Browse Items (3223 total)

Factotum of Celestina not used in any of the previous acts, and of Calisto, the same used in act I.

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

Illustrations: Marina Seoane Pascual
Web: marinaseoane.com

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

Calisto, seated, speaks with Celestina, meanwhile Pármeno and Sempronio talk amongst themselves. the same engraving is reused in act XI.

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

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.

Factotums of Calisto, Celestina, Pármeno and Sempronio.

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.

The same illustration that was used for act III and is used again for act VIII.

Llega Celestina a su casa, donde le espera Sempronio

The same generic illustration from act IV. Written above are the names Celestina, Sempronio, Calisto, Pármeno, Celestina. Note that the name Celestina is repeated.

Factotums of Calisto, Pármeno, Sempronio, Celestina and a house with a person inside in the right margin.

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

Factotums of houses, Calisto, Pármeno, Sempronio and Celestina

Factotums of a man and woman with unfilled banners. The woman's character is the same as was used for Lucrecia in the previous act.

The same factotums of Celestina and Sempronio used in act II.

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

Celestina walks through the street while a dog barks at her and a man and woman watch her from the doorway of a house. This does not appear to represent any specific scene from the act. Perhaps it is a reference to Pármeno's words in act I "si pasa…

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

Four factotums with the names of Calisto, Pármeno, Sempronio (wearing a turban) and a new image for Celestina with her head covered with a black scarf.

The same illustration used in act I, which in turn is a copy of the illustration of Act V in the Zaragoza edition (1545). A double scene in which Calisto is shown seated and Pármeno standing, and on the right Celestina arriving at Calisto's…

Sempronio and Celestina arrive at Calisto's house. He speaks with Pármeno, while seated inside. A bed in the background.

Calisto and Pármeno at the window watching Celestina near the house with the cord (we do not see Celestina) (p. 111).

Elicia discute con Sempronio

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

Five factotums and above the names of the characters who appear in the act: Sempronio, Pármeno, Elicia, Celestina and Lucrecia, and later repeated, Sempronio to indicate he is the first to speak in the act.

The same illustration of act I. Written above are the names Sempronio, Pármeno, Elicia, Celestina, Areusa, Lucrecia, Sempronio (repeated).

Factotums of Sempronio, Pármeno, two houses repeated (in the Valencia edition (1514) they are different), and a covered female character. The names above these five factotums are Sempronio, Pármeno, Elicia, Celestina, Areúsa, Lucrecia.

Factotums of Sempronio, Pármeno, Celestina, Elicia, Areúsa and Lucrecia.

Factotums of five characters and six names above: Sempronio, Pármeno, Celestina, Lucrecia, Elicia and Areúsa

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

Illustration likely of act IX

The banquet in Celestina's house with Pármeno, Sempronio, Elicia and Areúsa. A dog under the table is eating something. A large jug of wine beside Celestina.

Illustration found in Celestinesca, Vol 10, No. 1, from an edition printed in Barcelona in 1888, made by Escobar, presented in the edition of the Biblioteca Clásica Española 21 de Daniel Cortezo Cía.

Four factotums of two masculine and two feminine figures. Above are the names Sempronio, Pármeno, Elicia, Celestina, Areúsa and Lucrecia. As there is no older woman, Celestina does not seem to be represented and one of the named young women is…

Banquet scene at Celestina's house in an illustration completely unrelated to the equivalent illustration in the Zaragoza edition (1545), of which, generally speaking, almost all the illustrations here have been copied.

The banquet scene in Celestina's house with Pármeno, Sempronio, Elisa y Areúsa. Outside Lucrecia knocking on the door. Celestina drinking and a cat or dog with a bone in front of the table.

Banquete scene in Celestina's house (p. 178). She is represented with an envious expression, contemplating the lovers while they kiss, while she grabs the jar and cup of wine to serve herself once more. At the foot of the page it says; "Besáos y…

Celestina aborda el tema del gentil hombre con Melibea

Two young men on one side, an old woman or celestina in the middle and a young man on the left making a supplicating gesture. Porticoes in the background. Written over the figures are the names Celestina, Lucrecia, Elisa, Melibea, which clearly do…

Factotums of Lucrecia, Celestina, Alisa and Melibea. Only Alisa corresponds to an older woman, but not Celestina. On the left, there is a row of houses.

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

Factotums of houses, Lucrecia, Celestina, Alisa and Melibea

Factotum of Lucrecia (actually the same image used in act I for Melibea) and of Celestina who is shown as a woman with a flower in hand.

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

Illustrations: Marina Seoane Pascual
Web: marinaseoane.com

Melibea hands over the girdle to Celestina, who carries a staff.

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

Factotums of Celestina, Lucrecia, Melibea and Alisa. Alisa's factotum is the same that is used for Celestina in the first illustration of act I.

A simplified copy of the engraving from act IV in the Zaragoza edition (1545).Celestina at Melibea's house, where she is with Lucrecia on the side, while Alisa leaves with the messenger that has come for her.Note that in the Zaragoza version there is…

Celestina in Melibea's house, and she, with Lucrecia on a dais, while Alisa leaves with the messenger who has come to call on her. A pet next to one of the women.

This image corresponds to act IV in the plot line, but is placed in act V in the physical copy of the National Library of Spain

Celestina shows Melibea her spellbound thread.

Celestina conversa con Sempronio y Elicia

Factotums of Sempronio, Celestina and Elicia framed by a tree and a tower.

Factotums of a tree, Sempronio, Celestina, Elicia and houses. All previously used and Elicia's is used for Melibea. Sempronio looking as though he is threatening Celestina.

Factotums of houses, Celestina, Sempronio, Elicia and a tree

Factotums of Celestina --the same as on the cover-- and of Sempronio, the same as in act II.

Celestina and Sempronio speak in the street and Elicia coming out of a doorway. The same image is reused in act XVI.

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

Four blocks of factotums with Pármeno, Elicia, Celestina and houses.

Sempronio, accompanied by Celestina, arrives at her house, where Elicia is inside, occupied with a task. Oustide, in the background, a crenellated wall with trees behind.

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

Illustrations: Marina Seoane Pascual
Web: marinaseoane.com

Four factotums of characters and one of houses. Above only the names of Calisto, Sempronio and Pármeno appear, which do not coincide with the characters over which they are been situated.