Browse Items (3223 total)

Pármeno and Sempronio prepare themselves to leave for Melibea's house.

Lucrecia and Melibea listen to Calisto from the other side of the door.

Calisto converses with Melibea who is on the other side of the door.

Celestina awakens to receive Sempronio and Pármeno who are looking for their part of the winnings.

Sempronio falls from a window after killing Celestina.

The town crier announces the decapitation of Calisto's servants.

Calisto's servants, Pármeno and Sempronio, are decapitated.

Sempronio and Pármeno's death spoken about by the townspeople.

Sempronio about to stab Celestina. Pármeno stops Elicia. Calisto alludes to this murder in act XIV.

Centurio and Areúsa.

Areúsa consoles Elicia about Celestina's death.

Pleberio and Alisa speak about Melibea's future.

Melibea and Lucrecia (?) outside the main door of Pleberio's house.

Areúsa, Sosia and Elicia.

Entrance to the city of La Celestina.

Calisto and his servants on route to Melibea's house.

Illustration of the sunset in the medieval city.

Illustration of Centurio.

Calisto and Melibea's nighttime encounter.

Calisto and Melibea's sexual encounter.

Melibea's suicide.

Pleberio and Alisa lament their daughter's death.

Some women pray for Melibea's soul.

Illustration of Melibea's funeral procession.

Illustration of the end of the work. The lovers' faces and their names carved in stone.

Advertisement of the liqueur made by the French order of the Celestine monks, no connection with La Celestina in spite of the name and the image.

Double engraving. Left: Elicia and Sempronio are on the inside. Right: Celestina approaches a house carrying the thread and a bag of coins. Tower in the background. A variation of the left side of the image is used again later in act VII.

This illustration is missing in some editions. The moment in which Pármeno approaches Areúsa's bed while Celestina watches the scene (p. 149). At the foot of the scene Areúsa's words can be read: "Quítate allá, que no soy de aquellas que piensas, ten…

A juvenile edition from Loqueleo, a brand of the editorial house Santillana.

The cover features images from the Burgos 1499 edition, which represent Calisto and Melibea, amidst a squared pattern typically found on floors.

Second edition. It is possible that the first edition was published in 2010.

An anonymous comic made using a software program that allows one to create comics using preexisting images. Probably an assignment by a student in secondary school.

Portrait of an old woman.

Full title/ Other titles: La Célestine (Carlota Valdivia), La femme à la taie

Underground comic published in Daemon Club. It includes the character of Celestina that has the ability to travel through time. Erotic tone.

The image is a fragment of Goya’s work: Milagro de San Antonio de Padua (Miracle of Saint Anthony of Padua)

A very elaborate composite model that originated from Valencia, 1514 and Sevilla, 1523.An illustrated edition with 26 engravings (plus the cover) which can be seen by clicking here: Zaragoza, 1545.The same engraving is used for the cover of the…

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…

The cover art depicts a young couple, clearly meant to be Calisto and Melibea, embracing. In the background, Celestina watches them with a mischievous smile.

Callisto playing the lute

Melibea and Lucrecia wait in the garden while Calisto begins climbing the ladder. On the left, two servants with weapons. The character of Calisto is shown with a beard. One of the women in the inside of the garden raises her hand to her breast. This…

Busts of Calisto and Melibea with laurel leaf crowns. The abbreviated names of the characters are shown above.This is an illustrated edition that can be seen by clicking here: Estella, 1557

Busts of Calisto and Melibea with laurel crowns. Abbreviated names of the characters written above.

1.9 m bronze statue based on the only portrait that remains of Rojas, the municipal command cane in his right hand and in the left, a copy of La Celestina. There is a sword on his belt.

Calisto and Melibea. Possible illustration of the first meeting between Calisto and Melibea. In Celestinesca, vol. 10, num. 2.http://parnaseo.uv.es/Celestinesca/Numeros/1986/VOL%2010/NUM%202/NUM%202.pdf

Sempronio and Calisto.

Celestina and Melibea.

Areúsa and Celestina.

Celestina, Sempronio, Elicia, Areúsa and Pármeno eating. Illustration of act IX made by Dodie Masterman for the Folio Society, London, also shown in Celestinesca, Vol 20, Num 1 & 2.…

Celestina heading to Calisto's house. Illustration made by Dodie Masterman for the Folio Society in London. Also shown in Celestinesca Vol 20, Num 1 & 2.http://parnaseo.uv.es/Celestinesca/Numeros/1996/VOL%2020/NUM%201%20Y%202/NUM%201%20Y%202.pdf

Sempronio and Pármeno about to murder Celestina.

Melibea and Calisto in their nocturnal encounter.Made by Dodie Masterman for the Folio Society in London. In Celestinesca, vol. 10, no. 2.http://parnaseo.uv.es/Celestinesca/Numeros/1986/VOL%2010/NUM%202/NUM%202.pdf

Brief stage piece presented at the Palacio de la Magdalena in the 2016 Express Theater contest. The overall theme of the piece is "The 7 deadly sins".

