Browse Items (3220 total)

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

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

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

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

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

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

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

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

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

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

Generic scene of the old city. Page 82.

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

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

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.

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

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,

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.

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

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…

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.

The image that is featured on this cover is a reproduction of the old cover of Toledo edition from 1526. This fragment includes Celestina knocking on the door of Melibea's house while Lucrecia looks at her from the window. The title is in red…

Grabdo inglés cuyo título completo es "The Harlot´s Nurse or Modern Procuress". Incluye 8 líneas en verso: "Behold the practis'd Baud explore, / The Nymph from head to foot all O'er, / For Cupers whom shes dress'd w'th Care, / (A bait to Catch some…

English translation. The cover features the image from the printFlight at Dawn(1968) by Pablo Picasso.

English translation. The cover features the image from the painting Celestina, by Picasso (1904).

A coloured reproduction of an old print (from a different cover).

Pieza de loza de principios del siglo XVI, Museo Cerámica de Barcelona. La imagen representa lo que parece ser una mujer vieja hablando

The cover features a fragment of the cover of the Valencia edition of 1514.

Dutch translation. This edition is the annotated edition of the 1550 Dutch edition. The cover is a reproduction of a Dutch paintaing by Jan Van Amstel, titled 'Kroegtafreel', which features a scene in a brothel or tavern.

Commercial card from the library specialized in La Celestina theatre. Copies the engraving from act XIV and XIX from the Valencia, 1514 edition.

A woman wearing a girdle with an object in hand (diamond?) in a garden with Cupid.

Two factotums, one of a woman that could be Celestina, and the other of a young man with a bag that appears to be a hunting morion. Perhaps it is trying to show the delivery of the bag of gold to Celestina with two images from another source.

The same factotums as in act II.

Two women who appear with a written title identifying them as "Celestine" and Lucrecia. This is the only case where there is identification over the figures. The figure of Lucrecia has a band or border above probably destined to be inscribed,…

Factotums of a man and woman with unfilled banners. The woman's character is the same as was used for Lucrecia in the previous act.

The same factotums as act V.

The same factotum of a man from acts V and VI and the same figure of a woman used for Celestina in act IV, but here with an empty banner.

The same combination of a man and a woman from acts V and VI.

The same combination of two women as in act IV.

Production by Marcel Hicter with the title L'acopleuse. Photos of Celestina and Sempronio and a model of Melibea taken from the show's brochure (cover with drawing included)

Properly speaking, this is not an actual cover, but rather an illustration of the first scene of Act I, depicting the initial encounter between Calisto and Melibea. The cover, if there was one, has been lost. For this reason, the first illustration…

Calisto on his knees before Melibea, who is sitting in a covered chair. The names are written below.

A composite scene showing Celestina with the thread knocking at a door, in the center Melibea and Calisto, with Lucrecia behind them. In the right margin, an unidentified servant with a horse, and trees in the background. The first two initials of…

A composed scene showing Celestina with the thread knocking at a door, in the centre Melibea and Calisto, with Lucrecia behind them. In the right margin, an unidentified servant with a horse, and trees in the background. The first two initials of…

Calisto and his servants in the foreground; Celestina knocking on the door of Melibea's house, and inside her, her parents and her servant. In the background two men (Pármeno and Sempronio?) meet with two women (Areúsa and Elicia) in…

A composed scene showing Celestina with the thread knocking at a door, in the centre Melibea and Calisto, with Lucrecia behind them. In the right margin, an unidentified servant with a horse, and trees in the background. The first two initials of…

A composite scene showing Celestina with the thread knocking at a door, in the centre Melibea and Calisto, with Lucrecia behind them. In the right margin, an unidentified servant with a horse, and trees in the background. The first two initials of…

A variant of the covers of Seville by Cromberger, but completely redesigned. It now also includes a dog and the initials of Sempronio and Celestina have been added on top of the corresponding characters. See the complete description in the edition of…

A building with two windows and three characters inside, a front garden with two women, and Celestina knocking on the door. Callisto and two servants on the right hand margin, in behind, two men and two women are in the street in front of other…

On the left, Calisto and Melibea in the walled garden, Celestina with the rosary, thread and a cane knocking on a door and a young woman (Lucrecia) leaning out the window to see who is calling at the door. This is an edition with 25 illustrations…

Two factotums of a man and a woman, thought to represent Calisto and Melibea.

This is the same as that of Barcelona, 1525: A building with two windows and three characters inside, the front garden with two women, Celestina knocking on the door, Calisto and two servants on the right bank, behind him two men and two women are in…

The same as Sevilla, 1523.

The same cover as the Sevilla, 1523 edition.This is an illustrated edition, with 21 illustrations that can be seen by clicking here: Venecia, 1534.

This is the same as in the Burgos, 1531 edition.

This is the same as the Toledo, 1526 edition. An illustrated edition with 24 images that can be seen by clicking here: Toledo, 1538.

A composite image that appears to be a fragment of the models begun by Cromberger, Sevilla, 1511 (1502) and Valencia, 1514, which shows the garden with Calisto and Melibea,the servant with a horse and Celestina knocking at the door with the thread…

Three factotums of a man between two women, thought to be Calisto standing between Melibea and Celestina.

Emblem of the printer showing a Stork feeding its young, and a motto in Latin: "PIetas homini utilissima virtus."

Capital with a decoration of curved shapes and flowers.

