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Foto de Títeres de Calisto y Melibea, Teatro Di Commedia, 2009-2014
Títeres de Calisto y Melibea
Foto de Títeres de Calisto y Melibea, Teatro Di Commedia, 2009-2014
Títeres de Calisto y Melibea
Four Figures on a Step, by Murillo (1655, c.)
Four characters among which a prostitute and a matchmaker are usually identified.
Fourth illustration from act I from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Fourth illustration from act I from the Mexico edition (1947)
Drawing of Melibea as a locked up damsel that is sewing or embroidering with a cat at her feet.
Fourth illustration from act I from the Paris edition (1949)
An illustration of Celestina undressing a young woman who is hiding her eyes, before two men, in the Les Bibliophiles de France version.
Fourth illustration from act I from the Paris edition (1989)
Celestina's spell (this illustration corresponds to Rojas' act III).
Fourth illustration from act IV from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro. Page 68.
Fourth illustration from act IV from the Paris edition (1949)
Melibea insults Celestina.
Fourth illustration from act IX from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro. Page 119.
Fourth illustration from act IX from the Paris edition (1949)
One of Celestina's prostitutes with a client in the procuress' younger years.
Fourth illustration from act VI from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Fourth illustration from act VII from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro. Page 98.
Fourth illustration from act VIII from the Paris edition (1949)
Illustration that appears in the first volume of La Celestina of Les Bibliophiles de France. It seems to refer to Sempronio and Pármeno conspiring against Calisto. Some images come from ebay.fr and others from googlebooks.com.
Fourth illustration from act XII from the Paris edition (1949)
Celestina awakens to receive Sempronio and Pármeno who are looking for their part of the winnings.
Fourth illustration from act XII from the Paris edition (1989)
Celestina's death.
Fourth illustration from the back cover from the Mexico edition (1947)
Drawing of a young, naked woman between two billy goats.
Fourth illustration from the introduction from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Fourth illustration from the Madrid edition (1974)
The go-between Celestina. On the left, a prostitute and on the other, a knight in the form of a bird.
Fourth illustration from the prologue from the Mexico edition (1947)
Drawing of naked Melibea bathing in a pond while a bird draws near.
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).
Fourth illustration of act XI, by Alcalá Iberri (2004)
Pármeno le advierte a Calisto la presencia de unos hombres armados
Fourth image of act XIII of the Paris edition (1943)
Adaptation by Paul Achard
Frame 2 of La Celestina by Pezzoli
Calisto (Sergio Albelli) tells Sempronio (Daniele Griggio) about his lovesickness.
Franco's Black Spain, by Quintanilla (1938)
Ink drawings in a series.
Note the celestinesque characters with their heads covered and in some images the old woman appears with a rosary.
Note the celestinesque characters with their heads covered and in some images the old woman appears with a rosary.
Frankfurt (1989)
German translation with the 66 illustrations by Picasso of the Suite 347. For a detailed description see the following article by: Gustav Siebenmann, "Una versión alemana de Celestina," Celestinesca (1991): 67-70See also the related items at the…
Frontispiece of the Les Compagnons du Livre edition: Paris, by Mohler, 1949
Engraving by Jean Mohler that accompanies the title page and acts as a frontispieceof the book La Célestine, Tragi-Comédie de Calixte et Mélibéeby Fernando De Rojas, translated into French by A. Germond de Lavigne, published by Les Compagnons du…
Gaining a friend.
Celestina (Lola Gaos) convincing Pármeno (Francisco Portes) to join her and to not interfere in her line of work.
Gallant scene, by Janneck (1731, c.)
A young woman accompanied by an old woman and it seems that the latter acts as her procuress. A young man is on the left.
Other title: Galante Szene
Other title: Galante Szene
Game card of Don Juan, Doña Inés and Brígida (Evaristo Juncosa, 1930 c.)
Card of the six of swords representing Brígida convincing Doña Inés that Don Juan is in love with her. The swords are used to represent her pain in the tradition of the heart of Mary of Sorrows.
Gifting of a Gold Chain, by Acedo (2008, c.)
From the series La Celestina (2008, c.)
Gitanas, by Canals (1900, c.)
