Browse Items (3223 total)

Factotums of Calisto, Celestina, Pármeno, Sempronio and Elicia

Factotums of houses, Melibea, Lucrecia, Celestina and Alisa.

Factotums of Calisto, Celestina, Pármeno, Sempronio and Elicia.

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

Five factotums and above the names Celestina, Sempronio, Calisto, Pármeno and Elicia that appear to coincide with the image order. Celestina's name is repeated twice for being the first to appear in the act.

The bailiff knocks on the door of Celestina's house before she is murdered.

Melibea goes out by night, accompanied by Lucrecia (p. 229). One of the two holds her index finger to her lips in a signal to be quiet. The foot of the image says: "Qué harían si mi cierta salida supiesen?" ("What would they do if they knew of my…

Sempronio amd Pármeno stand guard while Calisto is at the gates of Melibea's garden. Because of the types of arms they carry it seems to be a military scene. Note that the shield Calisto carries has an image of a heart pierced by an arrow. The same…

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

El Árbol de los clásicos Collection. © Oxford University Press Spain, 2015.

Illustrations: Marina Seoane Pascual
Web: marinaseoane.com

Factotums of Calisto, the same as previous acts, and of Lucrecia, the image used for her is the same as the one used in act IV for Celestina.

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

Six factotums and above the names of Calisto, Sempronio, Pármeno, Lucrecia, Melibea and Pleberio. On the second line, the other characters' names in the act (Alisa, Celestina, Elicia).

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

Five factotums and above the names of Calisto, Sempronio, Pármeno, Lucrecia, Melibea, Pleberio, Alisa, Celestina, Elicia, and repeated Calisto for being the first to speak in the act.

Calisto recibe la noticia de la muerte de sus criados

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

Factotum of Sosia, the same used for Pármeno in act VII and the following acts, and of Calisto, which is used in previous acts.

Pármeno and Sempronio's execution scene. One of them is already executed by beheading and the other has his hand raised. Next to them are the executioner and two characters, one is armed. The post in the middle of the image divides it in two and has…

The executioner executes Pármeno and Sempronio in the right margin and the judge holds a staff and sword in his belt flanked by two armed soldiers.

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

Five factotums of houses, three characters and a tree. Above, the names Calisto, Tristanico, Sosia and Calisto repeated, for being the first to speak in the act. One of the factotums is a woman.

Calisto climbing a ladder while Melibea and Lucrecia watch from two arches. On the right, Sosia and Tristán stand guard outside. The same image is repeated again in act XIX.

A copy of the illustration of act XIV of the Zaragoza edition(1545).Calisto climbs the ladder while Melibea and Lucrecia look out from two arches and two servants on guard outside. This has been used in act XII and is also used in act XIX.

Tristán and Sosia remove Calisto's dead body. In the background, Melibea's garden and the ladder at hand. Above, the names Melibea, Lucrecia, Sosia, Tristán and Calisto can be read. The images of Melibea and Lucrecia are not visible, but it is…

Calisto and Melibea's first night of love

A strange representation of Calisto's visit to Melibea which shows Sosia and Tristán in the same image and the ladder beside Melibea. The image seems to suggest that Melibea had descended from a tower using the ladder. The same image is used again in…

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

El Árbol de los clásicos Collection. © Oxford University Press Spain, 2015.

Illustrations: Marina Seoane Pascual
Web: marinaseoane.com

Factotums of Melibea and Calisto identical to the ones used in act I.

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 Melibea, Lucrecia (image used previously for Melibea), Sosia, Tristán and Calisto.

Sosia and Tristán stand guard while Calisto begins to climb the ladder. Lucrecia and Melibea watch them from the other side of the crenelated wall. This is used again in act XX.

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

Five factotums of characters, two women and three men, and above, the names of Melibea, Lucrecia, Sosia, Trístanico, Calisto and Melibea repeated for being the first to speak in the act. The order of the characters appears to coincide, but the first…

Elicia enlutada

Calisto and Melibea embrace in the garden while Lucrecia stands guard or spies (p. 314). The footnote at the bottom of the page says: "Jamás querría, señora, que amaneciese, según la gloria y descanso que mi sentido recibe" ("My lady, I never want…

Callisto falls off the ladder. Melibea, Tristán and Sosia are scared.

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

The same illustration used in act XII. Now representing Calisto's visit to Melibea with Tristán and Sosia as escorts.

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

El Árbol de los clásicos Collection. © Oxford University Press Spain, 2015.

Illustrations: Marina Seoane Pascual
Web: marinaseoane.com

Factotums of Sosia and Tristán that reuse the images of Pármeno and Sempronio.

Scene of Sosia and Tristán carrying the body of the fallen Calisto. Above are written the names of Sosia, Tristán, Calisto, Melibea and Lucrecia, although the last two are not seen in the image.

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

Five factotums (two women and three men) and above, the names Sosia, Tristanico, Calisto, Melibea, Lucrecia, and Sosia repeated for being the first to speak in the act.

Melibea sube a la azotea de su vivienda

Elicia and Areúsa plot 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.

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.

Four factotums: building, Areúsa (image of a woman that is covered, possibly to represent her mourning, but the same used in previous acts to portray Celestina), Centurio (image used in act XII for Sempronio) and Elicia.

La Celestina. Barcelona, Lumen Editorial, 1988 . Version by Enrique Ortenbach. Illustrations by Bartolomé Liarte.

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

Image used in act X. Now it is used for the conversation of Areúsa and Elicia with Centurio. The same image is used again in acts XVIII and XXI.

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 Areúsa and Elicia are images previously used for Melibea and Celestina respectively.

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 a tree, Areúsa, Centurio, Elicia and houses.

Factotum of Areúsa, who has her head covered in mourning, Centurio and Elicia. Framed by factotums of buildings on each side.

The same illustration as act IV.

Four characters and houses. Above, Areúsa, Centurione ruffian [sic] and Elicia. The name Elicia repeated for being the first to speak in the act.

Melibea le pide a Lucrecia que guarde silencio para escuchar la conversación de sus padres

Pleberio and Alisa speak about the convenience of marrying off Melibea (p. 256).

Lucrecia and Melibea, on a cushion, on the other side of a door listen to the conversation between Pleberio and Alisa, who are sitting in another room.

A copy of the engraving of act XVI in the Zaragoza edition (1545).Lucrecia and Melibea on a cushion, on the other side of a door, listening to the conversation between Pleberio and Alisa, who are seated in another room. This is used again in act XX.

Four factotums with the names of Pleberio, Alisa, Lucrecia and Melibea (with a flower).