Emblem of the printer showing a hand between clouds or waves, holding an object in the form of "T" and the inscription in Latin "Per verbum Dei auditus".

Factotums of Calisto and Melibea in positions of arguing, each with a finger raised. Calisto with hat in hand. The names of the characters written above.

Factotums of Calisto and Melibea with the complete name written above. Melibea with a peculiar headdress.

Composite scene with an unidentified servant, Calisto, Melibea and Lucrecia, with the initials above. Celestina, also with initials above is knocking at the door, with the thread in hand. A tree in the center. An illustrated edition with26…

A scene composed of two pictures, to the left Calisto and Melibea in the garden, outside a servant with horse, and to the right Celestina knocking on the door with the thread, while Lucrecia looks out the window. This is the model that comes from…

Emblem of the printer, showing a Pelican feeding a fish to its young..
There is also a 1545 edition.

Emblem of the printer, with a phoenix and two mottos in Latin pertaining to the immortal bird, along with two winged fauns or devils and the initials of the printer.

Composite scene of Celestina knocking on the door with the thread, Lucrecia at the window, Calisto and Melibea in the garden, a horse and a woman. A low quality image that seems to be inspired by the cover of the edition of Valencia, 1514 or of…

Emblem of the printer Christoph Plantin and his descendants, which is a compass held in a hand which is rising from a cloud and the Latin inscription "labore et constantia".
The second image is of a similar edition but dated 1595

A cat in a border, probably the emblem of the printer or bookseller of Count Antonio Viscount, count of Leonato Poçolo

Half of Melibea's body, sad appearance and long hair, and Celestina in the background in a pose that indicates here evil plans. Illustration made for the collective exposition titled "Oficis Extraordinaris," organized by APIV (Professional…

Celestina convinces or begs a young woman, probably Melibea, although in theory she could also be Areúsa, in her bedroom. The bed in the background. In Latin is written: "vetula tail scorpionis" (an old lady like the tail of a scorpion)This is an…

The emblem of the printer with two unicorns and a double-headed eagle.

This is an elaborate frontispiece with columns and putty framing the page.

This is the same as in Venecia, 1519. Please see the description on that page.

This is the same as the Venecia, 1519 and Venecia, 1531 editions. Please see the description there.

The same as Sevilla, 1523.

The same as the cover of the Sevilla, 1523 edition, a variation of the Seville covers by Cromberger but completely redesigned. It now also includes a dog, and the initials of Sempronio and Celestina have been added on top of the corresponding…

Colour photos of the representation Eva y Don Juan by Álvaro Custoidio at the Real Coliseo de Carlos III Theater, in San Lorenzo de El Escorial. Actress María Calonje as Celestina.

Representation directed by Xosé Manuel Blanco Gil of the Teatro Iberico in Lisboa at the Teatro Clásico in Almagro. The play was also performed in Portugal in 1984.Author: Fernando de Rojas.Stage director: Xosé Manuel Blanco GilPhotographer: Fernando…

Sculpted on the baptismal font of the Romanesque church of San Salvador, in Rebanal de las Llantas, Palencia, there is a couple copulating and an old woman behind the young woman, as well as another man. The other side of the font shows a scene of…

Description by the author for the online exhibition held in 2012 in the Spanish gallery Plastiké Art Gallery, where the drawing was exhibited: "The painting represents a brothel where a variety of characters meet, drawn by business or…

Wine cellar on 9 Espoz y Mina Street, Madrid, decorated with
tiles of attractive erotic images of nude women that do not seem to be connected at all to La Celestina other than by the general eroticism. A tile painting of the interior that mixes…

Celestina knocking at the door of Pleberio's house with the yarn in her hand. Lucrecia in the background, Melibea and Calisto in their first meeting talking, a horse and unnamed servant on the right margin. Initials of Lucrecia, Melibea and Calisto…

Factotums of houses, Calisto, Pármeno, Sempronio and Celestina

Factotums of Pármeno, Calisto, Melibea, Sempronio and Celestina. Elicia and Crito, whose names appear in the image heading, are not shown. Pármeno attired with a turban

Factotums of Calisto, Pármeno and Sempronio. In the two margins a tree and houses respectively.

Factotums of houses, Celestina, Sempronio, Elicia and a tree

Factotums of houses, Lucrecia, Celestina, Alisa and Melibea

Factotums of houses, Calisto, Celestina (with the rosary), Pármeno and Sempronio

Factotums of Celestina, Pármeno, Areúsa, Elicia and houses

Factotums of Sempronio, Pármeno, Calisto and Areúsa

Factotums of five characters and six names above: Sempronio, Pármeno, Celestina, Lucrecia, Elicia and Areúsa

Factotums of Melibea, Celestina, Lucrecia, Alisa and houses

Factotums of Calisto, Celestina, Pármeno, Sempronio and Elicia

Five factotums (three men and two women) and above in two lines the names of Calisto, Lucrecia, Melibea, Pármeno, Sempronio, Pleberio, Alisa, Celestina, Elicia

The scene of Celestina's death at the hands of Pármeno and Sempronio on the left, with Elicia present, and on the right the following scene of Pármeno and Sempronio jumping from the window and the judge with a soldier

The execution scene of Pármeno and Sempronio with an executioner and his assistant on the right. On the left, the judge with two soldiers and a character who covers their eyes so as not to see, perhaps Sosia