Browse Items (3220 total)

Herald proclaiming the deaths of Pármeno and Sempronio (p. 231). Vignette.

Vignette of the end of the chapter, with a small dead bird (p. 234).

Calisto holds Melibea's hand on a bench in the garden (p. 237).

Cat playing with a ball of wool (p. 240).

Pleberio and Alisa speak about the convenience of marrying off Melibea (p. 256).

Centurio speaks with Elicia and Areúsa in her house (p. 270).

Vignette of the end of the chapter with two separate scenes: two birds, one in a fallen nest and an adult bird looking on from the tree (p. 273).

Calisto climbing the wall of the garden of Melibea, the moon in the sky (p. 277).

Lucrecia spying on the lovers from behind the vegetation (p. 281).

Melibea laments the death of Calisto seated on a bench in the garden (p. 284).

Melibea lies dead after throwing herself from the tower (p. 294). Vignette.

Celestina, carrying the spool of thread, is knocking at the door of Pleberio's hourse; Melibea and Calisto (with the falcon) are talking. Trees and building in the background.

Banquete scene in Celestina's house (p. 178). She is represented with an envious expression, contemplating the lovers while they kiss, while she grabs the jar and cup of wine to serve herself once more. At the foot of the page it says; "Besáos y…

Melibea goes out by night, accompanied by Lucrecia (p. 229). One of the two holds her index finger to her lips in a signal to be quiet. The foot of the image says: "Qué harían si mi cierta salida supiesen?" ("What would they do if they knew of my…

Calisto and Melibea embrace in the garden while Lucrecia stands guard or spies (p. 314). The footnote at the bottom of the page says: "Jamás querría, señora, que amaneciese, según la gloria y descanso que mi sentido recibe" ("My lady, I never want…

Copy of the Toledo, 1526, coloured. Ticket worth 200 pesetas from February 9, 1974 to celebrate Valentine's Day.

Original ink illustration in naive style of Melibea and Celestina with a heart and a sun.

Celestina, Melibea, Lucrecia, Calisto and Sempronio, and dog, falcon and horse. Celestina holding a rosary and Calisto the string and falcon. Note the detail of the horse's testicles that can be seen from behind.

A drawing suggestive of the kidnapping of Europe but with two characters and a Goya-style goat. There is a certain Picasso-like influence.

A coloured drawing of Celestina with a cane against a background of shrubs that appear slightly human-like.

The cover features a fragment of an unidentified painting from the Dutch school that depicts a brothel or tavern scene. An old woman reads a letter to a young woman, who has a child in her arms, while a man stands behind them, laughing.

A drawing of a woman in the style of Las Meninas.

A sepia drawing of a very old woman.

The cover features the image of a painting of a young woman.

A naive-style drawing of Celestina walking in a cemetery at night.

The cover is a red reproduction of the cover of the Valencia edition of 1514.

A coloured drawing of an old woman's face, a snake, and an object that looks like a bird's wing.

A naive-style drawing in colour of a book, a quill, and an inkwell.

Coloured drawings of a money bag and gold coins positioned against a green background.

Panel-style drawing of Celestina with her cane and in the background, two lovers kissing in the garden and the moon.

A montage of an old woman with a cane and two lovers reclining against a tree. It resembles an old painting.

A colour drawing of a furious old woman and two young people.

Adapted to modern Castilian.

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

A dropped capital 'T'. The background is yellow.

A panel of an old woman in front of a pot. Suggestive of sorcery.

This cover features a drawing of a woman with her head covered. It is drawn in blue tones and appears to be inspired by certain cubist styles.

The cover features a signed painting of an old woman sitting in a chair with her head covered and a heart in her hands.

A comic-style illustration of a couple on some steps and an old woman behind them. The clothing style appears to be from an earlier time period. The old woman is wearing a ruff and her head is uncovered. The second part of this edition is El…

A depiction of Calisto and Melibea sharing an embrace in the garden. In the foreground, Celestina rubs her hands, satisfied.

A water colour imitation of the mural Witches' Sabbath (The Great He-Goat) by Francisco Goya.

The cover features a fragment of an unidentified engraving that depicts a young woman's face.

A young woman's head, which appears to be a fragment of an unidentified painting.

A coloured drawing of Celestina counting coins in the foreground while Calisto and Melibea share an embrace in the background.

The cover features an image of an old woman with her head covered. The style of the illustration suggests that it was probably taken from a Dutch painting and altered to be a two-tone drawing.

A black-and-white image that depicts a gallant medieval court scene.

A modern drawing of a matchmaker and, behind a folding screen or divider, the silhouette of a woman undressing.

A drawing of the face of an old woman against a blue background.

A dark-toned painting of an old woman smiling. The image is reminiscent of the painting Woman in the Window(c.1660) by Murillo.

Factotums of the figures of Pármeno, Calisto, Melibea, Sempronio, and Celestina (text superimposed adds Elicia and Crito, that are not in the figure).

Factotums of the images of Calisto, Pármeno and Sempronio, with margins made of trees and houses.

Factotums of the images of Celestina, Sempronio and Elica. Margins made of houses and a tree.

Factotums of the images of Lucrecia, Celestina, Alisa and Melibea. Houses in the margin.

