Browse Items (3223 total)

La Celestina. Didáctica Anaya Editorial, 2001. Illustrations by Javier Serrano Pérez

La Celestina. Didáctica Anaya Editorial, 2001. Illustrations by Javier Serrano Pérez

La Celestina. Didáctica Anaya Editorial, 2001. Illustrations by Javier Serrano Pérez

Photomontage by the DeviantArt user Jesuss1 based on the painting Celestina, by Picasso (1904), interpreted by the user with his own paint.

Translation and adaptation: Yoichi Tajiri Stage direction: Hirofumi Suzuki Lighting: Shunsuke Yoshito Sound: Mitsuhiro Nakagawa Cast: Masaya Nagano- Choir 1, Calisto Kazunori Tokida-Choir 2, Sempronio Daisuke Higuchi-Choir 3, Pármeno Tadayoshi…

A very elaborate composite model that originated from Valencia, 1514 and Sevilla, 1523.An illustrated edition with 26 engravings (plus the cover) which can be seen by clicking here: Zaragoza, 1545.The same engraving is used for the cover of the…

Very elaborate variant of the composite model taken fromValencia (1514)andSevilla (1523).Illustrated edition with 26 engravings (plus cover) that can be seen by clicking here:Zaragoza (1545).

Three scenes separated by columns. The first is of a couple talking inside a building, the woman seated on a dais, which is thought to be in some way representative of Calisto and Melibea's first meeting. The second is a man that seems melancholic,…

Three men in a street speaking, while a woman watches them from the window. It is unclear which scene of the work is referenced here because the image is so generic.

Sempronio, accompanied by Celestina, arrives at her house, where Elicia is inside, occupied with a task. Oustide, in the background, a crenellated wall with trees behind.

Celestina in Melibea's house, and she, with Lucrecia on a dais, while Alisa leaves with the messenger who has come to call on her. A pet next to one of the women.

Sempronio and Celestina arrive at Calisto's house. He speaks with Pármeno, while seated inside. A bed in the background.

At Calisto's house, Celestina is speaks with him, while Sempronio and Pármeno talk amongst themselves apart from them. A background with columns and arches.

On the left, Celestina speaking with Pármeno. On the right, the following scene of him lying with Areúsa.

Double scene. On the right, Pármeno has awoken to go to his master's house after spending the night with Areúsa. On the left, the following scene is of the encounter and agreement between Pármeno and Sempronio.

The banquet scene in Celestina's house with Pármeno, Sempronio, Elisa y Areúsa. Outside Lucrecia knocking on the door. Celestina drinking and a cat or dog with a bone in front of the table.

Two consecutive scenes. On the left, Celestina, holding the rosary, arrives at Melibea's house with Lucrecia. On the right, inside the house, Celestina talks with Melibea while sitting on the dais, and Alisa enters through the door.

Celestina is accompanied by Pármeno and Sempronio, in the street. Calisto on his knees in the church of the Magdalen.

While Pármeno and Sempronio, well armed, stand watch, Calisto speaks with Lucrecia and Melibea, who are not represented, through the garden door.

Pármeno and Sempronio kill Celestina, who is on the floor, while Elicia watches horrified.

Sosia and Tristán talk in the doorway about the execution of Pármeno and Sempronio while Calisto lies in his bed.

Pármeno and Sempronio's execution. On the left, the judge and three people, one of which is probably Sosia. On the right, the execution, one of the defendants already decapitated and the other being decapitated. Two people with beards on the right.…

Calisto climbing a ladder while Melibea and Lucrecia watch from two arches. On the right, Sosia and Tristán stand guard outside. The same image is repeated again in act XIX.

Elicia and Areúsa plot 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.

Lucrecia and Melibea, on a cushion, on the other side of a door listen to the conversation between Pleberio and Alisa, who are sitting in another room.

Areúsa in her house receiving Sosia, while Elicia listens hidden. Bed and stairs in the background.

The same image as used in act XV, now to represent Elicia helping Areúsa to make peace with Centurio.

The same illustration used in act XIV, now for Calisto's fatal visit to Melibea.

Sosia and Tristán remove Calisto's corpse.

Pleberio, and behind him Alisa in bed, knocking on the door of Melibea's bedroom. Lucrecia answering while saddened Melibea is sitting on the dais.

Melibea throws herself from an elevated location with locked doors meanwhile Pleberio joins his hands in a sign of prayer.

Three bearded male characters contemplate Melibea's corpse lying facedown and, beside her, Lucrecia, Alisa and Pleberio. Two unidentified people leaning over the wall also contemplate Melibea's corpse.

