene with Calisto and Melibea in the garden with Sosia and Tristán talking outside in the foreground and Lucrecia in the back of the garden.

Initial encounter between Calisto and Melibea. Horse and falcon. Space surrounded by a wall, but different from the garden.

Conversation between Sempronio and a melancholic Calisto seated at the table where there is a lute. In his bedroom with a bed in the background.

Celestina's arrival to Calisto's house accompanied by Sempronio. Pármeno opens the door and Calisto waits upstairs.

Calisto has a bag of money in hand and speaks with Celestina. Pármeno is in the background next to the window looking incredulous. This image corresponds to the last of the first act despite being behind the argument of the second act.

Pármeno helps Calisto mount his horse to pass by Melibea's house.

Sempronio accompanies Celestina to the door of her house where Elicia is at the window.

Celestina offers string to Melibea while a female character, Alisa or Lucrecia, has her back turned.

Same engraving that was the second in act I to represent Celestina's arrival to Calisto's house accompanied by Sempronio and Pármeno opening the door. Here it seems to be used for Celestina's arrival to the house, so the male character that opens the…

Celestina gives Calisto the string while, in the background, Pármeno and Sempronio mock the situation.

Celestina speaks with Areúsa, who is semi-nude in her bed, and Pármeno waits impatiently outside.

Pármeno and Sempronio serve and talk with Calisto in his room. Not a very specific image for the action in this act.

Banquet at Celestina's house with Pármeno, Areúsa, Sempronio and Elicia.

Meeting at Celestina's house, Celestina, Alisa and Lucrecia.

Melibea falls unconscious in her home in front of Celestina.

Celestina speaks with Calisto in the street (on the way to the church of Magdalena) while Pármeno and Sempronio speak amongst themselves.

Calisto speaks with Melibea through the garden door while his servants keep watch. Lucrecia listens to the conversation between Calisto and Melibea.

Two panels separated by a wall. On the right, Pármeno and Sempronio kill Celestina while Elicia cries for help. In the left margin, armed men knock on the door.

Pármeno and Sempronio's execution. Sosia witnesses the event.

Calisto and Melibea's encounter in the garden with Lucrecia as a witness and Sosia and Tristán keeping watch outside. It is not the same engraving used in the argument although it has many similarities.

Elicia and Areúsa see a heavily-armed Centurio off at the door.

Pleberio and Alisa speak of Melibea's future while she is listening beside Lucrecia behind the door.

Areúsa hugs Sosia while she coaxes her master's plans out of him.

Elicia and Areúsa go to Centurio's house to ask him to avenge Celestina's death. Engraving very similar to act XV's.

Sosia and Tristán pick up fallen and dead Calisto. Note that Melibea and Lucrecia are not visible.

Melibea falling from the tower while Pleberio lifts his hands to the sky.

Alisa beside Melibea's dead body and Lucrecia lamenting behind. In the background, Pleberio raises his hands to the sky.

Pleberio goes to wake up Alisa with the bad news of Melibea's death. Lucrecia laments in the background.

Drawing made by the DeviantArt user, happichuu, he/she was reading a book in a literature class and made his/her own interpretation of the characters in a Japanese cartoon style.

An old woman, characterized as a witch, offers a young woman a box or jewel. The image is reminiscent of the depictions of Snow White and the witch in Disney's images.

English translation.

Portuguese translation.

Original title: Bei der Kupplerin (nach Jan Vermeer) ("At the procuress (after Jan Vermeer)").

In the image appears a young couple surrounded by other figures. Next to the young woman appears an old woman with her head covered. By the title of the…

Cast: Ulrich Matschoss, Charlotte Schellenberg, Elisabeth Rath, Susanne Schweiger, Hans Christian Rudolph, Heinz Trixner, Axel Radler, Konrad Krauss, Agnes Fink, Hanna Seiffert, Ursela Monn, Werner Opitz

Translation: Kazimierz Zawanowski
Adaptation and staging: Wiesław Hejno
Scenography: Eugeniusz Get-Stankiewicz
Music: Zbigniew Karnecki
Assistant director: Jacek Przybyłowski

Cast:
Jacek Przybyłowski – Calisto
Elżbieta Echaust –…

Genre painting by Flemish author, based on the parable of the prodigal son (merry company). Note the old woman in the foreground, who, Judas-like, reaches for the bread.

Other titles: The Prodigal Son, De Verloren Zoon

Dutch painting, genre painting or merry company.
Note the old woman in the foreground with the beer or wine mug.

Original title: Lockere Gesellschaft
Other title: Brothel Scene

English translation.

The cover features a simple, slightly cartoonish representation of a woman's face, likely meant to represent Celestina, but it is ambiguous enough that it could also be interpreted as any of the female characters.

The cover features an illustration of a female figure. The use of colour- red, grey and black- result in a vibrant, eye catching design.

Painting signed: “de Hermida” ("by Hermida"), from the Sevillian School, first third of the 19th century.

The painting represents an old woman with her head covered and a damaged eye, all in keeping with the celestinesque tradition. The…

A fragment of an unidentified painting depicting a woman combing her hair and another woman with her head covered. Although they are both young, it could be a representation of Celestina and Melibea.

La segunda Celestina ("The Second Celestina")Author: Sor Juana Inés de la CruzNational Company of Fénix NovohispanoClassical Theater Costume: Brisa AlonzoMusic:Mexico City String Quartet directed by Verónica PeraltaCast:Jacqueline Bribiesca,Víctor…

Different insects appear in the image that seem to form a face in the center of the etching.

