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First illustration from act IX from the Mexico edition (1947)
Drawing of the banquet at Celestina's house.
First illustration from act IX from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro. Page 111.
First illustration from act IV from the Paris edition (1989)
Alisa and her page.
First illustration from act IV from the Paris edition (1949)
Celestina travelling through what appears to be Melibea's garden with the goal of selling her the string.
First illustration from act IV from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
First illustration from act IV from the Barcelona edition (1967)
Celestina walking quickly through the streets, her skirt hoisted and people observing her. Page 66.
First illustration from act III from the Paris edition (1949)
Celestina walking down the street to meet Calisto. Two beggars can be seen on the corner, perhaps as a reference to the previous victims of Celestina's plotting.
First illustration from act III from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
First illustration from act II from the Paris edition (1949)
Calisto descending some stairs with one of his servants, behind them a chair and a book are left abandoned in the courtyard.
First illustration from act II from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro. Page 41.
First illustration from act I from the Toledo edition (1526)
Five factotums and six names on top: Calisto, Melibea, Sempronio, Pármeno, Celestina, Elicia, Crito. Celestina is carrying the rosary and a walking stick.
First illustration from act I from the Paris edition (1989)
Calisto and Melibea's first encounter.
First illustration from act I from the Paris edition (1949)
Illustration of Celestina and a young man, perhaps Sempronio or Calisto, walking outside, with the city in the background as a symbol of the young rich men.
First illustration from act I from the Mexico edition (1947)
Drawing of Calisto and Melibea in the garden.
First illustration from act I from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro. Page 13.
First engraving of act XX of the Venice edition (1534)
Factotum of a tree, Lucrecia, Pleberio and houses.
First engraving of act XIX of the Venice edition (1534)
Calisto scaling the wall of Melibea's garden accompanied by Tristán and Sosia while Melibea and Lucrecia wait within. The same image used in act XIV.
First engraving of act XII of the Venice edition (1534)
Factotums of Pleberio, Alisa, Celestina and Alicia.
First engraving from act XXI of the Augsburg edition (1520)
Pleberio goes to wake up Alisa with the bad news of Melibea's death. Lucrecia laments in the background.
First engraving from act XII of the Augsburg edition (1520)
Calisto speaks with Melibea through the garden door while his servants keep watch. Lucrecia listens to the conversation between Calisto and Melibea.
First engraving from act X of the Augsburg edition (1520)
Meeting at Celestina's house, Celestina, Alisa and Lucrecia.
First engraving from act II of the Augsburg edition (1520)
Calisto has a bag of money in hand and speaks with Celestina. Pármeno is in the background next to the window looking incredulous. This image corresponds to the last of the first act despite being behind the argument of the second act.
First engraving from act I of the Augsburg edition (1520)
Initial encounter between Calisto and Melibea. Horse and falcon. Space surrounded by a wall, but different from the garden.
First engraving from act 14 of Antwerp, 1574
Es copia de la ilustración del acto XIV de la edición de Zaragoza(1545).Calisto subiendo por una escalera mientras Melibea y Lucrecia están asomadas a dos arcos, y dos criados de guardia afuera.
First engraving from act 13 of Antwerp, 1574
Está copiada con cambios notables de la edición deZaragoza, 1545. No tiene equivalente en la reedición deAmberes 1616
FilmThe Luminous Procuress, by Arnold (1971).
Film that narrates the adventures of two young men guided by a matchmaker through a psycho-celestial and androgynous world. Surrealist and homoerotic film, gay cult film.
Film posters for the movie, by Franco (1974)
Celestina: manipulator of men
Film posterfrom the movieLa Celestina, by Ardavín(1969)
Celestina (Amelia de la Torre), Melibea (Elisa Ramírez) and Calisto (Julián Mateos).
Film poster of the movieLa Celestina,by Vera (1996)
Calisto and Melibea (Juan Diego Botto y Penelope Cruz) lie embraced in the garden.
Film poster of the Italian movie Celestina P.R.,1965.
Image of Celestina (Assia Noris) and several of her protegées
Film poster of Celestina, good at everything (Celestina, bonne à tout faire), by Jess Franco, 1974.
Erotic scene of a nude woman in bed and her servant. Reminiscent of Celestina's visit to Areúsa in Act VII. The first poster is reminiscent of the painting Danaë(bed and presence of servant).
