Browse Items (3223 total)

Cover of the Espasa-Calpe: Madrid edition, 1980
A sepia drawing of a very old woman.

Cover of the Editores Plana & Janes: Barcelona edition, 1984
A drawing of a woman in the style of Las Meninas.

Cover of the Edicomunicaciones edition: Barcelona, 1992
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.

Cover of the Editorial Ramón Sopena: Barcelona edition, 1975
A coloured drawing of Celestina with a cane against a background of shrubs that appear slightly human-like.

Cover of the Editorial Leyenda: Mexico edition, 1947
A drawing suggestive of the kidnapping of Europe but with two characters and a Goya-style goat. There is a certain Picasso-like influence.

Cover of the Seville edition, 1523
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.

Coaster from Melibea club, Jaca, Spain (circa 2000)
Original ink illustration in naive style of Melibea and Celestina with a heart and a sun.

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

Illustration of act XIX from the Barcelona edition (1841)
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…

Illustration of act XII from the Barcelona edition (1841)
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…

Illustration of act IX from the Barcelona edition (1841)
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…

Cover of the Toledo edition, 1500
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.

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

Third illustration of act XIX from the Barcelona edition (1883)
Melibea laments the death of Calisto seated on a bench in the garden (p. 284).

Second illustration of act XIX from the Barcelona edition (1883)
Lucrecia spying on the lovers from behind the vegetation (p. 281).

First illustration of act XIX from the Barcelona edition (1883)
Calisto climbing the wall of the garden of Melibea, the moon in the sky (p. 277).

Second illustration of act XVIII from the Barcelona edition (1883)
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).

First illustration of act XVIII from the Barcelona edition (1883)
Centurio speaks with Elicia and Areúsa in her house (p. 270).

Illustration of act XVI from the Barcelona edition (1883)
Pleberio and Alisa speak about the convenience of marrying off Melibea (p. 256).

Second illustration of act XIV from the Barcelona edition (1883)
Cat playing with a ball of wool (p. 240).

First illustration of act XIV from the Barcelona edition (1883)
Calisto holds Melibea's hand on a bench in the garden (p. 237).

Second illustration of act XIII from the Barcelona edition (1883)
Vignette of the end of the chapter, with a small dead bird (p. 234).

First illustration of act XIII from the Barcelona edition (1883)
Herald proclaiming the deaths of Pármeno and Sempronio (p. 231). Vignette.

Third illustration of act XII from the Barcelona edition (1883)
The death of Celestina at the hands of Pármeno and Sempronio with Elicia present (p. 225).

Second illustration of act XII from the Barcelona edition (1883)
Melibea answers Calisto next to the garden gate, from inside (p. 210).

First illustration of act XII from the Barcelona edition (1883)
Calisto talks to Melibea through the door while Pármeno and Sempronio stand guard (p. 208).

Illustration of act XI from the Barcelona edition (1883)
Calisto hands over the chain to Celestina while Pármeno and Sempronio whisper to each other (p. 198).

Illustration of act X from the Barcelona edition (1883)
Melibea collapsed in her chair and Celestina taking her pulse (p. 189). Vignette.

Second illustration of act IX from the Barcelona edition (1883)
Vignette of a heart wounded by an arrow (p. 180).

First illustration of act IX from the Barcelona edition (1883)
The banquet in Celestina's house (p. 171). She is standing with the jug of wine in hand.

Second illustration of act VIII from the Barcelona edition (1883)
Pármeno and Sempronio comment on the situation of their master, who is in bed thinking about love (p. 160). Vignette with black background.

First illustration of act VIII from the Barcelona edition (1883)
Pármeno sees and greets Sempronio from afar (p. 155).

Second illustration of act VII from the Barcelona edition (1883)
Celestina descends the stairs leaving Pármeno and Areúsa in bed (p. 149).

First illustration of act VII from the Barcelona edition (1883)
Celestina goes to the bed in which Areúsa is lying (p. 143).

Second illustration of act VI from the Barcelona edition (1883)
Calisto takes the cord from Celestina's hands (p. 125).

