Browse Items (3223 total)

Ilustración del acto XVI de la edición Barcelona, 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 XVI of the Estella edition (1557)
Same image used in act III that now seems to represent Alisa and Pleberio talking while Lucrecia listens in.

Illustration of act XVI of the Madrid edition, 2005

Illustration of act XVI of the Medina del Campo edition (1582)

Illustration of act XVI 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

Ilustración del acto XVI de la edición Oxford, 2016
El Árbol de los clásicos Collection. © Oxford University Press Spain, 2015.

Illustrations: Marina Seoane Pascual
Web: marinaseoane.com

Illustration of act XVI of the Paris edition (1527)
Factotums of Pleberio and Alisa that use the images of Pármeno and Celestina from previous acts.

Illustration of the act XVI of Paris 1922

Illustration of act XVI of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
Factotums of Melibea, Lucrecia, Alisa (the same image used on act IX for Celestina), Pleberio and a tree

Illustration of act XVI of the Salamanca edition (1540)
Six factotums and five names: Pleberio, Alisa, Melibea and Lucrecia. One of which is clearly Celestina but is not indicated as such. Both Melibea and Alisa are wearing a girdle around their waists.

Illustration of act XVI of the Salamanca edition, 1577

Illustration of act XVI of the Valencia edition (1529)
Factotums of Pleberio without a beard, Alisa, Lucrecia wearing cloak, and Melibea holding a mirror and a plant in the background. Factotum of a building in the right margin.

Illustration of act XVI of the Venice edition (1519)
The same illustration as act I. Above, the names Pleberio, Alisa, Lucrecia, Melibea, Pleberio.

Illustration of act XVI of the Venice edition (1541)
Five factotums (two women and three men) and above, the names of Pleberio, Alisa, Lucrecia, and Melibea. Pleberio's name repeated for being the first to speak in the act.

Illustration of act XVI of the Zaragoza edition, 1545

Ilustración del Acto XVI, de Alcalá Iberri (2004)
Areúsa le saca información a Sosia

Illustration of act XVII from the Zaragoza edition (1545)
Areúsa in her house receiving Sosia, while Elicia listens hidden. Bed and stairs in the background.

Illustration of act XVII of the Antwerp edition (1616)
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.

Illustration of act XVII of the Barcelona edition (1525)
Four factotums: a tower with various people on top of and within it, Elicia with a black mourning mantle, Areúsa, Sosia (image used for another character in act IX).

Ilustración del acto XVII de la edición Barcelona, 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 XVII of the Estella edition (1557)
Same image of a woman in bed and a man and another woman at the foot, used in act VIII representing there the visit of Pármeno and Celestina to Areúsa. Here the image does not make sense as it does not correspond to the action in the act. It is…

Illustration of act XVII of the Medina del Campo edition (1582)

Illustration of act XVII 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 XVII of the Paris edition (1527)
Factotums of Areúsa and Elicia with images previously used for Melibea and Celestina.

Illustration of the act XVII of Paris 1922

Illustration of act XVII of the Paris edition, 1976

Illustration of act XVII of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
Factotums of houses, Elicia (Image used in act IX for Celestina and in act XVI for Alisa), a woman with the erroneous name of Sosia, Areúsa and a tree

Illustration of act XVII of the Salamanca edition (1540)
Factotums of houses, Elicia, Areúsa, Sosia and a tree. Sosia with a black face, printed in negative.

Illustration of act XVII of the Salamanca edition, 1577

Illustration of act XVII of the Valencia edition (1529)
Factotums of Elicia, Areúsa and Sosia framed by two buildings in the margins.

Illustration of act XVII of the Venice edition (1519)
The same illustration as act IV. Above, the names of Elicia, Areúsa, Sosia, Elicia (repeated)

Illustration of act XVII of the Venice edition (1541)
Four factotums of characters (three women and one man) and houses. Above, the names Elisa, Areúsa and Sosia, with Elicia repeated for being the first to speak in the act.

Illustration of act XVII of the Zaragoza edition, 1545

Ilustración del Acto XVII, de Alcalá Iberri (2004)
El pacto de Centurio

Illustration of act XVIII from the Zaragoza edition (1545)
The same image as used in act XV, now to represent Elicia helping Areúsa to make peace with Centurio.

Illustration of act XVIII of the Antwerp edition (1616)
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.

Illustration of act XVIII of the Barcelona edition (1525)
Four factotums: a building with two people inside, Areúsa, Elicia, Centurio (image used for another character in another act XI).

