Browse Items (3223 total)

Image used in act X. Now it is used for the conversation of Areúsa and Elicia with Centurio. The same image is used again in acts XVIII and XXI.

A strange representation of Calisto's visit to Melibea which shows Sosia and Tristán in the same image and the ladder beside Melibea. The image seems to suggest that Melibea had descended from a tower using the ladder. The same image is used again in…

Pármeno and Sempronio's execution. It is novel to include two women in the right margin watching from the window, as if referencing Elicia and Areúsa, although this detail does not occur in the text. This image is used again in act XX.

Scene used previously for act VIII to show Pármeno and Sempronio talking at the door of a house. Now it could represent them before entering Celestina's house and killing her.

Sempronio amd Pármeno stand guard while Calisto is at the gates of Melibea's garden. Because of the types of arms they carry it seems to be a military scene. Note that the shield Calisto carries has an image of a heart pierced by an arrow. The same…

The same illustration used in act VI, which shows Celestina talking with a seated Calisto, while Pármeno and Sempronio talk amongst themselves behind her.

A difficult scene to understand as it does not correspond to the action in act X. A man approaches to speak to a woman who is sitting or has fallen down while the other one present stands. This could refer to the page who comes in search of Alisa,…

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.

Pármeno and Sempronio talk at the door of the house. The same image is used again in act XIII.

Celestina and Pármeno stand at the foot of Areúsa's bed. The same scene is reused in acts XVII and XXII.

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

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…

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

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

Calisto conversing with Pármeno and Sempronio in the interior of the house.

Calisto in the garden and Melibea on a balcony. Curiously Calisto is shown with a bow.

Mixed method in mural transferred to canvas.
This painting is on display at the Prado Museum, in the "Black Paintings" collection, the description of the painting provided by the museum in the exhibition describes the women drawn as "dressed in the…

According to the museum's description, a procuress tries to recruit a poor girl by promising her a life of luxury. Meanwhile, a potential client waits at the door.

Other title: Искушение

A scene in the Hermitage of the Virgin of the Port. In the lower left corner of the table, there is a group of people acting similarly as characters inLa Celestina. A soldier dressed in red, with a young girl who seems to be flirting, while an old…

Part of the series of the whims by Francisco de Goya. Etching and aquatint on paper.

A prostitute and her procuress in court, according to the museum's description.

Probably an English or Dutch engraving.

Parece recorder a la serie de prositutas en el balcón de Goya, aunque parece falta la alcahueta vieja

A red version of an older (white) cover that depicts Celestina approaching a house. The image is a reproduction of a section of the title page engraving from the Valencia edition (1514). Two figures can be seen in the garden, and two others in the…

The shadow of Celestina, Calisto and Melibea

19th century engraving from a History of Prostitution, By P. L. Jacobs, 1885.

A room with a table with a red tablecloth. On the left, a young woman near a man and next to her an old woman who seems to act like a procuress.

ELENCO
baile Shoji kojima
Cristian Lozano
Tamara López
Pablo Fraile
Francisco Morgado
Ángel Sánchez Fariña

Ballet Shoji Kojima Flamenco:
Chiharu Okano, Kanako Maeda, Ayumi Yanagiya
Harumitsu Seki, Tomoya Matsuda
Satoyo Kamata, Etsuko…

A drawing of a single figure wearing a hat over what appears to be a veil, in what is most likely a depiction of Celestina.

A man in a hood talks to an old woman.

A young woman leaning out on a balcony and accompanied by an old woman.

Other title: Jeune femme au balcon

Portrait of an old woman.

In the image appears an old woman with her head covered and a man dressed as a fray. The woman represents Celestina or a procuress.

Author: Fernando de Rojas Adaptation/version: Luis García Montero Direction and scenography: Joaquín Vida Figurines: Vitorio y Luquino Lighting design: Carlos Moreno Costumes: Victorio y Luchino Cast: Nati Mistral, Paco Morales, Eva García (in…

The cover is a partial reproduction of the engraving of act XII from the old Valencia edition (1514).

Manuscript illustration for the chapter on lust. See explanation in German in attached file.

A black and yellow dust jacket with a drawing of a ladder propped against a wall. The image references Calisto's visit to Melibea in the fourteenth act.

A red quill or feather against a blue background, in reference to the author and the act of writing.

The cover contains three fragments of three acts from the old Valencia edition (1514)in yellow on an orange background:the engraving of act I,the engraving of act IVandthe engraving of act XXI.

A multi-colored depiction of the characters. They are all somewhat abstract, resulting in no clear or obvious identification of any of the characters, including the iconic Celestina.

A pair of lovers in a border with Cupid in the middle firing an arrow.

A young woman sits with a book in her hands. Two musicians around her play the harp and the double bass. Behind the young woman, an old woman.

Original title: Musicerend gezelschap

A couple in bed while an older woman acting as a procuress sits at the foot of the bed counting coins.

This drawing represents the Russian folk legend of Vasilissa, a young woman, and a witch. The original story does not contain any Celestinesque references. However, Vania Zouravliov's work introduces elements of the visual tradition of La Celestina.…

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)…

From left to right: Miguel Ángel, Calixto, Melibea, Alina, Pleberio, Celeste, and Caín.