Cover of the Ediciones Escolares: Madrid, 2004 edition.
A medieval image of a woman standing beside the city gates, being welcomed by important characters (Mary and the Jews).

Cover of the Edelsa: Madrid, 2008 edition.
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.

Cover of the Anaya: Madrid, 2006 edition.
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.

Cover of the Vicens Vives: Barcelona, 2014 edition.
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.

Cover of the Cooperación Editorial.: Madrid, 2002 edition.
The cover features a fragment of a medieval illumination that depicts two lovers in a garden.

Cover of the Ediciones Libertarias, S.A.: Madrid, 1999 edition.
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…

Cover of the Huemul: Buenos Aires edition, 1984
A cupid within a dropped capital 'C'. Both figures are red, positioned against a gray background.

Cover of the Editorial Andrés Bello: Barcelona, 2001 edition.
The cover features an image from the painting An Ill-Matched Pair(c. 1540) by Lucas Cranach the Elder.

Cover of the Cupsa Editorial: Madrid edition, 1976
A modern, fine-line caricature of the old Celestina.

Cover of the Editorial de la Oveja Negra: Bogota, 1996.
The cover features an image from an unidentified painting that depicts women going to a fountain to fetch water.

Cover of the Ediciones Nautilus: Argentina edition, 1976
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.

Cover of the Ediciones Colihue: Buenos Aires edition, 1981
A modern drawing of Celestina in her house with string and a cat. The cover is yellow and white.

Cover of the De Bolsillo: Spain, 2002 edition.
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.

Cover of the Editorial de Gassó Hermanos: Barcelona edition, 1969
A greyscale drawing of Celestina possibly casting her spell in the third act against an orange background.

Cover of the National Textbook Company: Lincolnwood, 1995 edition.
A drawing of Celestina that resembles the character in one of the theatrical performances.

Cover of the Torre de Goyanes: Madrid, 1998 edition.
The cover features a medieval image of two musicians or minstrels.

Cover of the European Masterpieces: Andalusia, 2003 edition.
Celestina's face as she casts the spell in a theatrical version.

Cover of the Ediciones Fraile: Madrid, 1994 edition.
An old woman's face. This is fragment of the painting The Three Ages of Man and Death(c.1541) by Hans Baldung.

Cover of the Anaya: Madrid, 2004 edition.
A photograph of Celestina and a male character from the theatrical performance in Teatro Esponcedra 34, Madrid, 1980

First illustration of act VI from the Barcelona edition (1883)
Calisto receives Celestina at his house, who reasons before handing over the cord. Decoration of weapons and urns (p. 114).

Illustration of act V from the Barcelona edition (1883)
Calisto and Pármeno at the window watching Celestina near the house with the cord (we do not see Celestina) (p. 111).

Third illustration of act IV from the Barcelona edition (1883)
Melibea hands over her cord to Celestina (p. 103). The scene takes place in the garden.

Second illustration of act IV from the Barcelona edition (1883)
Celestina's first visit to Melibea's house, who stands angrily from her chair and reproaches her for her business there (p. 97).

First illustration of act IV from the Barcelona edition (1883)
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.).

Second illustration of act III from the Barcelona edition (1883)
Celestina performing her spell in her house in front of the fire (p. 83).

First illustration of act III from the Barcelona edition (1883)
Vignette with a portrait of a woman, supposedly Elicia (p. 81).

Illustration of act II from the Barcelona edition (1883)
Calisto leaving his house on horseback, and Pármeno, cursing him in the background (p. 73).

Fourth illustration of act I from the Barcelona edition (1883)
Pármeno and Calisto descending the staircase while Celestina and Sempronio, not included in the image, wait for them below (p. 52).

Third illustration of act I from the Barcelona edition (1883)
Sempronio and Celestina arrive at the door of Calisto's house (p. 46). He is knocking on the door.

Second illustration of act I from the Barcelona edition (1883)
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…

First illustration of act I from the Barcelona edition (1883)
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.

Title page of the Barcelona edition (1883)
A colored version of the old title page of the Toledo edition, Remón de Petras (1536) and by J Toledo, Juan de Ayala (1538).