Ilustración del acto XVIII de la edición Barcelona, 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 XVIII of the Estella edition (1557)
The same illustration as used in act X. Now it can be assumed it represents the conversation between Centurio, Areúsa and Elicia.

Illustration of act XVIII of the Madrid edition, 2005

Illustration of act XVIII of the Medina del Campo edition (1582)

Illustration of act XVIII 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

Ilustración del acto XVIII de la edición Oxford, 2016
El Árbol de los clásicos Collection. © Oxford University Press Spain, 2015.

Illustrations: Marina Seoane Pascual
Web: marinaseoane.com

Illustration of act XVIII of the Paris edition (1527)
Factotums of Areúsa and Centurio that reuse the images of Melibea and Calisto.

Illustration of the act XVIII of Paris 1922

Illustration of act XVIII of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
Factotums of a tree, Areúsa covered (Image used previously for Elicia and Alisa), Centurio (image used previously for Pármeno and Sempronio), Elicia and houses

Illustration of act XVIII of the Salamanca edition (1540)
Factotums of houses, Elicia, Centurio, Areúsa and a tree.

Illustration of act XVIII of the Salamanca edition, 1577

Illustration of act XVIII of the Valencia edition (1529)
Factotums of Centurio, Elicia (covered) and Areúsa (without head covering) framed by two buildings.

Illustration act XVIII of the Venice edition (1541)
Four factotums of characters (three women and one man) and houses. Above is written Elicia, Centurione ruffian [sic] and Areúsa, with the name of Elicia repeated for being the first to speak in the act.

Illustration of act XVIII of the Zaragoza edition, 1545

Illustration of act XX of the Antwerp edition (1616)
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…

Illustration of act XX of the Barcelona edition (1525)
Four factotums: Lucrecia, Melibea, a building with two people, and Pleberio.

Illustration of act XX of the Barcelona edition (1959)

act20.JPG

Ilustración del acto XX de la edición Barcelona, 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 XX of the Medina del Campo edition (1582)

Illustration of act XX 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

Ilustración del acto XX de la edición Oxford, 2016
El Árbol de los clásicos Collection. © Oxford University Press Spain, 2015.

Illustrations: Marina Seoane Pascual
Web: marinaseoane.com

Illustration of act XX of the Paris edition (1527)
The only image in the book that is not made up of factotums. It shows a man with a cane or staff and a crossed belt with bells and a woman in front of a building. The woman is showing a typical gesture of refusal or surprise, with her palm raised.…

Illustration of the act XX of Paris 1922

Illustration of act XX of the Paris edition, 1976

Illustration of act XX of the Salamanca edition (1540)
Scene of Melibea's suicide while falling from the tower in the center. On the left, an unidentified man, Pleberio has his arms outstretched, accompanied by another unidentified man. In the right margin, two female characters lament the event. Above…

Illustration of act XX of the Salamanca edition, 1577

Illustration of act XX of the Venice edition (1541)
Factotums of a tree, three characters (two men and one woman) and houses, written above Pleberio, Lucrecia, Melibea and Pleberio repeated for being the first to speak in the act.

Ilustración del Acto XX, de Alcalá Iberri (2004)
Pleberio atónito por la confesión y muerte de su hija

Illustration of act XXI from the Barcelona edition (1883)
Melibea lies dead after throwing herself from the tower (p. 294). Vignette.

Illustration of act XXI from the Zaragoza edition (1545)
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.

Illustration of act XXI of the Antwerp edition (1616)
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…

Illustration of act XXI of the Barcelona edition (1525)
Pleberio and Alisa watch as Melibea throws herself from the tower. Two buildings at the sides.

Illustration of Act XXI of the Barcelona edition (1988)
La Celestina. Barcelona, Lumen Editorial, 1988 . Version by Enrique Ortenbach. Illustrations by Bartolomé Liarte.

Ilustración del acto XXI de la edición Barcelona, 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 XXI of the Estella edition (1557)
The same image used in acts XV and XVIII. Now it could represent Pleberio speaking with Alisa and Lucrecia present.

Illustration of act XXI of the Madrid edition (2017)

Illustration of act XXI of the Medina del Campo edition (1582)

Illustration of act XXI 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

Ilustración del acto XXI de la edición Oxford, 2016
El Árbol de los clásicos Collection. © Oxford University Press Spain, 2015.

