Browse Items (3220 total)

The cover features an image of the painting Woman with raven (1904) by Pablo Picasso. The painting is rotated on the cover, since in the original the woman appears looking the other way.

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

The cover features an unidentified medieval miniature or painting that depicts a garden or paradise and a man - possibly Petrarch - at the door.

A gold, red and blue copy of an unidentified engraving, in which Celestina appears with a bag and two other characters.

An abstract painting (signed but unidentified) that depicts Celestina and two women.

The cover features two figures: a man playing a guitar and a women with flowers. These illustrations resemble figures from old playing cards. The two figures are repeated and inverted, so that there are four figures in total.

Original title: Alcoviteira ("Matchmaker").

Modern plastic figure based on artist and designer Bordalo Pinheiro's drawings. It is based on the tradition of Gil Vicente's play Auto das barcas do inferno (16th century),
in which a matchmaker called…

Double scene. Left: The page and Alisa go to her sister's house, who is sick, Alisa carrying a rosary. A barely visible door is in the margin, symbolic of the place they are going to. Right: Celestina, carrying the thread and money bag, meets with…

The same engraving as in act I. Double image. Left: Calisto inside the house while Pármeno goes out to receive Sempronio and Celestina, who arrive outside the house on the right. Block of houses in the right hand margin.

Room in the interior of Calisto's house. He speaks with Celestina, who hands him the cord. Sempronio and Pármeno talk amongst themselves. There is a mark that appears to be a tear on Calisto's face. There is a wall in the background with decorative…

Double engraving. Left: Areúsa and Pármeno talk in her house. Right: Elicia receives Celestina at the door of her house. A variation of the left half is used in act III.

Double engraving. Left: Block of a house and Calisto in the street. Right: Sempronio and Pármeno speak in a house. The image of Calisto is nearly identical to the one used in the title page of act I.

Double engraving: Banquet scene in Celestina's house. Left: Lucrecia who arrives at the door and Celestina who goes out to see her, uniting the two spaces. Right: Sempronio, Elicia, Areúsa and Pármeno are in the interior all standing, not at the…

Celestina speaks with Melibea at the girl's house. Lucrecia comes out of the door to receive the page and Alisa who are returning. The figure of Melibea is a carbon copy of the one used on the cover page of Act I.

Calisto carrying the gold chain and Celestina. Behind them, Sempronio and Pármeno are exiting a door. Exterior scene. The image of Calisto is nearly a carbon copy of his image in acts I and VII.

Double image. Left: Lucrecia and Melibea are in the interior behind a locked door. Right: Calisto is accompanied by Pármeno and Sempronio, who are armed at the door. This illustration is mentioned in Miguel Marciales' critical edition:…

Double image. Left: Sosia arrives at Calisto's house and Tristán receives him at the door with expressions of explanation and surprise, respectively. Inside, Calisto is lovesick in bed.

Double image. Left: Lucrecia and Melibea in the interior of the garden. Right: Sosia and Tristán contemplate Calisto's fall.

Melibea speaks with Pleberio while Alisa listens. It is unclear if the image is in an interior or exterior. Melibea's image is a variation of what has been used in Acts I, X and XII. Alisa's image is almost identical to the one used in Acts IV and X…

Alisa and Pleberio contemplate Melibea's suicide, fallen or while falling. Behind Melibea there is a series of buildings, one that appears to be an unfinished tower. Alisa's figure wears different clothes from the previous images, but the same…

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.

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

Lucrecia, Celestina, Alisa and Melibea, the same building from the title page fills the left side.

Calisto, Pármeno, Sempronio and Celestina. Building with a man and a woman in the window.

Calisto, Celestina, Pármeno and Sempronio; building with a woman in the window.

Pármeno, Celestina, Areúsa and Elicia with a flower; building with a woman in the window on the right.

Sempronio, Pármeno, Areúsa, building with a woman inside, and Calisto on the other side.

Sempronio, Pármeno, two buildings with three people who appear named as Elicia, Celestina and Areúsa, and in the other building Lucrecia.

Building with an unidentified woman, Melibea, Celestina, Lucrecia and Alisa.

Calisto, Celestina, Pármeno, Sempronio, and a building with two people at the window, one of whom is identified as Elicia.

Calisto, building with a person identified as Lucrecia, building with two people, and one identified as Melibea, while on the right side two figures identified as Sempronio and Pármeno.

Scene Celestina's death at the hands of Pármeno and Sempronio on the right. The vignette on the left represents their fall from the window and the judge with his guard. There are no identifications of the characters and it is the first of the…

Pármeno and Sempronio's execution in the public square (corner of the building). The executioner, judge and two soldiers or guards are present.

Calisto climbing the wall of Melibea's garden. Melibea is waiting for him inside with Lucrecia. Sosia and Tristán are armed and with him outside.

A house with an unidentified woman, Areúsa, Centurio and Elicia in mourning; a tree to complete the scenery. Return to the use of factotums.

Building with an unidentified woman, Pleberio, Alisa, Lucrecia and Melibea.

A tree, Elicia, Areúsa, Sosia and building with an unidentified woman.

Building with two people, Centurio, Elicia with a flower, Areúsa, a tower with various unidentified people.

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

Sosia and Tristán recovering Calisto's corpse after his fall.

A house with an unidentified character, Pleberio, Lucrecia, Melibea and a tree. Variant of the factotums of act XVI.

Melibea's suicide throwing herself from the tower. At the sides, Pleberio and Alisa, and two buildings.

