Browse Items (3223 total)

An illustration of an old woman - probably Celestina- with a jug of wine, in the banquet scene at her house.

There exists an edition published in 1982 by the same publishing house.

Adapted to modern Castilian. Old, yellow block print stamps against a dark background that show various characters, with the corresponding names printed below each figure. However, not all figures represent the characters indicated by the names in…

A cubist depiction - possibly by Picasso - of a naked woman and a matchmaker, framed in a black as is typical of the collection.

This cover imitates older covers, with the emblem or seal of the printer. The cover does not feature any images of the characters of the text.

Two page panoramic view of the city. On the right, a woman going up some ladders that could be Celestina walking fast. Pages 136-137,

Pleberio cries before Melibea's body. In the background, Lucrecia, Sosia and Tristán look downcast (possibly a fragment from Calisto's death). Page 206.

Areúsa coaxes Calisto's plans out of Sosia while Elicia listens. There are three female characters, one of which seems to not fit with the scene. Page 184.

Image composed of various scenes, one of them Areúsa motivating Centurio to action and other not so evident scenes. Page 174.

Calisto looking thoughtful in a chair, Tristán and Sosia come to tell him about Sempronio and Pármeno's death. Woman in the background (mental image of Melibea?) (see image from act II for a similar treatment of thought). Page 161.

Image made up of a square or street seen from a portico and at the same time from outside. Page 113.

Generic scene of the old city. Page 82.

Generic scene of a square or a street of the times with many undefined characters. Panoramic image that covers two pages. Pages 72-73.

Celestina walking quickly through the streets, her skirt hoisted and people observing her. Page 66.

Conversation between Calisto and Sempronio, a woman in the background (mental image of Melibea?) (Cf. image from act XIII). Page 53.

Calisto and Melibea's initial encounter. Calisto has the falcon. Page 12.

Pleberio goes to wake up Alisa with the bad news of Melibea's death. Lucrecia laments in the background.

Alisa beside Melibea's dead body and Lucrecia lamenting behind. In the background, Pleberio raises his hands to the sky.

Melibea falling from the tower while Pleberio lifts his hands to the sky.

Sosia and Tristán pick up fallen and dead Calisto. Note that Melibea and Lucrecia are not visible.

Elicia and Areúsa go to Centurio's house to ask him to avenge Celestina's death. Engraving very similar to act XV's.

Areúsa hugs Sosia while she coaxes her master's plans out of him.

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

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

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.

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

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.

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

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

Melibea falls unconscious in her home in front of Celestina.

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

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

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

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

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

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

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

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

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.

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

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.

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

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.

Retrato de mujer en estilo expresionista

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

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.

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

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…

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.

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

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

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

Sosia and Tristán carry the dead Calisto after his fall.

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

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

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

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

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.

Execution of Pármeno 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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…

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

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.

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

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

Adapted to modern Castilian.

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

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

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

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

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

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

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

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

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

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