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Image of the prologue of the Paris edition (1943)
Adaptation by Paul Achard
Image of act XXI of the Valladolid edition (1561)
Three bearded male figures contemplate Melibea's corpse, lying facedown and, beside her, Lucrecia, Alisa and Pleberio. Two female figures standing on the wall also contemplate the scene.
Image of act XXI of the Paris edition (1943)
Adaptation by Paul Achard
Image of act XX of the Valladolid edition (1561)
Pleberio, behind him Alisa in bed, knocking on Melibea's door. Lucrecia answering and a sad Melibea sitting on the dais.
Image of act XX of the Salamanca edition (1590)
Melibea throws herself from the tower while two women watch. Note the absence of the character of Pleberio.
Image of act XVIII of the Valladolid edition (1561)
The same image used for act XV, now to show Elicia helping Areúsa to make peace with Centurio.
Image of act XVIII of the Salamanca edition (1590)
Melibea and Lucrecia listen behind the door while Pleberio and Alicia discuss the marriage of their daughter.
Image of act XVIII of the Paris edition (1943)
Adaptation by Paul Achard
Image of act XVIII of the Medina del Campo edition (1536)
Factotums of Elicia, Centurio and Areúsa.
Image of act XVIII of the Burgos edition (1531)
Factotums of a tree, Centurio, Areúsa, Elicia and a house.
Image of act XVII of the Valladolid edition (1561)
Areúsa in her house receives Sosia, while Elicia listens, hidden. A bed and stairs in the background.
Image of act XVII of the Salamanca edition (1590)
Factotums of an unidentified man and woman, probably representing Areúsa and Sosia's encounter, although these factotums have been used previously for other characters.
Image of act XVII of the Paris edition (1943)
Adaptation by Paul Achard
Image of act XVII of the Medina del Campo edition (1536)
Factotums of Elicia, Areúsa and Sosia.
Image of act XVII of the Burgos edition (1531)
Factotums of a tree, Elicia, Areúsa, Sosia and houses.
Image of act XVI of the Valladolid edition (1561)
Lucrecia and Melibea, who is on a cushion, on the other side of a door listen to the conversation between Pleberio and Alisa who are seated in another room. Note how the image has been corrected and improved with respect to the equivalent image in…
Image of act XVI of the Salamanca edition (1590)
Scene already used in acts V and XI but here it doesn't seem to have any relation with the events in the act.
Image of act XVI of the Medina del Campo edition (1536)
Factotums of Melibea, Lucrecia, Pleberio, Alisa and a house.
Image of act XVI of the Burgos edition (1531)
Factotums of Melibea, Lucrecia, Pleberio, Alisa (image previously used for Celestina) and a tree.
Image of act XV of the Valladolid edition (1561)
Elicia and Areúsa orchestrate their revenge against Calisto with Centurio, shown with a sword. In the background a bed and stairs. This image is used again in act XVIII.
Image of act XV of the Salamanca edition (1590)
Centurio between Areúsa and Elicia.
Image of act XV of the Paris edition (1943)
Adaptation by Paul Achard
Image of act XV of the Medina del Campo edition (1536)
Factotums of Elicia, Centurio and Areúsa.
Image of act XV of the Burgos edition (1531)
Factotum of houses, Elicia, Centurio (man with a turban, which has already been used), Areúsa in mourning (image used previously for Alisa) and houses.
Image of act XIX of the Valladolid edition (1561)
The same illustration used in act XIV, now for Calisto's fatal visit to Melibea.
Image of act XIX of the Salamanca edition (1590)
Sosia and Tristán transport Calisto's body, after falling from the ladder.
Image of act XIV of the Valladolid edition (1561)
Calisto climbing a ladder while Melibea and Lucrecia stand on the garden wall. On the left, Sosia and Tristán, stand guard outside. The image is repeated again in act XIX. Note that they have corrected the error from the equivalent image in…
Image of act XIV of the Salamanca edition (1590)
The same image used in act XII, now for Calisto's visit to Melibea's garden with Sosia and Tristán.
Image of act XIV of the Paris edition (1943)
Adaptation by Paul Achard
Image of act XIV of the Medina del Campo edition (1536)
Scene of Calisto entering the garden with the ladder, where Melibea and Lucrecia wait for him. Outside, holding weapons, are Sosia and Tristán. One of the two has a finger against his mouth, as if in a gesture of silence. This image repeats as the…
Image of act XIII of the Valladolid edition (1561)
Pármeno and Sempronio kill Celestina, who is on the floor, while Elicia watches in horror. Note how the image is a carbon copy of the equivalent illustration in the Zaragoza edition (1545), now Pármeno and Sempronio use their left hands…
Image of act XIII of the Salamanca edition (1590)
The execution of Pármeno and Sempronio with an executioner and two male characters as witnesses.