Illustrations: Marina Seoane Pascual
Web: marinaseoane.com

Illustration of act XXI of the Paris edition (1527)
Factotums of Alisa and Pleberio that are the same used previously for Melibea and Sempronio.

Illustration of the act XXJ of Paris 1922

Illustration of act XXI of the Salamanca edition (1540)
The same image from act XX: Scene of Melibea's suicide falling from the tower in the center. On the left, an unidentified man, Pleberio, with arms outstretched accompanied by another unidentified man. In the right margin, two female characters…

Illustration of act XXI of the Salamanca edition, 1577

Illustration of act XXI of the Valencia edition (1529)
Factotum of a house, Alisa, Melibea throwing herself from the tower (without a name above) and Pleberio tearing at his beard.

Illustration of act XXII of the Estella edition (1557)
The same image used in acts VII and XVII. Now it could be used to represent the conversation between Pleberio and Alisa with Lucrecia present.

Illustration of acts XX and XXI of the Moscow edition (2014)
Pleberio's lament occupies a place of attention for the reader, but on the other side Melibea's suicide is represented in miniature.

Ilustración de Alisa y Pleberio de la edición Barcelona, 2000.
La Celestina. Tragicomedy of Calisto and Melibea. Barcelona, ​​Editorial Crítica, 2000. Prologue by Francisco Rico. Illustrations by Celedonio Perellón

Illustration of Alisa from the Albacete edition (1999)
La Celestina Ilustrada, Museo de Albacete, 1999. Illustrations by Teo Puebla.

Illustration of an old woman giving a young woman a letter, by Passe (1600 c.)
Illustration of an old woman giving a love letter to a young woman, in the background to the right a feathered hat or a flower vase. Undearneath, written in French and German is the following text: "I swear that he is so taken by you that he is…

Illustration of Areusa from the Albacete edition (1999)
La Celestina Ilustrada, Museo de Albacete, 1999. Illustrations by Teo Puebla.

Ilustración de Areusa de la edición Barcelona, 2000.
La Celestina. Tragicomedy of Calisto and Melibea. Barcelona, ​​Editorial Crítica, 2000. Prologue by Francisco Rico. Illustrations by Celedonio Perellón

Illustration of back cover of the Moscow edition, by Lobanova (2014)
Back cover of the bookLa Celestinaby Rojas, Moscow edition, illustrated byLobanova (2014)

Illustration of Calisto and Melibea from the Budapest edition (1979)
Illustration from the Hungarian edition by Sándor Károlyi and
Ferenc Szőnyi, made byGyula Feledy.

Illustration of Calisto from the Albacete edition (1999)
La Celestina Ilustrada, Museo de Albacete, 1999. Illustrations by Teo Puebla.

Illustration of Calisto in Melibea's garden from the Budapest edition (1979)
Drawing by Gyula Feledy in a Hungarian edition from 1979 in Celestinesca Vol. 5 Num 1. Pa. 34. September 4, 2016.

Ilustración de Calisto de la edición Barcelona, 2000.
La Celestina. Tragicomedy of Calisto and Melibea. Barcelona, ​​Editorial Crítica, 2000. Prologue by Francisco Rico. Illustrations by Celedonio Perellón

Illustration of Calisto's death from the Budapest edition (1979)
Illustration from the Hungarian edition by Sándor Károlyi and
Ferenc Szőnyi, made by Gyula Feledy.

Illustration of Celestina bringing Calisto Melibea's string from the Budapest edition (1979)
Illustration by Gyula Feledy in the 1892 edition from Celestinesca. Made by the Hungarian edition by Károlyi and Szőnyi from 1979.

Illustration of Celestina convincing Melibea from the Barcelona edition (1948)
Drawing of a scene from La Celestina made by Manuel Humbert in an edition of Celestinesca.

Illustration of Celestina from the Budapest edition (1979)
Illustration of Celestina made by Gyula Feledy in the Hungarian edition by Károlyi and Szőnyi. Presented in the 1981 edition from Celestinesca.

fichacontieneenlacenglish.jpg
Illustration by the magazine Blanco y Negro in an article signed by Azorín that references a celestina from the comedyEufemia, by Lope de Rueda, that connects with the traditional Celestina only because of sorcery. The image resembles Cervantes' La…

Ilustración de la Celestina de la edición Barcelona, 2000.
La Celestina. Tragicomedy of Calisto and Melibea. Barcelona, ​​Editorial Crítica, 2000. Prologue by Francisco Rico. Illustrations by Celedonio Perellón
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