Factotums of the images of Calisto, Pármeno, Sempronio, and Celestina. Houses in the left margin.

Factotums of the images of Calisto, Celestina, Pármeno and Sempronio. Houses in the left margin.

Factotums of the images of Celestina, Pármeno, Areúsa and Elicia. Houses in the left margin.

Factotums of the images of Sempronio, Pármeno, Calisto and Areúsa. Houses in the right margin.

Factotums of the images of Sempronio, Pármeno, Celestina, Lucrecia, Elicia and Areúsa.

Factotums of the images of Melibea, Celestina, Lucrecia and Alisa. Houses in the left margin.

Factotums of the images of Calisto, Celestina, Pármeno and Elicia.

Factotums of the images of Calisto, Lucrecia, Melibea and Sempronio.

Narration of Celestina's death at the hands of Pármeno and Sempronio on the left side, then their jump through the window in the central part and judge and soldier on the right and also in the left margin.

Execution of Pármeno and Sempronio.

Calisto, escorted by Sosia and Tristán, scaling the wall to Melibea's garden, where Melibea and Lucrecia await. The same engraving is repeated in act XIX.

Factotums of the images of Elicia, Centurio and Areúsa. In the margins, a house and a tree.

Factotums of the images of Melibea, Lucrecia, Alisa and Pleberio. In the left margin there are houses.

Factotums of the images of Elicia, Sosia (error of the printer since the image is that of a woman) and Areúsa.

Factotums of the images of Areúsa, Centurio and Elicia. Houses and tree.

Image of Calisto climbing into Melibea's garden. It is the same image from act XIV.

Sosia and Tristán carry the dead Calisto after his fall.

Factotums of the images of Melibea, Lucrecia and Pleberio. Tree and houses.

Melibea's suicide, with Pleberio and Alisa present and two unnamed characters (Lucrecia and a page?).

Cycle of paintings inspired byLa Celestina. The author explores the themes of vanitas, the seven deadly sins, and impermance.

Relief sculpted in stone of the portrayals of Calisto and Melibea on the façade of the Instituto de Enseñanza Media Calisto y Melibea in the city of Santa Marta de Tormes, in the province of Salamanca, Spain.

Two handmade dolls, 2011, inspired by the characters of Calisto and Melibea and Tim Burton's movieNightmare before Christmas (1993)The creator describes her dolls: Today I'm not going to show my dolls, but I'm going to show you what my daughter…

Man showing a jewel to a young woman, who looks at the procuress behind her taking a bag of money. Banquet scene in the background.

Other title: Kuppeleiszene

A young woman looks away as her procuress shows her a jewel. The procuress holds a bag filled with money in her hand. The dog stares at the viewer, and acts as the client, who is a typical figure in these types of paintings.

Dutch art. Tradition of brothel painting representing a client paying a procuress while a woman lies on a bed.

Retrato de mujer en estilo expresionista

Nocturnal scene with Calisto and Melibea in the garden with Sosia and Tristán talking outside in the foreground and Lucrecia in the back of the garden.

Initial encounter between Calisto and Melibea. Horse and falcon. Space surrounded by a wall, but different from the garden.

Conversation between Sempronio and a melancholic Calisto seated at the table where there is a lute. In his bedroom with a bed in the background.

Celestina's arrival to Calisto's house accompanied by Sempronio. Pármeno opens the door and Calisto waits upstairs.

Calisto has a bag of money in hand and speaks with Celestina. Pármeno is in the background next to the window looking incredulous. This image corresponds to the last of the first act despite being behind the argument of the second act.

Pármeno helps Calisto mount his horse to pass by Melibea's house.

Sempronio accompanies Celestina to the door of her house where Elicia is at the window.

Celestina offers string to Melibea while a female character, Alisa or Lucrecia, has her back turned.

Same engraving that was the second in act I to represent Celestina's arrival to Calisto's house accompanied by Sempronio and Pármeno opening the door. Here it seems to be used for Celestina's arrival to the house, so the male character that opens the…

Celestina gives Calisto the string while, in the background, Pármeno and Sempronio mock the situation.

Celestina speaks with Areúsa, who is semi-nude in her bed, and Pármeno waits impatiently outside.

Pármeno and Sempronio serve and talk with Calisto in his room. Not a very specific image for the action in this act.

Banquet at Celestina's house with Pármeno, Areúsa, Sempronio and Elicia.

Meeting at Celestina's house, Celestina, Alisa and Lucrecia.

Melibea falls unconscious in her home in front of Celestina.

Celestina speaks with Calisto in the street (on the way to the church of Magdalena) while Pármeno and Sempronio speak amongst themselves.

Calisto speaks with Melibea through the garden door while his servants keep watch. Lucrecia listens to the conversation between Calisto and Melibea.

Two panels separated by a wall. On the right, Pármeno and Sempronio kill Celestina while Elicia cries for help. In the left margin, armed men knock on the door.

Pármeno and Sempronio's execution. Sosia witnesses the event.

Calisto and Melibea's encounter in the garden with Lucrecia as a witness and Sosia and Tristán keeping watch outside. It is not the same engraving used in the argument although it has many similarities.

Elicia and Areúsa see a heavily-armed Centurio off at the door.

Pleberio and Alisa speak of Melibea's future while she is listening beside Lucrecia behind the door.