Image of act XII of the Valladolid edition (1561)
While Pármeno and Sempronio, well armed, stand watch, Calisto speaks with Lucrecia and Melibea, who are not shown, through the door.
Image of act XII of the Salamanca edition (1590)
While Melibea and Lucrecia wait on the crenelated garden wall, Calisto climbs the ladder and Pármeno and Sempronio keep watch.
Image of act XII of the Paris edition (1943)
Adaptation by Paul Achard
Image of act XI of the Valladolid edition (1561)
Celestina, accompanied by Pármeno and Sempronio, in the street. Calisto on his knees in the church of la Magdalena.
Image of act XI of the Salamanca edition (1590)
The same image used in act V to show the visit of Celestina and Sempronio to Calisto's house, who is speaking with Pármeno. Written above is Celestina, Sempronio, Calisto and Pármeno. Used again in act XVI.
Image of act XI of the Paris edition (1943)
Adaptation by Paul Achard
Image of act XI of the Medina del Campo edition (1536)
Factotums of Celestina, Sempronio, Calisto, Pármeno and Elicia.
Image of act XI of the Burgos edition (1531)
Factotums of Celestina, Calisto, Sempronio, Pármeno and Elicia.
Image of act X of the Valladolid edition (1561)
Two consecutive scenes. On the right, Celestina, with the rosary, arrives at Melibea's house with Lucrecia. On the left side, inside the house, Celestina speaks with Melibea on the dais, and Alisa enters through the door.
Image of act X of the Salamanca edition (1590)
Two factotums of women, representing Melibea and Celestina. Above, the names Melibea, Alisa, Celestina, Lucrecia are written.
Image of act X of the Paris (1943)
Adaptation by Paul Achard
Image of act X of the Medina del Campo edition (1536)
Factotums of Melibea, Celestina, Alisa, Lucrecia and houses.
Image of act X of the Burgos edition (1531)
Factotums of Melibea, Celestina, Alisa, Lucrecia and houses.
Image of act VIII of the Valladolid edition (1561)
Double scene. On the right, Pármeno has awoken to go to his master's house after spending the night with Areúsa. On the left, the scene after the meeting and agreement between Pármeno and Sempronio.
Image of act VIII of the Medina del Campo edition (1536)
Factotums of Pármeno, Areúsa, Calisto, Sempronio and a tree.
Image of act VIII of the Burgos edition (1531)
Factotums of Pármeno, Areúsa, Calisto, Sempronio and houses.
Image of act VII of the Valladolid edition (1561)
Outside, Celestina talks to Pármeno. In the other half of the image, a later scene of him lying with Areúsa. It is remarkable when compared the Zaragoza edition (1545)'s equivalent image that the position of lovers in bed, placed side by side and not…
Image of act VII of the Salamanca edition (1590)
Scene in two frames of the visit of Pármeno and Celestina to Areúsa. On the left hand part the first two are speaking and in the right hand part the following scene of Pármeno lying with Areúsa. Above are written the names of Celestina, Pármeno,…
Image of act VII of the Paris edition (1943)
Adaptation by Paul Achard
Image of act VII of the Medina del Campo edition (1536)
Factotums of Pármeno, Celestina, Areúsa, Elicia and houses.
Image of act VI of the Valladolid edition (1561)
At Calisto's house, Celestina speaks with him while Sempronio and Pármeno talk amongst themselves, apart. Background with battlements and therefore outside, different from the columns and arcs in the equivalent engraving of the edition of…
Image of act VI of the Salamanca edition (1590)
An image without meaning in this act due to its seeming representation of act XVIII, where it is reused there appropriately, where Melibea and Lucrecia listen while Pleberio and Alisa speak about the possible marriage of their daughter. Above the…
Image of act VI of the Paris edition (1943)
Adaptation by Paul Achard
Image of act VI of the Medina del Campo edition (1536)
Factotums of a tree, Calisto, Celestina, Pármeno and Sempronio.
Image of act VI of the Burgos edition (1531)
Factotums of Calisto, Celestina, Pármeno, Sempronio and houses.
Image of act V of the Valladolid edition (1561)
Sempronio and Celestina arrive at Calisto's house. He is seated indoors speaking with Pármeno. A bed in the background.
Image of act V of the Salamanca edition (1590)
Celestina and Sempronio approach the door of Calisto's house, where he is speaking with Pármeno. This image is used again in acts XI and XVI.
Image of act V of the Medina del Campo edition (1536)
Factotums of houses, Celestina, Sempronio, Pármeno and Calisto.
Image of act V of the Burgos edition (1531)
Factotums of Celestina, Sempronio, Pármeno, Calisto and houses.
Image of act IX of the Valladolid edition (1561)
The banquet scene in Celestina's house with Pármeno, Sempronio, Elisa and Areúsa. Outside Lucrecia knocking at the door. Celestina drinking and a cat or a dog with a bone in front of the table.
