The same generic illustration from act IV. Written above are the names Celestina, Sempronio, Calisto, Pármeno, Celestina. Note that the name Celestina is repeated.
At Calisto's house, Celestina is speaks with him, while Sempronio and Pármeno talk amongst themselves apart from them. A background with columns and arches.
Illustration of act 6, probably Calisto paying Celestina with the golden chain. Illustration by Escobarpresented in the Classical Spanish Library 21 edition byDaniel Cortezo Cía. In Celestinesca Vol 10, Num 1.
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6
This illustration is missing in some editions. The moment in which Pármeno approaches Areúsa's bed while Celestina watches the scene (p. 149). At the foot of the scene Areúsa's words can be read: "Quítate allá, que no soy de aquellas que piensas, ten…
A variation of the scene of act VII of the Zaragoza edition (1545). Celestina speaking with Pármeno at Areúsa's door, while she is lying in bed. Note that in this version, different from the image in Zaragoza, that the couple in bed are…
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6
Factotums of houses, Celestina, Pármeno, Areúsa and Elicia. The factotums of Areúsa and Elicia are the ones used earlier for Alisa and Melibea respectively.
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 following scene is of the encounter and agreement between Pármeno and Sempronio.
The same illustration as was used in act IV. A simplified copy generated from the engraving of act IV of the Zaragoza edition(1545).Celestina at Melibea's house, and she with Lucrecia sitting on a dais, while Alisa leaves with the messenger who has…
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6
Factotums of houses, Pármeno, Areúsa (used earlier for Melibea), Sempronio and Calisto. Sempronio's image is new and shows a character gesturing with his index finger.
Four factotums of characters --three men and a woman-- and houses. Above are written the names Pármeno, Areúsa, Sempronio, Calisto, and Pármeno repeated, the one who begins speaking first in this act.
Two consecutive scenes. On the left, Celestina, holding the rosary, arrives at Melibea's house with Lucrecia. On the right, inside the house, Celestina talks with Melibea while sitting on the dais, and Alisa enters through the door.
The same image, already used in acts IV y VIII. A simplified copy generated from the engraving of act IV in the Zaragoza edition (1545). Note that in the Zaragoza edition there is a pet that has been erased here.
A difficult scene to understand as it does not correspond to the action in act X. A man approaches to speak to a woman who is sitting or has fallen down while the other one present stands. This could refer to the page who comes in search of Alisa,…
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6
Four factotums and houses. Above, four names: Melibea, Celestina, Lucrecia, Elisa and Melibea repeated to indicate it is she who speaks first in the act. There is a masculine character between the images.
Already used in acts III y VI. It does not appear to be a copy of illustrations in the Zaragoza edition (1545), one of the few instances in the book. It is, however, due to its simplicity, a provision that calls to mind a composition of factotums,…
Celestina heading to Calisto's house. Illustration made by Dodie Masterman for the Folio Society in London. Also shown in Celestinesca Vol 20, Num 1 & 2.http://parnaseo.uv.es/Celestinesca/Numeros/1996/VOL%2020/NUM%201%20Y%202/NUM%201%20Y%202.pdf
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6