Browse Items (3223 total)

Composite scene that shows two servants escorting Calisto on horseback and a third Black servant or page. It also includes a dog and in the right margin Melibea's house, where she and Lucrecia are on the balcony, while Celestina knocks on the door,…

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

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…

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…

Melibea's suicide throwing herself from the tower. At the sides, Pleberio and Alisa, and two buildings.

A house with an unidentified character, Pleberio, Lucrecia, Melibea and a tree. Variant of the factotums of act XVI.

Sosia and Tristán recovering Calisto's corpse after his fall.

Building with two people, Centurio, Elicia with a flower, Areúsa, a tower with various unidentified people.

A tree, Elicia, Areúsa, Sosia and building with an unidentified woman.

Building with an unidentified woman, Pleberio, Alisa, Lucrecia and Melibea.

A house with an unidentified woman, Areúsa, Centurio and Elicia in mourning; a tree to complete the scenery. Return to the use of factotums.

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.

Pármeno and Sempronio's execution in the public square (corner of the building). The executioner, judge and two soldiers or guards are present.

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…

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.

Calisto, Celestina, Pármeno, Sempronio, and a building with two people at the window, one of whom is identified as Elicia.

Building with an unidentified woman, Melibea, Celestina, Lucrecia and Alisa.

Sempronio, Pármeno, two buildings with three people who appear named as Elicia, Celestina and Areúsa, and in the other building Lucrecia.

Sempronio, Pármeno, Areúsa, building with a woman inside, and Calisto on the other side.

Pármeno, Celestina, Areúsa and Elicia with a flower; building with a woman in the window on the right.

Calisto, Celestina, Pármeno and Sempronio; building with a woman in the window.

Calisto, Pármeno, Sempronio and Celestina. Building with a man and a woman in the window.

Lucrecia, Celestina, Alisa and Melibea, the same building from the title page fills the left side.

Calisto, Pármeno and Sempronio; one of the buildings from the title page with a woman inside, visible through the window.

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 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.

Calisto climbing into Melibea's garden. Same engraving used in act XIV.

Sempronio, Celestina and Elicia, the latter holding a flower. The two same buildings from the title page fill the sides.

A composite scene featuring two servants escorting Calisto on horseback and a third servant or black page. It also includes a dog and to the right margin the house of Melibea with her and Lucrecia on the balcony, while Celelstina knocks on the door…

Emblem of the printer showing a hand between clouds or waves, holding an object in the form of "T" and the inscription in Latin "Per verbum Dei auditus".

Composite scene with an unidentified servant, Calisto, Melibea and Lucrecia, with the initials above. Celestina, also with initials above is knocking at the door, with the thread in hand. A tree in the center. An illustrated edition with26…

This is the same as in the Burgos, 1531 edition.

Factotums of a tower, Pleberio, Lucrecia and Melibea. Above the tower appear the words "de la torre abajo." This image changes in order and attribution of the characters of the equivalent image in the Toledo edition (1526).

Melibea throws herself from the tower while Pleberio watches.

Tristán and Sosia remove the dead Calisto, ladder and the garden wall in the background. Note that Calisto's shoes are on the ground.

Factotums of Sosia, Tristán, Calisto, Melibea and Lucrecia. In the Toledo edition (1526) the first character on the left is Tristán and he has a different image.

Five factotums. This engraving does not seem to be in the Toledo edition (1526), although the characters are a recombination of the same usual images.

Factotums of houses, Areúsa, Elicia, unnamed character as the same one called "el moço" in the illustration from act XV, and Centurio.

Factotums of casas, Elicia, Areúsa, Sosia and houses.

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

Factotums of Elicia, the moço (sic), Centurio, Areúsa and houses.

Sosia and Tristán armed in the street while Calisto climbs the ladder to Melibea's garden. She waits for him inside with Lucrecia.

Factotums of Melibea, Lucrecia, Sosia, Tristán and Calisto.

Pármeno and Sempronio's execution with two soldiers, a judge, Sosia observing and an executioner wearing a turban. One of the executed has a cross in his hand.

Factotums of buildings, Calisto, Tristán, Sosia and buildings. Tristán and Sosia are wielding swords.

Judge and two soldiers with Pármeno and Sempronio (one on the ground, the other jumping out the window) on the left side and on the right, Pármeno and Sempronio kill Celestina with swords while Elicia tears out her hair behind Celestina. Curiously…

Factotums of Calisto, Lucrecia, Melibea, Pármeno and Sempronio.

