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A compilation of images based on the artist's school notebook. The drawing is inspired by the painting Celestina, by Picasso (1904)

Illustration of La Celestina bu the DeviantArt user Edwmwtal. Note the influence of Walt Disney's stepmother or witch model.

Drawing of La Celestina, made by the DeviantArt user Thecarlosmal.

Oil on canvas painting, inspired by a photo by another DeviantArt user, Anhen, namedScarface.

Drawing of La Celestina, with water colour appearance, created using Photoshop and pospo on Painter 11.

A young couple sit outside. The young man takes the young woman's hand as he puts his hand to his heart. At the door of the house, an old woman looks at them.

Scene of the suicide of Melibea with her falling and Pleberio with his arms raised at the foot of the tower.

Factotums of Pleberio, Lucrecia and Melibea.

Scene of the retrieval of the body of Calisto by his servants Tristán and Sosia.

Image repeated from XIV: scene of Calisto with the ladder entering the garden, where Melibea and Lucrecia wait for him. Outside, with weapons, Sosia and Tristán. One of the two with a finger to his mouth in a gesture of silence.

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

Factotums of Elicia, Centurio and Areúsa.

Factotums of Elicia, Areúsa and Sosia.

Factotums of Melibea, Lucrecia, Pleberio, Alisa and a house.

Factotums of Elicia, Centurio and Areúsa.

Scene of Calisto entering the garden with the ladder, where Melibea and Lucrecia wait for him. Outside, holding weapons, are Sosia and Tristán. One of the two has a finger against his mouth, as if in a gesture of silence. This image repeats as the…

Scene of the execution of Pármeno and Sempronio, although it only shows one culprit being executed, two soldiers and Tristán as witness. There doesn't appear to be a judge in the scene.

Factotums of houses, Calisto, Tristán, Sosia and a tree.

Double scene. On the left the judge, a soldier and a dead or executed body of a man; on the right, Celestina's death at the hands of Pármeno and Sempronio, with Elicia tearing at her hair.

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

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

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

Six names and five only factotums: Sempronio, Pármeno, Celestina, Elicia, Areúsa and Lucrecia.

Factotums of Pármeno, Areúsa, Calisto, Sempronio and a tree.

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

Factotums of a tree, Calisto, Celestina, Pármeno and Sempronio.

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

Factotums of houses, Celestina, Lucrecia, Alisa and Melibea among plants.

Factotums of Sempronio, Celestina and Elicia.

Three factotums of Calisto, Sempronio and Pármeno.

Five factotums and seven names above: Calisto, Melibea --Elicia underneath --, Parmeno --underneath Crito--, Sempronio and Celestina. The double names are as if it were recognized that the same image is for two characters at a time.

Hidden behind the door, a procuress or old woman watches the interaction of the couple. We can assume that she is calculating the amount of money she can get out of the boy to obtain the girl's favors.

Three bearded male figures contemplate Melibea's corpse, lying facedown and, beside her, Lucrecia, Alisa and Pleberio. Two female figures standing on the wall also contemplate the scene.

Melibea throws herself from an elevated location with locked doors, while Pleberio joins his hands in a gesture of begging or prayer.

Pleberio, behind him Alisa in bed, knocking on Melibea's door. Lucrecia answering and a sad Melibea sitting on the dais.

Sosia and Tristán retrieve Calisto's corpse.

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

The same image used for act XV, now to show Elicia helping Areúsa to make peace with Centurio.

Areúsa in her house receives Sosia, while Elicia listens, hidden. A bed and stairs in the background.

Lucrecia and Melibea, who is on a cushion, on the other side of a door listen to the conversation between Pleberio and Alisa who are seated in another room. Note how the image has been corrected and improved with respect to the equivalent image in…

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.

Pármeno and Sempronio's execution. On the right, the judge and three characters, one of whom is probably Sosia. On the left, the execution, one of the prisoners decapitated and the other being decapitated. Two bearded figures on the right. In the…

Calisto climbing a ladder while Melibea and Lucrecia stand on the garden wall. On the left, Sosia and Tristán, stand guard outside. The image is repeated again in act XIX. Note that they have corrected the error from the equivalent image in…

Sosia and Tristán speak at the door about Pármeno and Sempronio's execution while Calisto lies in his bed.

Pármeno and Sempronio kill Celestina, who is on the floor, while Elicia watches in horror. Note how the image is a carbon copy of the equivalent illustration in the Zaragoza edition (1545), now Pármeno and Sempronio use their left hands…

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

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

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

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

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 scene after the meeting and agreement between Pármeno and Sempronio.

Outside, Celestina talks to Pármeno. In the other half of the image, a later scene of him lying with Areúsa. It is remarkable when compared the Zaragoza edition (1545)'s equivalent image that the position of lovers in bed, placed side by side and not…

At Calisto's house, Celestina speaks with him while Sempronio and Pármeno talk amongst themselves, apart. Background with battlements and therefore outside, different from the columns and arcs in the equivalent engraving of the edition of…

Sempronio and Celestina arrive at Calisto's house. He is seated indoors speaking with Pármeno. A bed in the background.

Celestina at Melibea's house, and she is with Lucrecia on a dais, while Alisa leaves with the messenger who came to summon her. One of the women has a pet.

Sempronio, accompanied by Celestina, arrives at her house, where Elicia is inside, occupied with some work. Outside, in the background, a crenelated wall with trees behind.

Three men speaking in the street, and a woman in a window watching them. It is unclear which scene of the work it refers to because of the very generic image.

Very elaborate variant of the composite model taken fromValencia (1514) andSevilla (1523).It differs in important details fromZaragoza (1545)'s model, which it cuts in dimension and compresses. Calisto's character is treated in a different way.

Pármeno (Porfirio Bas), Areúsa (Martha Zavaleta), Celestina (Ofelia Guilmáin), Elicia (Marcela López Rey) and Sempronio
(José Gálvez).