Engraving of Act I from the Burgos edition (1499)
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…

Cover of the Huemul: Buenos Aires edition, 1969
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.

Cover of the Huemul: Buenos Aires edition, 1952
A composition of a two-tone photo of an old woman and, at the bottom of the image, an illustration of two red hearts.

Cover of the Librerías Sánchez: Madrid, 1997 edition.
A photograph of a lit candle in a candlestick and its shadow.

Cover of the Edicomunicación: Barcelona, 1994 edition.
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.

Cover of the Editores Mexicanos Unidos edition: Mexico City, 1985
An illustration, possible from an unidentified painting, of an old woman or lay sister.

Cover of the McGraw Hill: Madrid, 1996 edition.
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.

Cover of the Santillana: Madrid, 1994 edition.
A photograph of Celestina casting a spell with smoke and fire in an unidentified theatrical performance.

Cover of the Haranburu: Spain edition, 1983
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.

Cover of the Acervo: Barcelona edition, 1977
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.

Engraving of Act XXI from the Valencia edition (1514)
Melibea's suicide throwing herself from the tower. At the sides, Pleberio and Alisa, and two buildings.

Engraving of Act XX from the Valencia edition (1514)
A house with an unidentified character, Pleberio, Lucrecia, Melibea and a tree. Variant of the factotums of act XVI.

Engraving (second) of Act XIX from the Valencia edition (1514)
Sosia and Tristán recovering Calisto's corpse after his fall.

Engraving (first) of Act XIX from the Valencia edition (1514)
Calisto climbing into Melibea's garden. Same engraving used in act XIV.

Engraving of Act XVIII from the Valencia edition (1514)
Building with two people, Centurio, Elicia with a flower, Areúsa, a tower with various unidentified people.

Engraving of Act XVII from the Valencia edition (1514)
A tree, Elicia, Areúsa, Sosia and building with an unidentified woman.

Engraving of Act XVI from the Valencia edition (1514)
Building with an unidentified woman, Pleberio, Alisa, Lucrecia and Melibea.

Engraving of Act XV from the Valencia edition (1514)
A house with an unidentified woman, Areúsa, Centurio and Elicia in mourning; a tree to complete the scenery. Return to the use of factotums.

Engraving of Act XIV from the Valencia edition (1514)
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.

Engraving of Act XIII from the Valencia edition (1514)
Pármeno and Sempronio's execution in the public square (corner of the building). The executioner, judge and two soldiers or guards are present.

Engraving (second) of Act XII from the Valencia edition (1514)
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…

Engraving (first) of Act XII from the Valencia edition (1514)
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.

Engraving of Act XI from the Valencia edition (1514)
Calisto, Celestina, Pármeno, Sempronio, and a building with two people at the window, one of whom is identified as Elicia.

Engraving of Act X from the Valencia edition (1514)
Building with an unidentified woman, Melibea, Celestina, Lucrecia and Alisa.

Engraving of Act IX from the Valencia edition (1514)
Sempronio, Pármeno, two buildings with three people who appear named as Elicia, Celestina and Areúsa, and in the other building Lucrecia.

Engraving of Act VIII from the Valencia edition (1514)
Sempronio, Pármeno, Areúsa, building with a woman inside, and Calisto on the other side.

Engraving of Act VII from the Valencia edition (1514)
Pármeno, Celestina, Areúsa and Elicia with a flower; building with a woman in the window on the right.

Engraving of Act VI from the Valencia edition (1514)
Calisto, Celestina, Pármeno and Sempronio; building with a woman in the window.

Engraving of Act V from the Valencia edition (1514)
Calisto, Pármeno, Sempronio and Celestina. Building with a man and a woman in the window.

Engraving of Act IV from the Valencia edition (1514)
Lucrecia, Celestina, Alisa and Melibea, the same building from the title page fills the left side.

Engraving of Act III from the Valencia edition (1514)
Sempronio, Celestina and Elicia, the latter holding a flower. The two same buildings from the title page fill the sides.
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