Company: Tumbalobos Teatro
Dramaturgy: Adaptation by Isabel Becey
Duration: 70 min. aprox.

Cast: Anabel Maurín, Andrés Requejo, Alexia Lorrio, David Bueno, Belén Orihuela, Ignacio Ysasi and Ana Vélez.

Produced by D'hoy Teatro
Adaptation: Iván Álamo

Cast:
Fernando Navas - Celestina
Laura Perdomo - Melibea
Ragüel Santa Ana - Calisto
Carol Cabrera - Areúsa
Iván Álamo - Sempronio

Russian translation.

The image of the characters is outlined in red and depicts, in the foreground, Calisto and Melibea in conversation and, in the background, Celestina observing them.

Cover that looks like a rotated copy from the Zaragoza edition (1545)but from a much less careful production. See the description on Zaragoza's cover. It is an edition with illustrations that can be seen here.

Likely the printer's emblem that depicts an animal, such as a fox or a wolf in vegetable form that appears to be the letter V.

Composite images of two paintings. On the left is the garden with Calisto and Melibea inside and a servant and horse outside. On the right Celestina is knocking on the door while holding the string and Lucrecia is standing at the window. The model is…

This is a copy taken from the engraving from act V from the Zaragoza edition (1545). A double scene in which Calisto is shown seated on the left, and Pármeno standing, and on the right, Celestina accompanied by Sempronio. Note the black veil…

A copy of the engraving of act XVII in the Zaragoza edition(1545). Where it is used to represent Areúsa in her house, receiving Sosia, while Elicia listens in hiding. Bed and stairs in the background. Here it appears to represent Sempronio…

Double image that shows Calisto and Celestina'smeeting while Pármeno and Sempronio talk amongst themselves. This does not appear to be a copy of the illustrations in Zaragoza (1545), one of the few cases in the book. Due to the simplicity of…

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…

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…

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

A variation of the scene of act VII of the Zaragoza edition (1545). Celestina speaking with Pármeno at Areúsa's door, while she is lying in bed. Note that in this version, different from the image in Zaragoza, that the couple in bed are…

The same illustration as was used in act IV. A simplified copy generated from the engraving of act IV of the Zaragoza edition(1545).Celestina at Melibea's house, and she with Lucrecia sitting on a dais, while Alisa leaves with the messenger who has…

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 same image, already used in acts IV y VIII. A simplified copy generated from the engraving of act IV in the Zaragoza edition (1545). Note that in the Zaragoza edition there is a pet that has been erased here.

Already used in acts III y VI. It does not appear to be a copy of illustrations in the Zaragoza edition (1545), one of the few instances in the book. It is, however, due to its simplicity, a provision that calls to mind a composition of factotums,…

A copy of the illustration of act XIV of the Zaragoza edition(1545).Calisto climbing a ladder while Melibea and Lucrecia are looking out of two arches. To the right, Sosia y Tristán, stand guard outside. This is used again in acts XIV y XIX

A copy of the illustration of act XV Zaragoza edition (1545). Elicia y Areúsa plot their revenge against Calisto with Centurio, shown with a sword. In the background, a bed and stairs. It is used again in acts XV y XVIII.

An image of a man arriving to a tower with a woman at the door and another man inside. This image does not seem to have anything to do with the events in act XIII, other than the generic idea of arriving to give news, but the female character does…

Scene in which Pármeno and Sempronio are executed. This is one of the rare cases in which this edition does not follow the images in Zaragoza (1545).This image was possibly taken from one of the books ofthe period depicting the extermination…

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.

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.

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.

A copy of the engraving of act XVII of the Zaragoza edition (1545). Areúsa in her house, receiving Sosia, while Elicia listens in hiding. A bed and stairs in the background. This has already been used in act III.

A copy of the illustration of act XV of the Zaragoza edition(1545). It has already been used in acts XII and XV. Now it is being used to represent Elicia helping Areúsa make peace with Centurio.

A copy of the illustration of act XIV of the Zaragoza edition(1545).Calisto climbing a ladder while Melibea and Lucrecia are watching from two arches. On the right Sosia and Tristán, standing guard outside.This has been used in acts XII and…

A copy of the image of act XX of the Zaragoza (1545) edition. Sosia and Tristán remove Calisto's corpse.

A copy of the engraving of act XVI of the Zaragoza (1545)edition.Pleberio, behind him Alisa in bed, knocking on Melibea's door. Lucrecia answering and Melibea saddened sitting on the dais.This has already been used in act XVI with a different…

A copy of act XXI of the Zaragoza edition (1545).Three bearded male characters contemplate Melibea's body lying face down, and beside her, Lucrecia, Alisa and Pleberio. One unidentified character watching from the wall also contemplates the scene…

This is an interior cover illustration depicting Calisto holding a lute, a castle in the background, and Celestina.