Curious ink cover imitating an old book titled Pármeno, life and work, directed at Paula Ronderos Bogotá, 2008. In a wiki, that also contains a page and a half of what appears to be Sempronio's picaresque lifestyle, who travels to America.
The…

Adapted to modern Castilian.

A gallant scene with couples and troubadours that appears to be a modified medieval illumination.

Representation "Melibea a las nueve. Un viaje de cuento" ("Melibea at nine. A fairytale journey"), Festival Celestina - La España de Rojas ("Celestina Festival - The Spain of Rojas"), La Puebla de Montalbán, Toledo, August 27, 2022.Author: Ángel…

A photograph of Celestina casting a spell with smoke and fire in an unidentified theatrical performance.

A composite scene of Celestina knocking on the door holding the thread, Lucrecia at the window, Calisto and Melibea in the garden, a horse and a woman. Low quality image the seems to have been inspired by the cover page of the Valencia edition (1514)…

Factotum of Celestina with her rosary.

Factotum of Melibea.

Factotums of Calisto and Melibea, possibly the encounter in the garden.

Two factotums of an old and a younger man and above the names Calisto, Pármeno and Sempronio.

Two factotums, man and woman, and above the names of Sempronio, Celestina and Elicia. The first factotum is the one used in act I for Calisto. The second has her head covered and the rosary so she must be Celestina.

Two factotums of women and above the names Celestina, Lucrecia, Alisa and Melibea. The first, an old woman, covered with something in hand, this could be Celestina, although the image is not the same as the one used in the previous act for this…

Celestina and Sempronio approach the door of Calisto's house, where he is speaking with Pármeno. This image is used again in acts XI and XVI.

An image without meaning in this act due to its seeming representation of act XVIII, where it is reused there appropriately, where Melibea and Lucrecia listen while Pleberio and Alisa speak about the possible marriage of their daughter. Above the…

Scene in two frames of the visit of Pármeno and Celestina to Areúsa. On the left hand part the first two are speaking and in the right hand part the following scene of Pármeno lying with Areúsa. Above are written the names of Celestina, Pármeno,…

This scene does not appear to have anything to do with the action in this act. If it represents anything it would be Melibea's suicide although there are many characters. Additionally, in act XX a different image is used for Melibea's suicide.

Banquet scene at Celestina's house with five characters, two men and three women. It does not appear to show a banquet but rather a meeting. Above are the names of Sempronio, Pármeno, Celestina, Elicia, Areúsa and Lucrecia.

Two factotums of women, representing Melibea and Celestina. Above, the names Melibea, Alisa, Celestina, Lucrecia are written.

The same image used in act V to show the visit of Celestina and Sempronio to Calisto's house, who is speaking with Pármeno. Written above is Celestina, Sempronio, Calisto and Pármeno. Used again in act XVI.

While Melibea and Lucrecia wait on the crenelated garden wall, Calisto climbs the ladder and Pármeno and Sempronio keep watch.

Pármeno and Sempronio kill Celestina.

The execution of Pármeno and Sempronio with an executioner and two male characters as witnesses.

The same image used in act XII, now for Calisto's visit to Melibea's garden with Sosia and Tristán.

Centurio between Areúsa and Elicia.

Scene already used in acts V and XI but here it doesn't seem to have any relation with the events in the act.

Factotums of an unidentified man and woman, probably representing Areúsa and Sosia's encounter, although these factotums have been used previously for other characters.

Melibea and Lucrecia listen behind the door while Pleberio and Alicia discuss the marriage of their daughter.

Sosia and Tristán transport Calisto's body, after falling from the ladder.

Melibea throws herself from the tower while two women watch. Note the absence of the character of Pleberio.

A cat in a border, probably the emblem of the printer or bookseller of Count Antonio Viscount, count of Leonato Poçolo

The same as Sevilla, 1523.

Original title: Romance del Conde Claros de Moltauan : con vn villancico pastoril al cabo, muy gracioso ("Romance of Count Claros from Montalban: with a pastoral carol at the end, very funny").

Same engraving as the one Fadrique de Basilea used in…

This is the same as the Toledo, 1526 edition. An illustrated edition with 24 images that can be seen by clicking here: Toledo, 1538.

Calisto and Melibea are in the walled garden on the left. Celestina is carrying the rosary, string and a cane knocking on a door and a young woman (Lucrecia) leans out of the window to see who is knocking.

