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Illustration of act V of the Paris edition (1542)
Factotums of a man and woman with unfilled banners. The woman's character is the same as was used for Lucrecia in the previous act.
Illustration of act V of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
Factotums of houses, Calisto, Pármeno, Sempronio and Celestina
Illustration of act V of the Salamanca edition (1540)
Factotums of houses, Celestina, Sempronio, Pármeno and Calisto.
Illustration of act V of the Valencia edition (1529)
Factotums of Calisto, Pármeno, Sempronio, Celestina and a house with a person inside in the right margin.
Illustration of act V of the Venice edition (1519)
The same generic illustration from act IV. Written above are the names Celestina, Sempronio, Calisto, Pármeno, Celestina. Note that the name Celestina is repeated.
Illustration of act V, by Alcalá Iberri (2004)
Llega Celestina a su casa, donde le espera Sempronio
Illustration of act VI from the Antwerp edition (1616)
The same illustration that was used for act III and is used again for act VIII.
Illustration of act VI from the Zaragoza edition (1545)
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.
Illustration of act VI of the Barcelona edition (1525)
Factotums of Calisto, Celestina, Pármeno and Sempronio.
Illustration of act VI of the Barcelona edition (1888)
Illustration of act 6, probably Calisto paying Celestina with the golden chain. Illustration by Escobarpresented in the Classical Spanish Library 21 edition byDaniel Cortezo Cía. In Celestinesca Vol 10, Num 1.
Illustration of act VI of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Illustration of act VI of the Estella edition (1557)
Calisto, seated, speaks with Celestina, meanwhile Pármeno and Sempronio talk amongst themselves. the same engraving is reused in act XI.
Illustration of act VI of the Micomicona Ediciones edition: Valencia, 2019
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6
Illustration of act VI of the Oxford edition (2016)
El Árbol de los clásicos Collection. © Oxford University Press Spain, 2015.
Illustrations: Marina Seoane Pascual
Web: marinaseoane.com
Illustrations: Marina Seoane Pascual
Web: marinaseoane.com
Illustration of act VI of the Paris edition (1527)
Factotum of Celestina not used in any of the previous acts, and of Calisto, the same used in act I.
Illustration of act VI of the Paris edition (1542)
The same factotums as act V.
Illustration of act VI of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
Factotums of houses, Calisto, Celestina (with the rosary), Pármeno and Sempronio
Illustration of act VI of the Salamanca edition (1540)
Factotums of a tree, Calisto, Celestina, Pármeno and Sempronio.
Illustration of act VI of the Valencia edition (1529)
Factotums of a house with a person inside, Calisto, Celestina (head covered), Pármeno and Sempronio.
Illustration of act VI of the Venice edition (1519)
The same illustration as act IV. The names Calisto, Celestina, Pármeno, Sempronio, Calisto. Note the repetition of the name Calisto.
Illustration of act VI, by Alcalá Iberri (2004)
Entra Celestina en casa de Calisto, quien corre a su encuentro
Illustration of act VII from the Barcelona edition (1841)
This illustration is missing in some editions. The moment in which Pármeno approaches Areúsa's bed while Celestina watches the scene (p. 149). At the foot of the scene Areúsa's words can be read: "Quítate allá, que no soy de aquellas que piensas, ten…
Illustration of act VII from the Zaragoza edition (1545)
On the left, Celestina speaking with Pármeno. On the right, the following scene of him lying with Areúsa.
Illustration of act VII of the Antwerp edition (1616)
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…
Illustration of Act VII of the Barcelona edition (1972)
Celestina keeps her promise to Pármeno, and he may keep Areúsa.
Illustration of act VII of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Illustration of act VII of the Estella edition (1557)
Celestina and Pármeno stand at the foot of Areúsa's bed. The same scene is reused in acts XVII and XXII.
Illustration of act VII of the Micomicona Ediciones edition: Valencia, 2019
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6
Illustration of act VII of the Paris edition (1527)
Factotum of Pármeno as a youth with a sword, and of Celestina, the same as the cover and other acts.
Illustration of act VII of the Paris edition (1542)
The same factotum of a man from acts V and VI and the same figure of a woman used for Celestina in act IV, but here with an empty banner.
Illustration of act VII of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
Factotums of Celestina, Pármeno, Areúsa, Elicia and houses
Illustration of act VII of the Salamanca edition (1540)
Factotums of houses, Celestina, Pármeno, Areúsa and Elicia. The factotums of Areúsa and Elicia are the ones used earlier for Alisa and Melibea respectively.
Illustration of act VII of the Valencia edition (1529)
Factotums of Pármeno, Celestina, Areúsa, Elicia and a house.
Illustration of act VII of the Venice edition (1519)
The same illustration as act I. The names Celestina, Pármeno, Areúsa, Elicia, Celestina (repeated) written above the figures.
Illustration of act VII, by Alcalá Iberri (2004)
Celestina invita a Pármeno a entrar a la alcoba de Areúsa
Illustration of act VIII (?) of the Barcelona edition (1959)
This image does not appear in the edition housed in the National Library, but does appear in the Celestinesca journal
Illustration of act VIII from the Zaragoza edition (1545)
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.
