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Second illustration from act XVI from the Paris edition (1949)
Melibea and Lucrecia (?) outside the main door of Pleberio's house.
Second illustration from act XVII from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro. Page 186.
Second illustration from act XVII from the Mexico edition (1947)
Drawing of a naked woman changing clothes. She is perhaps Elicia or Areúsa who is changing from mourning to more cheerful clothes.
Second illustration from act XVII from the Paris edition (1949)
Entrance to the city of La Celestina.
Second illustration from act XVIII from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Second illustration from act XVIII from the Mexico edition (1947)
Centurio gives Traso el Cojo and another ruffian instructions.
Second illustration from act XVIII from the Paris edition (1949)
Illustration of the sunset in the medieval city.
Second illustration from act XX from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Second illustration from act XX from the Mexico edition (1947)
Symbolic drawing that could be the spirits of Calisto and Melibea.
Second illustration from act XX from the Paris edition (1949)
Pleberio and Alisa lament their daughter's death.
Second illustration from act XX from the Toledo edition (1526)
Dead Calisto is removed by Tristán and Sosia. In the background, a ladder and the garden wall. Note the detail that Calisto's shoes are on the ground.
Second illustration from act XX from the Toledo edition (1538)
Tristán and Sosia remove the dead Calisto, ladder and the garden wall in the background. Note that Calisto's shoes are on the ground.
Second illustration from act XXI from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Second illustration from act XXI from the Paris edition (1949)
Illustration of Melibea's funeral procession.
Second illustration from act XXI from the Toledo edition (1526)
Melibea throws herself from the tower while Pleberio watches.
Second illustration from the back cover from the Mexico edition (1947)
Naked man or woman reading a book beside a tree and falcon.
Second illustration from the introduction from the Barcelona edition (1968)
La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.
Second illustration from the Madrid edition (1974)
The procuress Celestina when her business was prosperous with the visits of priests to her brothel.
Second illustration from the prologue from the Mexico edition (1947)
Naked woman, perhaps Melibea, abducted on a billy goat so it could be Celestina; inspired perhaps in the Abduction of Europa.
Second illustration of act I from the Barcelona edition (1883)
Sempronio's discussion with Celestina and Elicia about whether there were noises coming from the floor above (p. 43). The three characters, and a staircase in the background. Sempronio and Celestina argue behind, Elicia appears to be crying or…
Second illustration of act I of the Barcelona edition (1525)
Drop cap letter E with the figure of an undetermined saint. It is part of Calisto's first words, "In this I see..." Perhaps it was considered relevant given the content of loa of the divine work of these words, or simply used this image at random.
Second illustration of act I of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Second illustration of act I of the Oxford edition (2016)
El Árbol de los clásicos collection. © Oxford University Press Spain, 2015.
Illustrations: Marina Seoane Pascual
Web: marinaseoane.com
Illustrations: Marina Seoane Pascual
Web: marinaseoane.com
Second illustration of act I, by Alcalá Iberri (2004)
Celestina recibe las monedas de oro de Calisto
Second illustration of act III from the Barcelona edition (1883)
Celestina performing her spell in her house in front of the fire (p. 83).
Second illustration of act III of the Antwerp edition (1616)
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…
Second illustration of act III of the Micomicona Ediciones edition: Valencia, 2019
La Celestina, by Fernando deRojas. Edition byJesucristoRiquelme and Carlos R. Talamás,illustrations by Carles Maiques. Valencia: Micomicona Ediciones, 2019.ISBN:978-84-949728-3-6
Second illustration of act IV from the Barcelona edition (1883)
Celestina's first visit to Melibea's house, who stands angrily from her chair and reproaches her for her business there (p. 97).
Second illustration of act IX from the Barcelona edition (1883)
Vignette of a heart wounded by an arrow (p. 180).
Second illustration of act IX of the Oxford edition (2016)
El Árbol de los clásicos Collection. © Oxford University Press Spain, 2015.
Illustrations: Marina Seoane Pascual
Web: marinaseoane.com
Illustrations: Marina Seoane Pascual
Web: marinaseoane.com
Second illustration of act VI from the Barcelona edition (1883)
Calisto takes the cord from Celestina's hands (p. 125).
