Browse Items (3223 total)

Calisto scaling Melibea's garden wall accompanied by Sosia and Tristán. Melibea and Lucrecia wait inside. The same image is used later in act XIX.

Calisto climbing the wall of Melibea's garden. Melibea is waiting for him inside with Lucrecia. Sosia and Tristán are armed and with him outside.

Double image. Left: Lucrecia and Melibea in the interior of the garden. Right: Sosia and Tristán contemplate Calisto's fall.

Pármeno and Sempronio's execution.

Pármeno and Sempronio's execution in the public square (corner of the building). The executioner, judge and two soldiers or guards are present.

Double image. Left: Sosia arrives at Calisto's house and Tristán receives him at the door with expressions of explanation and surprise, respectively. Inside, Calisto is lovesick in bed.

Double image. Left: Lucrecia and Melibea are in the interior behind a locked door. Right: Calisto is accompanied by Pármeno and Sempronio, who are armed at the door. This illustration is mentioned in Miguel Marciales' critical edition:…

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

Calisto, Celestina, Pármeno, Sempronio, and a building with two people at the window, one of whom is identified as Elicia.

Calisto carrying the gold chain and Celestina. Behind them, Sempronio and Pármeno are exiting a door. Exterior scene. The image of Calisto is nearly a carbon copy of his image in acts I and VII.

Factotums of Melibea, Celestina, Lucrecia and Alisa.

Building with an unidentified woman, Melibea, Celestina, Lucrecia and Alisa.

Celestina speaks with Melibea at the girl's house. Lucrecia comes out of the door to receive the page and Alisa who are returning. The figure of Melibea is a carbon copy of the one used on the cover page of Act I.

Factotums of Calisto, Sempronio, Pármeno and Areúsa.

Sempronio, Pármeno, Areúsa, building with a woman inside, and Calisto on the other side.

Double engraving. Left: Block of a house and Calisto in the street. Right: Sempronio and Pármeno speak in a house. The image of Calisto is nearly identical to the one used in the title page of act I.

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

Pármeno, Celestina, Areúsa and Elicia with a flower; building with a woman in the window on the right.

Double engraving. Left: Areúsa and Pármeno talk in her house. Right: Elicia receives Celestina at the door of her house. A variation of the left half is used in act III.

Factotums of Calisto, Celestina, Pármeno and Sempronio.

Calisto, Celestina, Pármeno and Sempronio; building with a woman in the window.

Room in the interior of Calisto's house. He speaks with Celestina, who hands him the cord. Sempronio and Pármeno talk amongst themselves. There is a mark that appears to be a tear on Calisto's face. There is a wall in the background with decorative…

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

Calisto, Pármeno, Sempronio and Celestina. Building with a man and a woman in the window.

The same engraving as in act I. Double image. Left: Calisto inside the house while Pármeno goes out to receive Sempronio and Celestina, who arrive outside the house on the right. Block of houses in the right hand margin.

Factotums of Sempronio, Pármeno, Celestina, Lucrecia and Areúsa.

Sempronio, Pármeno, two buildings with three people who appear named as Elicia, Celestina and Areúsa, and in the other building Lucrecia.

Double engraving: Banquet scene in Celestina's house. Left: Lucrecia who arrives at the door and Celestina who goes out to see her, uniting the two spaces. Right: Sempronio, Elicia, Areúsa and Pármeno are in the interior all standing, not at the…

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

Lucrecia, Celestina, Alisa and Melibea, the same building from the title page fills the left side.

Double scene. Left: The page and Alisa go to her sister's house, who is sick, Alisa carrying a rosary. A barely visible door is in the margin, symbolic of the place they are going to. Right: Celestina, carrying the thread and money bag, meets with…

Sempronio, Celestina and Elicia, the latter holding a flower. The two same buildings from the title page fill the sides.

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.

Calisto, Pármeno and Sempronio; one of the buildings from the title page with a woman inside, visible through the window.

Double scene. Left: Celestina leaving Calisto's house carrying the bag of coins. In the margin, the block of houses cut to fill the frame. Right: Calisto is with Pármeno and Sempronio, inside the house.