A drawing of a young couple and an older woman behind them, in the style of a portrait. The older woman, presumably acting as both a chaperone and matchmaker, rests a hand on the young woman's shoulder.

A depiction of Celestina's expression as she observes two lovers - possibly Pármeno y Areúsa - in a bed. The drawing is red and white and imitates medieval-style images.

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

An old, unidentified illustration of two women hugging as a greeting, similar to the meeting between Saint Elizabeth and the Virgin Mary. In this case, it represents one of the encounters between Celestina and her protegees or friends.

An illustration, possible from an unidentified painting, of an old woman or lay sister.

An unidentified painting from the Dutch school that depicts a scene in a brothel or tavern. An old woman reads a letter to a young woman, who has a child in her arms, while a man laughs behind them.

A photograph of a lit candle in a candlestick and its shadow.

A composition of a two-tone photo of an old woman and, at the bottom of the image, an illustration of two red hearts.

A naive-style drawing, in colour and created predominantly with straight lines. It depicts an old woman, laughing and holding a cane. Beneath her image, a couple is hugging. A tower features in the background.

Double image. Left: Calisto inside his house, while Pármeno goes out to receive Sempronio and Celestina, who are arriving at the house from outside on the right. A block of houses in the right hand margin. The image is repeated in Act V. The first…

A colored version of the old title page of the Toledo edition, Remón de Petras (1536) and by J Toledo, Juan de Ayala (1538).

Melibea in the garden, in the opening scene of the work (p. 36). Alone in the vegetation, with long plaits and a wall in the background.

Sempronio's discussion with Celestina and Elicia about whether there were noises coming from the floor above (p. 43). The three characters, and a staircase in the background. Sempronio and Celestina argue behind, Elicia appears to be crying or…

Sempronio and Celestina arrive at the door of Calisto's house (p. 46). He is knocking on the door.

Pármeno and Calisto descending the staircase while Celestina and Sempronio, not included in the image, wait for them below (p. 52).

Calisto leaving his house on horseback, and Pármeno, cursing him in the background (p. 73).

Vignette with a portrait of a woman, supposedly Elicia (p. 81).

Celestina performing her spell in her house in front of the fire (p. 83).

A somewhat contemporary image of the devil as an illustration of Celestina's words a few lines before "Por aquí anda el diablo" ("Here walks the devil") (p. 90.).

Celestina's first visit to Melibea's house, who stands angrily from her chair and reproaches her for her business there (p. 97).

Melibea hands over her cord to Celestina (p. 103). The scene takes place in the garden.

Calisto and Pármeno at the window watching Celestina near the house with the cord (we do not see Celestina) (p. 111).

Calisto receives Celestina at his house, who reasons before handing over the cord. Decoration of weapons and urns (p. 114).

A photograph of Celestina and a male character from the theatrical performance in Teatro Esponcedra 34, Madrid, 1980

An old woman's face. This is fragment of the painting The Three Ages of Man and Death(c.1541) by Hans Baldung.

Celestina's face as she casts the spell in a theatrical version.

The cover features a medieval image of two musicians or minstrels.

A drawing of Celestina that resembles the character in one of the theatrical performances.

A greyscale drawing of Celestina possibly casting her spell in the third act against an orange background.

A copy of the image from a painting or tapestry of a hunting scene, which depicts a young noble man with a falcon, a dog, and a servant.

A modern drawing of Celestina in her house with string and a cat. The cover is yellow and white.

The cover features a fragment of an engraving from an older edition, positioned here within an orange circle, that shows Celestina knocking on a door while Calisto and Melibea converse with each other beside her.

The cover features an image from an unidentified painting that depicts women going to a fountain to fetch water.

A modern, fine-line caricature of the old Celestina.

The cover features an image from the painting An Ill-Matched Pair(c. 1540) by Lucas Cranach the Elder.

A cupid within a dropped capital 'C'. Both figures are red, positioned against a gray background.

A silhouette of the old woman- taken from an unidentified painting- and the words that Melibea says to Celestina to end of the fourth act: "If you had asked me sooner you would have received it. Go with God, for your message did not benefit me and…

The cover features a fragment of a medieval illumination that depicts two lovers in a garden.

An illustration, as if for a juvenile audience, of a young woman beside a lattice and, in the foreground, of an old woman with her head covered.

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.

The cover features a fragment of the print from the third act of the Burgos edition of 1499, in which Celestina appears with the string, knocking on Melibea's door. See the related item.

A medieval image of a woman standing beside the city gates, being welcomed by important characters (Mary and the Jews).

Calisto takes the cord from Celestina's hands (p. 125).

Calisto embraces the cord (p. 131).

Celestina goes to the bed in which Areúsa is lying (p. 143).

Celestina descends the stairs leaving Pármeno and Areúsa in bed (p. 149).

Pármeno sees and greets Sempronio from afar (p. 155).

Pármeno and Sempronio comment on the situation of their master, who is in bed thinking about love (p. 160). Vignette with black background.

The banquet in Celestina's house (p. 171). She is standing with the jug of wine in hand.

Vignette of a heart wounded by an arrow (p. 180).

Melibea collapsed in her chair and Celestina taking her pulse (p. 189). Vignette.

Calisto hands over the chain to Celestina while Pármeno and Sempronio whisper to each other (p. 198).

Calisto talks to Melibea through the door while Pármeno and Sempronio stand guard (p. 208).

Melibea answers Calisto next to the garden gate, from inside (p. 210).

The death of Celestina at the hands of Pármeno and Sempronio with Elicia present (p. 225).