Illustration of act VIII of the Antwerp edition (1616)
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…
Illustration of act VIII of the Barcelona edition (1525)
Four factotums of Calisto, Areúsa, Sempronio and Pármeno.
Illustration of act VIII of the Barcelona edition (1959)
This image corresponds to act VII but is placed in act VIII in the physical copy
Illustration of act VIII of the Estella edition (1557)
Pármeno and Sempronio talk at the door of the house. The same image is used again in act XIII.
Illustration of act VIII of the Micomicona Ediciones edition: Valencia, 2019
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6
Illustration of act VIII of the Oxford edition (2016)
El Árbol de los clásicos Collection. © Oxford University Press Spain, 2015.
Illustrations: Marina Seoane Pascual
Web: marinaseoane.com
Illustrations: Marina Seoane Pascual
Web: marinaseoane.com
Illustration of act VIII of the Paris edition (1527)
Factotums of Pármeno, same as the previous act, and of Areúsa, the same used in act I for Melibea.
Illustration of act VIII of the Paris edition (1542)
The same combination of a man and a woman from acts V and VI.
Illustration of act VIII of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
Factotums of Sempronio, Pármeno, Calisto and Areúsa
Illustration of act VIII of the Salamanca edition (1540)
Factotums of houses, Pármeno, Areúsa (used earlier for Melibea), Sempronio and Calisto. Sempronio's image is new and shows a character gesturing with his index finger.
Illustration of act VIII of the Valencia edition (1529)
Factotums of Sempronio, Pármeno, Areúsa, Calisto and a house.
Illustration of act VIII of the Venice edition (1519)
The same illustration as act IV, written above are the names Pármeno, Areúsa, Sempronio, Calisto, Pármeno (repeated).
Illustration of act VIII of the Venice edition (1541)
Four factotums of characters --three men and a woman-- and houses. Above are written the names Pármeno, Areúsa, Sempronio, Calisto, and Pármeno repeated, the one who begins speaking first in this act.
Illustration of act VIII, by Alcalá Iberri (2004)
Sempronio da consejos a Calisto
Illustration of act X from the Barcelona edition (1883)
Melibea collapsed in her chair and Celestina taking her pulse (p. 189). Vignette.
Illustration of act X from the Zaragoza edition (1545)
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.
Illustration of act X of the Antwerp edition (1616)
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.
Illustration of act X of the Barcelona edition (1525)
Factotums of Celestina, Melibea with a flower in hand, Lucrecia and Alisa.
Illustration of Act X of the Barcelona edition (1988)
La Celestina. Barcelona, Lumen Editorial, 1988 . Version by Enrique Ortenbach. Illustrations by Bartolomé Liarte.
Illustration of act X of the Estella edition (1557)
A difficult scene to understand as it does not correspond to the action in act X. A man approaches to speak to a woman who is sitting or has fallen down while the other one present stands. This could refer to the page who comes in search of Alisa,…
Illustration of act X of the Micomicona Ediciones edition: Valencia, 2019
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6
Illustration of act X of the Paris edition (1527)
Factotums of Celestina and Melibea used in previous acts.
Illustration of act X of the Paris edition (1542)
The same combination of two women as in act IV.
Illustration of act X of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
Factotums of Melibea, Celestina, Lucrecia, Alisa and houses
Illustration of act X of the Salamanca edition (1540)
Factotums of houses, Melibea, Lucrecia, Celestina and Alisa.
Illustration of act X of the Valencia edition (1529)
Factotums of Melibea, Celestina, Lucrecia, Alisa.
Illustration of act X of the Venice edition (1519)
The same illustration as act IV. Above the names Melibea, Celestina, Lucrecia, Elisa, Melibea (repeated).
Illustration of act X of the Venice edition (1541)
Four factotums and houses. Above, four names: Melibea, Celestina, Lucrecia, Elisa and Melibea repeated to indicate it is she who speaks first in the act. There is a masculine character between the images.
Illustration of act XI from the Barcelona edition (1883)
Calisto hands over the chain to Celestina while Pármeno and Sempronio whisper to each other (p. 198).
Illustration of act XI from the Zaragoza edition (1545)
Celestina is accompanied by Pármeno and Sempronio, in the street. Calisto on his knees in the church of the Magdalen.
Illustration of act XI of the Antwerp edition (1616)
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,…
Illustration of act XI of the London edition (1973)
Celestina heading to Calisto's house. Illustration made by Dodie Masterman for the Folio Society in London. Also shown in Celestinesca Vol 20, Num 1 & 2.http://parnaseo.uv.es/Celestinesca/Numeros/1996/VOL%2020/NUM%201%20Y%202/NUM%201%20Y%202.pdf
Illustration of act XI of the Micomicona Ediciones edition: Valencia, 2019
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6
Illustration of act XI of the Paris edition (1527)
Factotums of Celestina and Calisto, the same used in previous acts.