In the image appear five young women dressed in a similar way. To the right appear three other figures, two men and a young woman, with a different aesthetic from that of the other young women. In the middle of the young women appears an old woman…
Gloria, by Pla (1901)
Recreation by the painter and illustrator of Galdós' character Gloria from the work of the same name published in 1876. Note the presence of the old women with a celestinesque appearance in the church in this work in which the heroine falls in love…
Going to the party or a walk after the race, by Canals (1900, c.)
Original title: Se rendant à la fête ou Promenade après la course ("Going to the party or a walk after the race").
In the image appear four young women dressed in regional dresses and mantillas. They are in a field surrounded by men and women…
In the image appear four young women dressed in regional dresses and mantillas. They are in a field surrounded by men and women…
Graffiti in Castrogonzalo (Zamora), by anonymous (2019, c.)
Graffiti of Calisto, Melibea and Celestina in Castrogonzalo, Zamora, Spain. Calisto and Melibea appear lying with their heads towards the center, while Celestina appears in the middle of the two as if joining them.
Gypsies, by Canals (1910, c.)
In the image three figures appear in a field. A young woman dressed in a regional dress, an old woman to her right with a fan covering her face, and a man on horseback behind them. The trio is reminiscent of celestina scenes where the old woman acts…
Hanging of the Prodigal Son, by Unknown (1525, c.)
The biblical parable of the prodigal son is depicted in this tapestry. The prodigal son in the centre appears with a young woman on the left. An older woman presents the young woman to the prodigal son, which could indicate that she is acting as the…
Head Study, by Lucas Velázquez (1850, c.)
Portrait of an old woman.
Herodias Mutilating the Severed Head of Saint John the Baptist Held by Salome, by Grebber (attributed to) (1640, c.)
This painting represents a biblical scene where Herodias pierces the tongue of John the Baptist while his severed head is resting on a plate hold by Salome.
The portrayal of the young woman, the older woman and a man is reminiscent of Celestina…
The portrayal of the young woman, the older woman and a man is reminiscent of Celestina…
Horrors of war: "What is Celestina carrying in her bag?...", by Sancho Piqué (1939)
Drawing as part of the collection "Horrors of war". A person completely covered is carrying the body of a hanged person in a bag. Two female characters are watching in horror.
Hostel scene, by Hals (1650, c.)
Original title: Scène d'auberge("Hostel scene").The image shows an indoor scene where several young men appear drinking and a young woman among them. To the right in the foreground is an old woman with her head covered following the Celestinesque…
House Mariduque, by Botero (1970)
The painting portrays a room where six women appear: three of them are sitting in two chairs, the remaining three are standing. One of them is drinking and another one is sweeping. A man lying behind a chair appears in the background of the painting.
House of the Arias Twins, by Botero (1973)
The painting shows a room with five young women, two men, an older woman and a child. They all appear around a bed, except for the child, which lies underneath the bed.
Hoy, la Celestina, by Radioteatro (2024)
Welcome to a night of pure theatrical magic in the heart of Madrid! In the emblematic Teatro Arlequín Gran Vía, the central studios of Radio Nacional de España come to life tonight thanks to radio theatre. The star of the evening? Nothing less than…
I am not a Penguin, by Acedo (2010, c.)
Comment by the artist: "At the end of October I finished illustrating La Celestinawith approximately 80 drawings, the project had stalled for various reasons. This time the publication was planned for February 2010. In this illustration I…
Illustration act III of the Paris edition (1542)
The same factotums as in act II.
Illustration act IV of the London edition (1973)
Celestina and Melibea.
Illustration act IV of the Paris edition (1542)
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,…
Illustration act IV of the Venice edition (1541)
Four factotums of characters and houses. Above, without coinciding with the images --two male and two female--, the names Celestina, Lucrecia, Elicia and Melibea.
Illustration act VII of the Barcelona edition (1525)
Four factotums of Celestina, Pármeno, Areúsa and Elicia.
Illustration act VII of the London edition (1973)
Areúsa and Celestina.
Illustration act XI of the Barcelona edition (1525)
Four factotums of Calisto, Celestina, Pármeno and Sempronio. Elicia's name appears above but there is no character for her.
Illustration act XI of the Estella edition (1557)
The same illustration used in act VI, which shows Celestina talking with a seated Calisto, while Pármeno and Sempronio talk amongst themselves behind her.
Illustration act XII of the London edition (1973)
Sempronio and Pármeno about to murder Celestina.