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

Factotums of Melibea, Celestina, Alisa, Lucrecia, all speaking in pairs, and houses.

Five factotums and six names above: Sempronio, Pármeno, Celestina, Elicia, Lucrecia, Areúsa.

Factotums of Pármeno, Celestina, Areúsa, Elicia and houses.

Factotums of Pármeno, Celestina, Areúsa, Elicia and houses.

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

Factotums: houses, Celestina, Sempronio, Pármeno and Calisto.

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…

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).

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.

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).

Calisto and Melibea are in the walled garden on the left. Celestina is carrying the rosary, string and a cane knocking on a door and a young woman (Lucrecia) leans out of the window to see who is knocking.

This is the same as the Toledo, 1526 edition. An illustrated edition with 24 images that can be seen by clicking here: Toledo, 1538.

Original title: Romance del Conde Claros de Moltauan : con vn villancico pastoril al cabo, muy gracioso ("Romance of Count Claros from Montalban: with a pastoral carol at the end, very funny").

Same engraving as the one Fadrique de Basilea used in…

The same as Sevilla, 1523.

A cat in a border, probably the emblem of the printer or bookseller of Count Antonio Viscount, count of Leonato Poçolo

Melibea throws herself from the tower while two women watch. Note the absence of the character of Pleberio.

Sosia and Tristán transport Calisto's body, after falling from the ladder.

Melibea and Lucrecia listen behind the door while Pleberio and Alicia discuss the marriage of their daughter.

Factotums of an unidentified man and woman, probably representing Areúsa and Sosia's encounter, although these factotums have been used previously for other characters.

Scene already used in acts V and XI but here it doesn't seem to have any relation with the events in the act.

Centurio between Areúsa and Elicia.

The same image used in act XII, now for Calisto's visit to Melibea's garden with Sosia and Tristán.

The execution of Pármeno and Sempronio with an executioner and two male characters as witnesses.

Pármeno and Sempronio kill Celestina.

While Melibea and Lucrecia wait on the crenelated garden wall, Calisto climbs the ladder and Pármeno and Sempronio keep watch.

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.

Two factotums of women, representing Melibea and Celestina. Above, the names Melibea, Alisa, Celestina, Lucrecia are written.

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.

This scene does not appear to have anything to do with the action in this act. If it represents anything it would be Melibea's suicide although there are many characters. Additionally, in act XX a different image is used for Melibea's suicide.

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,…

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…

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.

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…

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.

Two factotums of an old and a younger man and above the names Calisto, Pármeno and Sempronio.

Factotums of Calisto and Melibea, possibly the encounter in the garden.

Factotum of Melibea.

Factotum of Celestina with her rosary.

A composite scene of Celestina knocking on the door holding the thread, Lucrecia at the window, Calisto and Melibea in the garden, a horse and a woman. Low quality image the seems to have been inspired by the cover page of the Valencia edition (1514)…

A photograph of Celestina casting a spell with smoke and fire in an unidentified theatrical performance.

Representation "Melibea a las nueve. Un viaje de cuento" ("Melibea at nine. A fairytale journey"), Festival Celestina - La España de Rojas ("Celestina Festival - The Spain of Rojas"), La Puebla de Montalbán, Toledo, August 27, 2022.Author: Ángel…

Adapted to modern Castilian.

A gallant scene with couples and troubadours that appears to be a modified medieval illumination.

Curious ink cover imitating an old book titled Pármeno, life and work, directed at Paula Ronderos Bogotá, 2008. In a wiki, that also contains a page and a half of what appears to be Sempronio's picaresque lifestyle, who travels to America.
The…

Three bearded male characters contemplate Melibea's corpse lying facedown and, beside her, Lucrecia, Alisa and Pleberio. Two unidentified people leaning over the wall also contemplate Melibea's corpse.

Melibea throws herself from an elevated location with locked doors meanwhile Pleberio joins his hands in a sign of prayer.

Pleberio, and behind him Alisa in bed, knocking on the door of Melibea's bedroom. Lucrecia answering while saddened Melibea is sitting on the dais.

Sosia and Tristán remove Calisto's corpse.

The same illustration used in act XIV, now for Calisto's fatal visit to Melibea.

The same image as used in act XV, now to represent Elicia helping Areúsa to make peace with Centurio.

Areúsa in her house receiving Sosia, while Elicia listens hidden. Bed and stairs in the background.

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.

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.