Film poster fromLa Celestina, by Ardavín Fernández (director) (1971)
The shadow of Celestina, Calisto and Melibea
Film poster forLa Celestina, by Sabido
Calisto (Luigi Montefiori) and Melibea (Isela Vega). On the top part, you can see the eye of the procuress Celestina (Ofelia Guilmáin).
Film poster forLa Celestina, by Ardavín(1969)
Melibea (Amelia de la Torre) stands out in the background, while Celestina (Elisa Ramírez) and Areúsa (Heidelotte Diehl) are found in the foreground.
Film poster forLa Celestina,by Vera
Celestina (Penélope Cruz) and Calisto in one of their clandestine encounters.
Film poster forLa Celestina,by Ardavín
The figure of the go-between Celestina (Elisa Ramírez) stands out and the lovers Calisto (Julián Mateos) and Melibea (Amelia de la Torre).
Film poster for the movie, by Franco (1974)
Célestine and her shady business.
Film poster for the movie, by Franco (1974)
The comedy's protagonist: Célestine (Lina Romay)
Film poster for the movie, by Franco (1974)
Célestine manipulating her male puppets.
Film poster for the movie, by Ardavín (1969)
Calisto and Melibea (Julián Mateos y Elisa Ramírez) hugging in the foreground, Celestina in the background (Amelia de la Torre)
Film poster for the movie by Sabido, 1976.
Calisto and Melibea (Isela Vega y Luigi Montefiori) hugging, almost without clothes, eye spying from behind a curtain.
Film poster for Celestina's Daughter(La hija de Celestina)(1983)
Film poster on Tele Programa No 888 from April 11-17, 1983. Series broadcast every Friday on TVE May 13, 1983.
Elena and don Pascual can be seen in the image.
Elena and don Pascual can be seen in the image.
Film poster 1 for the filmLa Celestina P...R...,by Lizzani.
Colour film poster
Daniela (Daliah Lavi), Luisella (Beba Loncar), Loredana (Mirella Sannoner) twice, Celestina (Assia Noris) and Anna (Mirella Maravidi)
Daniela (Daliah Lavi), Luisella (Beba Loncar), Loredana (Mirella Sannoner) twice, Celestina (Assia Noris) and Anna (Mirella Maravidi)
Film poster
Celestina (Amelia de la Torre), Melibea (Elisa Ramírez) and Calisto (Julián Mateos)
Fight for life, by Torre y Estefanía (1895)
"The academic culture of the Spanish 19th century introduced the concept of decency in the representation of the female nude. During the Restoration, the images of women who, due to economic necessity, were forced to pose naked for the artists…
Fight between Celestina, Sempronio and Pármeno, bySegrelles and Enríquez de Navarra (1946, c.)
It is the same image used in the illustred edition:Valencia, 1946, for act XII
Fifth image of the introduction, of Centurio, Areúsa, and Elicia, of the Paris edition (1943)
Adaptation by Paul Achard. Fourth illustration of the French series by Maurice L'Hoir. It can also be found in Celestinesca vol 23, num 1 & 2.
Fifth illustration of act XI, by Alcalá Iberri (2004)
Sempronio le cuenta a Celestina que sus armas están destrozado
Fifth illustration from the prologue from the Mexico edition (1947)
Drawing of Calisto playing the lute in his room with a sleeping dog in the foreground and the city seen through the window.
Fifth illustration from the Madrid edition (1974)
Calixto gives Celestina a gold chain, therefore, his soul. Behind can be observed Sempronio and Pármeno as witnesses.
Fifth illustration from the introduction from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Fifth illustration from act XII from the Paris edition (1949)
Sempronio falls from a window after killing Celestina.
Fifth illustration from act VIII from the Paris edition (1949)
Illustration perhaps of Elicia or Areusa from the French edition Les Bibliophiles de France, illustrated by Maurice Lalau.
Fifth illustration from act VII from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro. Page 99.
Fifth illustration from act IX from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Fifth illustration from act IV from the Paris edition (1949)
Celestina leaves Melibea's house.
Fifth illustration from act IV from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Fifth illustration from act I from the Paris edition (1989)
Calisto gives Celestina 100 gold coins.
Fifth illustration from act I from the Paris edition (1949)
Illustration from the edition Les Bibliophiles de France, made by Maurice Lalau.
Fifth illustration from act I from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Fatherly Advice, by Wille (1765)
The moralizing title hides the fact that the man has no parental relationship with the girl. According to the Philadelphia Museum, a viewpoint of the time would understand very well that the subjects of the painting are a procuress, her protégé and a…
Fairy Godmother, by Zouravliov (2010, c.)
