Browse Items (3220 total)

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…

This fresco painting portrays a domestic scene. There is a couple in bed and a woman on the corner. The latter could either be their maid or the woman's procuress.

Manuscript illustration for the chapter on lust. See explanation in German in attached file.

Illustration with themes from La Celestina, made in Germany by a painter known only by his/her initials as Master E.S. Gallant scene in a garden with a falcon. The scene recalls the first scene from La Celestina. InCelestinesca, 1987, Vol. 11, Num.…

The engraving shows a young couple looking at each other, while an old woman with a turban on her head appears in the middle of the two and looking at the young woman. From the title of the engraving it is understood that the old woman acts as a…

A young man visits a spinner. The position of his sword, the presence of a cat, and the fact that the woman is a spinner seems to suggest that the woman is a prostitute or a procuress. SeeCarol Salus,Picasso and Celestina: The Artist's Vision of the…

Calisto and Melibea are in the garden. It is thought to be during their first meeting in the garden. The characters' names are written above the figures, as with the rest of the engravings in this edition. There is a house on the left and a tree with…

Double scene. Left: Celestina leaving Calisto's house carrying the bag of coins. In the margin, the block of houses cut to fill the frame. Right: Calisto is with Pármeno and Sempronio, inside the house.

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.

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…

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…

Double engraving. Left: Elicia and Sempronio are on the inside. Right: Celestina approaches a house carrying the thread and a bag of coins. Tower in the background. A variation of the left side of the image is used again later in act VII.

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…

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

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.

The plaque commemorates Fadrique de Basilea's workshop, and the place where the first edition of La Celestina was printed.The plaque reads: "En esta Casa estuvieron los Talleres de Fadrique de Basileay Juan de Burgos, impresores. 1483-1489. De aquí…

Comedia de Calisto y Melibea Oxford (UK), Taylorian Institute Library Taylorian TAY Main Libr MICR.1267 Paris (Fr), Bibliothèque nationale de France RES-YG-63 Record inUTSC

Fragment of the left panel of the triptych The Temptations of Saint Anthony. Note that this fragment presents various female characters, like the woman crowned with an ecclesiastical hat or the one seen through the window and the one barely…

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 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.

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…

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

Scene of Calisto climbing the ladder to the Melibea's garden protected by two servants. Within Lucrecia and Melibea wait. The same engraving is used again in act XIX

Factotums of houses, Elicia with her head covered (image used for Alisa in act IV), Centurio (image with turban used previously for Sempronio), Areúsa and a tree

Factotums of Melibea, Lucrecia, Alisa (the same image used on act IX for Celestina), Pleberio and a tree

Factotums of houses, Elicia (Image used in act IX for Celestina and in act XVI for Alisa), a woman with the erroneous name of Sosia, Areúsa and a tree

Factotums of a tree, Areúsa covered (Image used previously for Elicia and Alisa), Centurio (image used previously for Pármeno and Sempronio), Elicia and houses

The same engraving as in act XIV which shows Calisto with two servants climbing into Melibea's garden,where she is waiting for him with Lucrecia

Scene of Tristán and Sosia removing the body of Calisto fallen beside the ladder

Factotums of a tree, Melibea, Lucrecia, Pleberio and houses

The scene of Melibea's suicide in which she throws herself from the tower while Pleberio and a female character watch the event. Note the prominence of the lock on the door of the tower to show that the door is locked. This image is of a simpler…

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…

This image depicts the author, supposedly Rojas, dressed as a university student. Plants in the background. This image is often labeled as "the author as a young man" to distinguish it from the image of the author in the Valencia (1529) edition by…

Image of a person writing at a desk with a quill in his hand.

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…

Same illustration used for the argument opening Fadrique de Basilea's Burgos 1499 edition of the Comedia de Calisto y Melibea.

Other title: Egloga nueuame[n]te trobada por juan d[e]l enzina : En la qual se introduzen dos enamorados llamada ella…

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…

A couple, woman and man, talking, while another group of five people, all young men with the exception of an old woman who can be interpreted as a celestina appear to argue over a spyglass in order to spy on the couple on the left. Portico…

Two young men on one side, an old woman or celestina in the middle and a young man on the left making a supplicating gesture. Porticoes in the background. Written over the figures are the names Celestina, Lucrecia, Elisa, Melibea, which clearly do…

The same generic illustration from act IV. Written above are the names Celestina, Sempronio, Calisto, Pármeno, Celestina. Note that the name Celestina is repeated.

The same illustration as act IV. The names Calisto, Celestina, Pármeno, Sempronio, Calisto. Note the repetition of the name Calisto.

The same illustration as act I. The names Celestina, Pármeno, Areúsa, Elicia, Celestina (repeated) written above the figures.

The same illustration as act IV, written above are the names Pármeno, Areúsa, Sempronio, Calisto, Pármeno (repeated).

The same illustration of act I. Written above are the names Sempronio, Pármeno, Elicia, Celestina, Areusa, Lucrecia, Sempronio (repeated).

The same illustration as act IV. Above the names Melibea, Celestina, Lucrecia, Elisa, Melibea (repeated).

The same illustration as act I. Above are the names Celestina, Sempronio, Calisto, Pármeno, Elicia, Celestina (repeated)

The same illustration as act I. Above, the names Calisto, Sempronio, Pármeno, Lucrecia, Melibea, Pleberio, Alisa, Celestina, Elicia, Calisto (repeated)

The same illustration as act IV. Above, the names Calisto, Tristanico, Sosia, Celestina.

The same illustration as act I. Above, the names Melibea, Lucrecia, Sosia, Tristanico, Calisto, Melibea (repeated)

The same illustration as act IV.

The same illustration as act I. Above, the names Pleberio, Alisa, Lucrecia, Melibea, Pleberio.