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