Image of act IX of the Salamanca edition (1590)
Banquet scene at Celestina's house with five characters, two men and three women. It does not appear to show a banquet but rather a meeting. Above are the names of Sempronio, Pármeno, Celestina, Elicia, Areúsa and Lucrecia.
Image of act IX of the Paris edition (1943)
Adaptation by Paul Achard
Image of act IX of the Medina del Campo edition (1536)
Six names and five only factotums: Sempronio, Pármeno, Celestina, Elicia, Areúsa and Lucrecia.
Image of act IX of the Burgos edition (1531)
Factotums of Sempronio, Pármeno, Celestina, Lucrecia, Elicia and Areúsa (image used previously for Lucrecia and Elicia).
Image of act IV of the Valladolid edition (1561)
Celestina at Melibea's house, and she is with Lucrecia on a dais, while Alisa leaves with the messenger who came to summon her. One of the women has a pet.
Image of act IV of the Salamanca edition (1590)
Two factotums of women and above the names Celestina, Lucrecia, Alisa and Melibea. The first, an old woman, covered with something in hand, this could be Celestina, although the image is not the same as the one used in the previous act for this…
Image of act IV of the Medina del Campo edition (1536)
Factotums of houses, Celestina, Lucrecia, Alisa and Melibea among plants.
Image of act IV of the Burgos edition (1531)
Factotums of houses, Celestina, Lucrecia, Alisa and Melibea. New image for Melibea, who in the other acts is portrayed with the same image as in act I.
Image of act III of the Valladolid edition (1561)
Sempronio, accompanied by Celestina, arrives at her house, where Elicia is inside, occupied with some work. Outside, in the background, a crenelated wall with trees behind.
Image of act III of the Salamanca edition (1590)
Two factotums, man and woman, and above the names of Sempronio, Celestina and Elicia. The first factotum is the one used in act I for Calisto. The second has her head covered and the rosary so she must be Celestina.
Image of act III of the Medina del Campo edition (1536)
Factotums of Sempronio, Celestina and Elicia.
Image of act III of the Burgos edition (1531)
Factotums of a tree, Sempronio, Celestina, Elicia and houses. The image of Sempronio is different from the ones used in earlier acts.
Image of act II of the Valladolid edition (1561)
Three men speaking in the street, and a woman in a window watching them. It is unclear which scene of the work it refers to because of the very generic image.
Image of act II of the Salamanca edition (1590)
Two factotums of an old and a younger man and above the names Calisto, Pármeno and Sempronio.
Image of act II of the Paris edition (1943)
Adaptation by Paul Achard
Image of act II of the Medina del Campo edition (1536)
Three factotums of Calisto, Sempronio and Pármeno.
Image of act II of the Burgos edition (1531)
Factotums of Calisto, Sempronio and Pármeno and two factotums of houses in the right margin. Same character images as used in act I.
Image of act I of the Salamanca edition (1590)
Factotums of Calisto and Melibea, possibly the encounter in the garden.
Image of act I of the Medina del Campo edition (1536)
Five factotums and seven names above: Calisto, Melibea --Elicia underneath --, Parmeno --underneath Crito--, Sempronio and Celestina. The double names are as if it were recognized that the same image is for two characters at a time.
Image of act I of the Burgos edition (1531)
Six factotums and above seven names: Calisto, Melibea, Pármeno, Sempronio, Celestina, Elicia and Crito (there is no image for him). The image of Calisto is of an old man which is used in act XX for Pleberio; Sempronio wearing a turban, an image that…
Image of act 9 of the edition of Lisbon (1540)
Three factotums and the names of Sempronio, Pármeno and Celestina
Image of act 8 of the edition of Lisbon (1540)
Factotums of three characters and four names: Areúsa, Pármeno, Sempronio and Calisto
Image of act 7 of the edition of Lisbon (1540)
Factotums of Pármeno, Celestina, Areúsa and Elicia. Image of Areúsa with a girdle, used before for Melibea
Image of act 6 of the edition of Lisbon (1540)
Three factotums and four names of the characters in this act: Calisto, Celestina, Pármeno and Sempronio. Same image of Calisto with flowers of act 1.
Image of act 5 of the edition of Lisbon (1540)
Three factotums and four names: Sempronio, Celestina, Pármeno and Calisto
Image of act 3 of the edition of Lisbon (1540)
Factotums of two characters and their names above. Sempronio with a sword, Celestina and Elicia.
Image of act 2 of the edition of Lisbon (1540)
Factotums of Calisto, Pármeno and Sempronio
Image of act 18 of the edition of Lisbon (1540)
Centurio, Areúsa and Elicia Factotums
Image of act 17 of the edition of Lisbon (1540)
Three factotums with the names of Elicia, Areúsa and Sosia