This is a copy taken from the engraving from act V from the Zaragoza edition (1545). A double scene in which Calisto is shown seated on the left, and Pármeno standing, and on the right, Celestina accompanied by Sempronio. Note the black veil…

Cover that looks like a rotated copy from the Zaragoza edition (1545)but from a much less careful production. See the description on Zaragoza's cover. It is an edition with illustrations that can be seen here.

Likely the printer's emblem that depicts an animal, such as a fox or a wolf in vegetable form that appears to be the letter V.

A copy of the engraving of act XVII in the Zaragoza edition(1545). Where it is used to represent Areúsa in her house, receiving Sosia, while Elicia listens in hiding. Bed and stairs in the background. Here it appears to represent Sempronio…

Double image that shows Calisto and Celestina'smeeting while Pármeno and Sempronio talk amongst themselves. This does not appear to be a copy of the illustrations in Zaragoza (1545), one of the few cases in the book. Due to the simplicity of…

A simplified copy of the engraving from act IV in the Zaragoza edition (1545).Celestina at Melibea's house, where she is with Lucrecia on the side, while Alisa leaves with the messenger that has come for her.Note that in the Zaragoza version there is…

The same illustration used in act I, which in turn is a copy of the illustration of Act V in the Zaragoza edition (1545). A double scene in which Calisto is shown seated and Pármeno standing, and on the right Celestina arriving at Calisto's…

The same illustration that was used for act III and is used again for act VIII.

A variation of the scene of act VII of the Zaragoza edition (1545). Celestina speaking with Pármeno at Areúsa's door, while she is lying in bed. Note that in this version, different from the image in Zaragoza, that the couple in bed are…

The same illustration as was used in act IV. A simplified copy generated from the engraving of act IV of the Zaragoza edition(1545).Celestina at Melibea's house, and she with Lucrecia sitting on a dais, while Alisa leaves with the messenger who has…

Banquet scene at Celestina's house in an illustration completely unrelated to the equivalent illustration in the Zaragoza edition (1545), of which, generally speaking, almost all the illustrations here have been copied.

The same image, already used in acts IV y VIII. A simplified copy generated from the engraving of act IV in the Zaragoza edition (1545). Note that in the Zaragoza edition there is a pet that has been erased here.

Already used in acts III y VI. It does not appear to be a copy of illustrations in the Zaragoza edition (1545), one of the few instances in the book. It is, however, due to its simplicity, a provision that calls to mind a composition of factotums,…

A copy of the illustration of act XIV of the Zaragoza edition(1545).Calisto climbing a ladder while Melibea and Lucrecia are looking out of two arches. To the right, Sosia y Tristán, stand guard outside. This is used again in acts XIV y XIX

A copy of the illustration of act XV Zaragoza edition (1545). Elicia y Areúsa plot their revenge against Calisto with Centurio, shown with a sword. In the background, a bed and stairs. It is used again in acts XV y XVIII.

An image of a man arriving to a tower with a woman at the door and another man inside. This image does not seem to have anything to do with the events in act XIII, other than the generic idea of arriving to give news, but the female character does…

Scene in which Pármeno and Sempronio are executed. This is one of the rare cases in which this edition does not follow the images in Zaragoza (1545).This image was possibly taken from one of the books ofthe period depicting the extermination…

A copy of the illustration of act XIV of the Zaragoza edition(1545).Calisto climbs the ladder while Melibea and Lucrecia look out from two arches and two servants on guard outside. This has been used in act XII and is also used in act XIX.

Elicia and Areúsa orchestrate their revenge against Calisto with Centurio, shown with a sword. In the background, a bed and stairs. This image is used again in act XVIII.

A copy of the engraving of act XVI in the Zaragoza edition (1545).Lucrecia and Melibea on a cushion, on the other side of a door, listening to the conversation between Pleberio and Alisa, who are seated in another room. This is used again in act XX.

A copy of the engraving of act XVII of the Zaragoza edition (1545). Areúsa in her house, receiving Sosia, while Elicia listens in hiding. A bed and stairs in the background. This has already been used in act III.

A copy of the illustration of act XV of the Zaragoza edition(1545). It has already been used in acts XII and XV. Now it is being used to represent Elicia helping Areúsa make peace with Centurio.

A copy of the illustration of act XIV of the Zaragoza edition(1545).Calisto climbing a ladder while Melibea and Lucrecia are watching from two arches. On the right Sosia and Tristán, standing guard outside.This has been used in acts XII and…

A copy of the image of act XX of the Zaragoza (1545) edition. Sosia and Tristán remove Calisto's corpse.

A copy of the engraving of act XVI of the Zaragoza (1545)edition.Pleberio, behind him Alisa in bed, knocking on Melibea's door. Lucrecia answering and Melibea saddened sitting on the dais.This has already been used in act XVI with a different…

A copy of act XXI of the Zaragoza edition (1545).Three bearded male characters contemplate Melibea's body lying face down, and beside her, Lucrecia, Alisa and Pleberio. One unidentified character watching from the wall also contemplates the scene…

Cover that looks like a rotated copy from theZaragoza edition (1545)but from a much less careful production. See the description on Zaragoza's cover. It is an edition with illustrations that can be seen here.Very similar to the laterreeditionAntwerp…

Es copia dela imagen del acto XX de la edición de Zaragoza, (1545).Sosia y Tristán retiran el cuerpo muerto de Calisto.

Tres hombres hablando en la calle y. No está muy claro a qué escena de la obra se refiere pues la imagen es demasiado genérica.Copia girada y modificada de la deZaragoza, 1545. de la que cambia en que no hay una mujer en la…