Three figures, two men and one woman who, in the upper edges of the vignette correspond to the names of Pármeno, Calisto and Melibea. Then two buildings with characters in the windows and above, the names of Sempronio, Celestina, Elicia and Crito.

Double image. Left: Calisto inside his house, while Pármeno goes out to receive Sempronio and Celestina, who are arriving at the house from outside on the right. A block of houses in the right hand margin. The image is repeated in Act V. The first…

Calisto and Melibea are in the garden. It is thought to be during their first meeting in the garden. The characters' names are written above the figures, as with the rest of the engravings in this edition. There is a house on the left and a tree with…

Engraving from the Complete workds of Gild Vicente, 1586. The character on the right is the procuress Brizida Vaz, which is inspired in Celestina. The othe two character may be the simpleton or fool Joane and one of the four knights in the story. The…

Factotums of the images of Elicia, Sosia (error of the printer since the image is that of a woman) and Areúsa.

Image of a person writing at a desk with a quill in his hand.

This image depicts the author, supposedly Rojas, dressed as a university student. Plants in the background. This image is often labeled as "the author as a young man" to distinguish it from the image of the author in the Valencia (1529) edition by…

Melibea's suicide, with Pleberio and Alisa present and two unnamed characters (Lucrecia and a page?).

Melibea falling from the tower while Pleberio lifts his hands to the sky.

Factotums of the images of Melibea, Lucrecia and Pleberio. Tree and houses.

Elicia and Areúsa go to Centurio's house to ask him to avenge Celestina's death. Engraving very similar to act XV's.

Factotums of the images of Areúsa, Centurio and Elicia. Houses and tree.

Areúsa hugs Sosia while she coaxes her master's plans out of him.

Pleberio and Alisa speak of Melibea's future while she is listening beside Lucrecia behind the door.

Factotums of the images of Melibea, Lucrecia, Alisa and Pleberio. In the left margin there are houses.

Elicia and Areúsa see a heavily-armed Centurio off at the door.

Factotums of the images of Elicia, Centurio and Areúsa. In the margins, a house and a tree.

Sosia and Tristán pick up fallen and dead Calisto. Note that Melibea and Lucrecia are not visible.

Image of Calisto climbing into Melibea's garden. It is the same image from act XIV.

Sosia and Tristán carry the dead Calisto after his fall.

Calisto and Melibea's encounter in the garden with Lucrecia as a witness and Sosia and Tristán keeping watch outside. It is not the same engraving used in the argument although it has many similarities.

Calisto, escorted by Sosia and Tristán, scaling the wall to Melibea's garden, where Melibea and Lucrecia await. The same engraving is repeated in act XIX.

Pármeno and Sempronio's execution. Sosia witnesses the event.

Execution of Pármeno and Sempronio.

Factotums of the images of Calisto, Lucrecia, Melibea and Sempronio.

Narration of Celestina's death at the hands of Pármeno and Sempronio on the left side, then their jump through the window in the central part and judge and soldier on the right and also in the left margin.

Celestina speaks with Calisto in the street (on the way to the church of Magdalena) while Pármeno and Sempronio speak amongst themselves.

Factotums of the images of Calisto, Celestina, Pármeno and Elicia.

Factotums of the images of Melibea, Celestina, Lucrecia and Alisa. Houses in the left margin.

Pármeno and Sempronio serve and talk with Calisto in his room. Not a very specific image for the action in this act.

Factotums of the images of Sempronio, Pármeno, Calisto and Areúsa. Houses in the right margin.

Celestina speaks with Areúsa, who is semi-nude in her bed, and Pármeno waits impatiently outside.

Factotums of the images of Celestina, Pármeno, Areúsa and Elicia. Houses in the left margin.

Celestina gives Calisto the string while, in the background, Pármeno and Sempronio mock the situation.

Factotums of the images of Calisto, Celestina, Pármeno and Sempronio. Houses in the left margin.

Same engraving that was the second in act I to represent Celestina's arrival to Calisto's house accompanied by Sempronio and Pármeno opening the door. Here it seems to be used for Celestina's arrival to the house, so the male character that opens the…

Factotums of the images of Calisto, Pármeno, Sempronio, and Celestina. Houses in the left margin.

Banquet at Celestina's house with Pármeno, Areúsa, Sempronio and Elicia.

