Browse Items (3223 total)

Fourth series of illustrations from the Barcelona edition (1525) contained in the edition by Pedro Bohigas.

Fifth series of illustrations from the Venetian edition (1525), translated from Italian contained in the edition by Pedro Bohigas.

Sixth series of illustrations from the Augsburg (1520) edition, contained in the edition by Pedro Bohigas.

Seventh series of illustration from the Paris edition (1527) contained in the edition by Pedro Bohigas.

Eighth series of illustrations from the Venice edition (1534) contained in the edition by Pedro Bohigas.

Ninth series of illustrations from the Barcelona edition (1842) contained in the edition by Pedro Bohigas.

Celestina's spell on Areúsa, Calisto and Melibea

La Celestina. Públicada por El Ayuntamiento de La Puebla de Montalbán, 1999. Edición y epílogo de Julio Rodríguez Puértolas. Prólogo de Juan Goytisolo. Ilustraciones de Teo Puebla Morón

Imagen costumbritas de majas o manolas madrileñas en ambiente de verbena. La vieja y las majas puede estar influenciado por Goya aunque el tratamiento es muy diferente

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.

Three factotums, Calisto with flowers, Melibea with girdle and Pármeno

Four factotums and the names Melibea, Celestina, Alisa and Lucrecia

Execution of Pármeno and Sempronio with Sosias present.

Calisto on the stairs accessing the garden where Melibea and Lucrecia are waiting. Outside Sosia and Tristán armed.

Three factotums with the names of Elicia, Centurio and Areúsa.

Four names of Melibea, Lucrecia, Pleberio and Alisa. Three factotums

Three factotums with the names of Elicia, Areúsa and Sosia

Centurio, Areúsa and Elicia Factotums

Factotums of Calisto, Pármeno and Sempronio

Factotums of two characters and their names above. Sempronio with a sword, Celestina and Elicia.

Three factotums and four names: Sempronio, Celestina, Pármeno and Calisto

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.

Factotums of Pármeno, Celestina, Areúsa and Elicia. Image of Areúsa with a girdle, used before for Melibea

Factotums of three characters and four names: Areúsa, Pármeno, Sempronio and Calisto

Three factotums and the names of Sempronio, Pármeno and Celestina

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…

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.

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

Factotums of Calisto, Sempronio and Pármeno and two factotums of houses in the right margin. Same character images as used in act I.

Three factotums of Calisto, Sempronio and Pármeno.

Adaptation by Paul Achard

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

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.

Factotums of a tree, Sempronio, Celestina, Elicia and houses. The image of Sempronio is different from the ones used in earlier acts.

Factotums of Sempronio, Celestina and Elicia.

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.

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.

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.

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

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…

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.

Factotums of Sempronio, Pármeno, Celestina, Lucrecia, Elicia and Areúsa (image used previously for Lucrecia and Elicia).

Six names and five only factotums: Sempronio, Pármeno, Celestina, Elicia, Areúsa and Lucrecia.

Adaptation by Paul Achard

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.

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.

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

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

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.

Sempronio and Celestina arrive at Calisto's house. He is seated indoors speaking with Pármeno. A bed in the background.

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

Factotums of a tree, Calisto, Celestina, Pármeno and Sempronio.

Adaptation by Paul Achard

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…

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…

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

Adaptation by Paul Achard

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,…

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…

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

Factotums of Pármeno, Areúsa, Calisto, Sempronio and a tree.

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.

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

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

Adaptation by Paul Achard

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

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.

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

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

Adaptation by Paul Achard

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.

Celestina, accompanied by Pármeno and Sempronio, in the street. Calisto on his knees in the church of la Magdalena.

Adaptation by Paul Achard

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

While Pármeno and Sempronio, well armed, stand watch, Calisto speaks with Lucrecia and Melibea, who are not shown, through the door.

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

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…

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…

Adaptation by Paul Achard

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

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…

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

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

Factotum of houses, Elicia, Centurio (man with a turban, which has already been used), Areúsa in mourning (image used previously for Alisa) and houses.

Factotums of Elicia, Centurio and Areúsa.

Adaptation by Paul Achard

Centurio between Areúsa and Elicia.

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.

Factotums of Melibea, Lucrecia, Pleberio, Alisa (image previously used for Celestina) and a tree.

Factotums of Melibea, Lucrecia, Pleberio, Alisa and a house.

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

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…