Five factotums and seven names above: Calisto, Melibea, Sempronio, Pármeno, Celestina, Elicia, Crito. Celestina is carrying the rosary and a cane. Some of the images are different from the equivalent images used in the Toledo edition (1526).

Five block factotum: houses, Calisto, Sempronio, Pármeno and houses. Sempronio has a beard and Pármeno is holding the bag. The houses are mirror images of a same model.

Factotums of houses, Sempronio, Celestina, Elicia and a tree. This image changes two characters and the tree with respect to the equivalent model from the Toledo edition (1526).

Factotums: houses, Lucrecia, Celestina, Alisa and Melibea. They speak in pairs, Celestina with Lucrecia and Alisa with Melibea. Celestina and Alisa are characterized as old women with their heads covered. The only difference from the Toledo edition…

Factotums: houses, Celestina, Sempronio, Pármeno and Calisto.

Factotums of houses, Calisto, Celestina, Pármeno and Sempronio.

Factotums of Pármeno, Celestina, Areúsa, Elicia and houses.

Factotums of Pármeno, Celestina, Areúsa, Elicia and houses.

Five factotums and six names above: Sempronio, Pármeno, Celestina, Elicia, Lucrecia, Areúsa.

Factotums of Melibea, Celestina, Alisa, Lucrecia, all speaking in pairs, and houses.

Factotums of Celestina, Calisto, Sempronio, Pármeno and Elicia.

Factotums of Calisto, Lucrecia, Melibea, Pármeno and Sempronio.

Judge and two soldiers with Pármeno and Sempronio (one on the ground, the other jumping out the window) on the left side and on the right, Pármeno and Sempronio kill Celestina with swords while Elicia tears out her hair behind Celestina. Curiously…

Factotums of buildings, Calisto, Tristán, Sosia and buildings. Tristán and Sosia are wielding swords.

Pármeno and Sempronio's execution with two soldiers, a judge, Sosia observing and an executioner wearing a turban. One of the executed has a cross in his hand.

Factotums of Melibea, Lucrecia, Sosia, Tristán and Calisto.

Sosia and Tristán armed in the street while Calisto climbs the ladder to Melibea's garden. She waits for him inside with Lucrecia.

Factotums of Elicia, the moço (sic), Centurio, Areúsa and houses.

Factotums of Melibea, Lucrecia, Alisa, Pleberio and houses.

Factotums of casas, Elicia, Areúsa, Sosia and houses.

Factotums of houses, Areúsa, Elicia, unnamed character as the same one called "el moço" in the illustration from act XV, and Centurio.

Five factotums. This engraving does not seem to be in the Toledo edition (1526), although the characters are a recombination of the same usual images.

Factotums of Sosia, Tristán, Calisto, Melibea and Lucrecia. In the Toledo edition (1526) the first character on the left is Tristán and he has a different image.

Tristán and Sosia remove the dead Calisto, ladder and the garden wall in the background. Note that Calisto's shoes are on the ground.

Melibea throws herself from the tower while Pleberio watches.

Factotums of a tower, Pleberio, Lucrecia and Melibea. Above the tower appear the words "de la torre abajo." This image changes in order and attribution of the characters of the equivalent image in the Toledo edition (1526).

This is the same as in the Burgos, 1531 edition.

Composite scene with an unidentified servant, Calisto, Melibea and Lucrecia, with the initials above. Celestina, also with initials above is knocking at the door, with the thread in hand. A tree in the center. An illustrated edition with26…

Emblem of the printer showing a hand between clouds or waves, holding an object in the form of "T" and the inscription in Latin "Per verbum Dei auditus".

A composite scene featuring two servants escorting Calisto on horseback and a third servant or black page. It also includes a dog and to the right margin the house of Melibea with her and Lucrecia on the balcony, while Celelstina knocks on the door…

Sempronio, Celestina and Elicia, the latter holding a flower. The two same buildings from the title page fill the sides.

Calisto climbing into Melibea's garden. Same engraving used in act XIV.

Calisto and his servants in the foreground; Celestina knocking on Melibea's door, and she is inside with her parents and servant. In the background, two men (Pármeno and Sempronio?) meet two women (Areúsa y Elicia?) in the street.

Three figures, two men and one woman who, in the upper edges of the vignette correspond to the names of Pármeno, Calisto and Melibea. Then two buildings with characters in the windows and above, the names of Sempronio, Celestina, Elicia and Crito.

Calisto, Pármeno and Sempronio; one of the buildings from the title page with a woman inside, visible through the window.