Factotums of the images of Sempronio, Pármeno, Celestina, Lucrecia, Elicia and Areúsa.

Celestina offers string to Melibea while a female character, Alisa or Lucrecia, has her back turned.

Factotums of the images of Lucrecia, Celestina, Alisa and Melibea. Houses in the margin.

Sempronio accompanies Celestina to the door of her house where Elicia is at the window.

Factotums of the images of Celestina, Sempronio and Elica. Margins made of houses and a tree.

Factotums of the images of Calisto, Pármeno and Sempronio, with margins made of trees and houses.

Factotums of the figures of Pármeno, Calisto, Melibea, Sempronio, and Celestina (text superimposed adds Elicia and Crito, that are not in the figure).

Escena del banquete en casa de Celestina. Es copia girada y simplifiicada (falta el gato) de la deZaragoza 1545.La ilustración usada en la reedición deAmberes 1616es muy diferente.

Escena doble. A la derecha Pármeno se ha levantado para ir a casa de su amo tras pasar la noche con Areúsa.Esta copiada de la deZaragoza, 1545. No tiene equivalente en la reedición deAmberes 1616

Variación de la escena delacto VII de Zaragoza (1545). Celestina hablando con Pármeno a la puerta de Areúsa, que yace en la cama. Nótese que en esta versión, adiferencia del caso de la imagende Zaragoza (1545),la…

Copiada girada y alterada de la deZaragoza, 1545

Copia girada de la ilustración del acto V de laedición de Zaragoza(1545). Escena doble en que se presenta a la izquierda a Calisto sentado y Pármeno de pie, y a la derecha a Celestina llegando a casa de Calisto acompañada…

Se vuelve a usar en el acto 10. Es copia del acto 10 de la deZaragoza, 1545, que presenta una dirferente para el acto III.

Es copia dela imagen del acto XX de la edición de Zaragoza, (1545).Sosia y Tristán retiran el cuerpo muerto de Calisto.

Es copia dela imagen del acto XX de la edición de Zaragoza, (1545).Sosia y Tristán retiran el cuerpo muerto de Calisto.

Tres hombres hablando en la calle y. No está muy claro a qué escena de la obra se refiere pues la imagen es demasiado genérica.Copia girada y modificada de la deZaragoza, 1545. de la que cambia en que no hay una mujer en la…

Es copia de lailustración del acto XIV de la edición de Zaragoza(1545).Calisto subiendo por una escala mientras Melibea y Lucrecia están asomadas a dos arcos. A la derecha, Sosia y Tristán, de guardia afuera

Es copia de lailustración del acto XV de la edición de Zaragoza (1545). Representar a Elicia ayudando a Areúsa a hacer las paces con Centurio.

Es copia del grabado delacto XVII de la edición de Zaragoza(1545). Areúsa en su casa, que recibe a Sosia, mientras Elicia escucha escondida. Cama y escaleras de fondo.

Es copia delgrabado del acto XVI en la edición de Zaragoza(1545).Lucrecia y Melibea, sobre un cojín, al otro lado de una puerta escuchan la conversación entre Pleberio y Alisa, sentados en otra habitación.

Elicia y Areúsa conciertan la venganza contra Calisto con Centurio, representado con espada. De fondo una cama y escaleras. Se vuelve a usar la imagen en el acto XVIII.

It is copied with changes from theZaragoza 1545edition.

Esta copiada girada y cambiada de la edición deZaragoza, 1545.Se ha usado ya en el acto 4. No tiene equivalente enAmberes 1616en este capítulo, pero si en el 4.

Es copia dela imagen del acto XX de la edición de Zaragoza, (1545).Sosia y Tristán retiran el cuerpo muerto de Calisto.

Sempronio, acompañado de Celestina, llega a casa de ésta, donde está Elicia en el interior, ocupada en una labor.No tiene equivalente en la reedición deAmberes 1616Copia girada y alterada de la deZaragoza, 1545.

Sosia and Tristán recovering Calisto's corpse after his fall.

Scene Celestina's death at the hands of Pármeno and Sempronio on the right. The vignette on the left represents their fall from the window and the judge with his guard. There are no identifications of the characters and it is the first of the…