Illustration act XIII of the Barcelona edition (1525)
The judge between two armed soldiers and, on the right, the executioner beheading Pármeno and Sempronio with a knife (one of them is already beheaded). A corner background of houses with arched windows and a two part view.
Illustration act XIX of the London edition (1973)
Melibea and Calisto in their nocturnal encounter.Made by Dodie Masterman for the Folio Society in London. In Celestinesca, vol. 10, no. 2.http://parnaseo.uv.es/Celestinesca/Numeros/1986/VOL%2010/NUM%202/NUM%202.pdf
Illustration from act I from the Barcelona edition (1967)
Calisto and Melibea's initial encounter. Calisto has the falcon. Page 12.
Illustration from act I from the Toledo edition (1538)
Five factotums and seven names above: Calisto, Melibea, Sempronio, Pármeno, Celestina, Elicia, Crito. Celestina is carrying the rosary and a cane. Some of the images are different from the equivalent images used in the Toledo edition (1526).
Illustration from act I from the Valencia edition (1946)
Ilustration "Get out of there..." in Celestinesca by José Segrelles of the encounter and confrontation between Calisto y Melibea at the beggining of the novel. Act I from the Valencia edition (1946). In Celestinesca Vol. 7, Num 2, p. 34.
Illustration from act II from the Barcelona edition (1967)
Conversation between Calisto and Sempronio, a woman in the background (mental image of Melibea?) (Cf. image from act XIII). Page 53.
Illustration from act II from the Mexico edition (1947)
Drawing of Celestina in her house with the string and a cat at her feet.
Illustration from act II from the Paris edition (1989)
Pármeno and Calisto riding his horse.
Illustration from act II from the Toledo edition (1526)
Factotum with five blocks: houses, Calisto, Sempronio, Pármeno and houses. Sempronio has a beard and Pármeno is holding a bag. The houses are mirror images of a same model.
Illustration from act II from the Toledo edition (1538)
Five block factotum: houses, Calisto, Sempronio, Pármeno and houses. Sempronio has a beard and Pármeno is holding the bag. The houses are mirror images of a same model.
Illustration from act II from the Valencia edition (1946)
Sempronio and Calisto. Illustration from act II in Celestinesca Vol 9, Num 1, made by José Segrelles.
Illustration from act III from the Mexico edition (1947)
Drawing of Celestina at the table casting a spell and the spirits becoming visible.
Illustration from act III from the Paris edition (1989)
Celestina walking towards Melibea's house.
Illustration from act III from the Toledo edition (1526)
Factotums of houses, Sempronio, Celestina, Elicia and the same houses inverted. Celestina is holding a rosary and a walking stick, same image used before.
Illustration from act III from the Toledo edition (1538)
Factotums of houses, Sempronio, Celestina, Elicia and a tree. This image changes two characters and the tree with respect to the equivalent model from the Toledo edition (1526).
Illustration from act IV from the Mexico edition (1947)
Drawing of Celestina on the balcony and Celestina behind speaking to her.
Illustration from act IV from the Toledo edition (1526)
Factotums: houses, Lucrecia, Celestina, Alisa and Melibea. They are speaking in pairs, Celestina with Lucrecia and Alisa with Melibea. Celestina and Alisa are characterized as old women with their heads covered.
Illustration from act IV from the Toledo edition (1538)
Factotums: houses, Lucrecia, Celestina, Alisa and Melibea. They speak in pairs, Celestina with Lucrecia and Alisa with Melibea. Celestina and Alisa are characterized as old women with their heads covered. The only difference from the Toledo edition…
Illustration from act IV from the Valencia edition (1946)
Illustration of Celestina speaks to Melibea about Calisto in Celestinesca by José Segrelles from the Castalia edition, 1946. Celestinesca Vol. 7, Num. 2, Pa. 10.
Illustration from act IX from the Paris edition (1989)
Dinner at Celestina's house.
Illustration from act IX from the Toledo edition (1526)
Five factotums and six names above: Sempronio, Pármeno, Celestina, Elicia, Lucrecia, Areúsa.
Illustration from act IX from the Toledo edition (1538)
Five factotums and six names above: Sempronio, Pármeno, Celestina, Elicia, Lucrecia, Areúsa.
Illustration from act IX from the Valencia edition (1946)
Sempronio, Pármeno, Elicia, Celestina, Areusa and Lucrecia. Illustration from act IX in Celestinesca Vol 9, Num 1, made by José Segrelles.