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.…
Extracting the truth.
Areúsa (Paz Yáñez) using her charm to receive information from Sosia (Rafael Díaz) about Calixto and Melibea's meetings.
Erotic scenes, by Filippuccio (1310, c.)
This fresco painting portrays a domestic scene. There is a couple in bed and a woman on the corner. The latter could either be their maid or the woman's procuress.
Engravings of Celestina of the Suite 347, by Picasso (1968)
66 engravings (click here to view) of the Suite or Series 347 indirectly inspired by La Celestina, although they do not represent any particular episode of the work. These engravings form part of a portfolio titled La Celestina within the Series 347…
Engravings from the French adaptation of La Celestina, by Le Breton (1929)
Four copper engravings byConstant Le Breton that illustrate the French adaptation ofLa Celestina by Fernand Fleuret and Roger Allard, La Célestine, tragi-comedie imité de l'espagnol (Éditions du Trianon, París 1929). It is…
Engraving, by Crabbe van Espleghem (1520, c.)
Scene of a client being robbed while he negotiates with a prostitute and procuress in the background.
Engraving Una valente ruffiana, by Carracci (1646)
Engravings in a collection representing different characters in he city of Bologna, in this case a procuress at the door of a house with two women
Engraving of the XXI act of the Valencia edition, 1575
Melibea's suicide and Pleberio's lament. A third character coming out of the tower
Engraving of the English procuress Elizabeth Creswell, by Laroon (1675)
Also known as Mother Creswell and Madam Cresswell of Clerkenwell, she was one of the most famous and successful brothel prostitutes and regents in seventeenth-century England. Written below in French and Italian her profession of procuress: "" Une…
Engraving of the argument of the Augsburg edition (1520)
Nocturnal scene with Calisto and Melibea in the garden with Sosia and Tristán talking outside in the foreground and Lucrecia in the back of the garden.
Engraving of prostitute, procuress and client in the bedroom, by Johann Theodor de Bry, after Crispijn van de Passe, after Maerten de Vos (1596)
Original title: Hoer verleidt man("Whore seduces man").Three figures appear in the engraving: a naked young woman posing on the bed who represents a prostitute, a man looking at her who represents the client and an old woman who talks with the man…
Engraving of Celestina, by Hijo (2019)
Engraving of Celestina, description by author: ¨El último encargo de 2018 lo hizo @carlos_disfruta y fue esta #Celestina para regalar a @Aradhriel. Me sonaba que ella había interpretado al personaje. Así era, así que basé el diseño en su propia…
Engraving of act XXI from the Valencia edition (1514)
Melibea's suicide throwing herself from the tower. At the sides, Pleberio and Alisa, and two buildings.
Engraving of act XX from the Valencia edition (1514)
A house with an unidentified character, Pleberio, Lucrecia, Melibea and a tree. Variant of the factotums of act XVI.
Engraving of act XVIII of the Venice edition (1534)
Factotums of houses, Areúsa, Centurio, Elicia and a tree.
Engraving of act XVIII from the Valencia edition (1514)
Building with two people, Centurio, Elicia with a flower, Areúsa, a tower with various unidentified people.
Engraving of act XVII of the Venice edition (1534)
Factotums of houses, Elicia Sosia, Areúsa and a tree.
Engraving of act XVII from the Valencia edition (1514)
A tree, Elicia, Areúsa, Sosia and building with an unidentified woman.
Engraving of act XVI of the Venice edition (1534)
Factotums of Melibea, Lucrecia, Alisa and Pleberio.
Engraving of act XVI from the Valencia edition (1514)
Building with an unidentified woman, Pleberio, Alisa, Lucrecia and Melibea.
Engraving of act XVI from the Burgos edition (1499)
Alisa and Pleberio contemplate Melibea's suicide, fallen or while falling. Behind Melibea there is a series of buildings, one that appears to be an unfinished tower. Alisa's figure wears different clothes from the previous images, but the same…
Engraving of act XV of the Venice edition (1534)
Factotums of houses, Elicia, Centurio, Areúsa and a tree.
Engraving of act XV from the Valencia edition (1514)
A house with an unidentified woman, Areúsa, Centurio and Elicia in mourning; a tree to complete the scenery. Return to the use of factotums.
Engraving of act XV from the Burgos edition (1499)
Melibea speaks with Pleberio while Alisa listens. It is unclear if the image is in an interior or exterior. Melibea's image is a variation of what has been used in Acts I, X and XII. Alisa's image is almost identical to the one used in Acts IV and X…