Second illustration of act VII from the Barcelona edition (1883)
Celestina descends the stairs leaving Pármeno and Areúsa in bed (p. 149).
Second illustration of act VIII from the Barcelona edition (1883)
Pármeno and Sempronio comment on the situation of their master, who is in bed thinking about love (p. 160). Vignette with black background.
Second illustration of act X, by Alcalá Iberri (2004)
El mal de amor de Melibea
Second illustration of act XI, by Alcalá Iberri (2004)
Encuentro entre Calisto y Melibea
Second illustration of act XII from the Barcelona edition (1883)
Melibea answers Calisto next to the garden gate, from inside (p. 210).
Second illustration of act XII from the Zaragoza edition (1545)
Pármeno and Sempronio kill Celestina, who is on the floor, while Elicia watches horrified.
Second illustration of act XII of the Antwerp edition (1616)
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.
Second illustration of act XII of the Barcelona edition (1525)
Double image. On the left, the judge and two soldiers stand over Pármeno or Sempronio's fallen body, while the other of the two is still jumping from the window.
On the right, the previous scene of Pármeno and Sempronio killing Celestina with…
On the right, the previous scene of Pármeno and Sempronio killing Celestina with…
Second illustration of Act XII of the Barcelona edition (1972)
Pármeno and Sempronio murder Celestina
Second illustration of act XII of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Second illustration of act XII of the Valencia edition (1529)
Pármeno and Sempronio killing Celestina with swords.
Second illustration of Act XII, page 79 of the Barcelona edition (1988)
La Celestina. Barcelona, Lumen Editorial, 1988 . Version by Enrique Ortenbach. Illustrations by Bartolomé Liarte.
Second illustration of act XIII from the Barcelona edition (1883)
Vignette of the end of the chapter, with a small dead bird (p. 234).
Second illustration of act XIII from the Zaragoza edition (1545)
Pármeno and Sempronio's execution. On the left, the judge and three people, one of which is probably Sosia. On the right, the execution, one of the defendants already decapitated and the other being decapitated. Two people with beards on the right.…
Second illustration of act XIII of the Antwerp edition (1616)
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…
Second illustration of act XIII of the Estella edition (1557)
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.
Second illustration of act XIII of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
The execution scene of Pármeno and Sempronio with an executioner and his assistant on the right. On the left, the judge with two soldiers and a character who covers their eyes so as not to see, perhaps Sosia
Second illustration of act XIII, by Alcalá Iberri (2004)
Melibea se lamenta haber perdido su corona de virgen por tan breve deleite
Second illustration of act XIV from the Barcelona edition (1883)
Cat playing with a ball of wool (p. 240).
Second illustration of act XIV of the Barcelona edition, 2013
La Celestina. Barcelona, Editorial Teide, 2013. Edition and notes by Francesc Serra Balaguer. Introduction and analysis proposal of the work by Judith Moris Campos, and Antonio Pérez Bouza. Illustrations by Elena Odriozola
Second illustration of act XIX from the Barcelona edition (1883)
Lucrecia spying on the lovers from behind the vegetation (p. 281).
Second illustration of act XIX from the Zaragoza edition (1545)
Sosia and Tristán remove Calisto's corpse.
Second illustration of act XIX of the Antwerp illustration (1616)
A copy of the image of act XX of the Zaragoza (1545) edition. Sosia and Tristán remove Calisto's corpse.
Second illustration of act XIX of the Barcelona edition (1525)
Tristan and Sosia collect Calisto's dead body. Melibea's garden in the background with the ladder at hand. Above, the names Melibea, Lucrecia, Sosia, Tristán, Calisto can be read. The images of Melibea and Lucrecia are not seen, but it is assumed…
Second illustration of act XIX of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
Scene of Tristán and Sosia removing the body of Calisto fallen beside the ladder
Second illustration of act XVIII from the Barcelona edition (1883)
Vignette of the end of the chapter with two separate scenes: two birds, one in a fallen nest and an adult bird looking on from the tree (p. 273).
Second illustration of act XVIII, by Alcalá Iberri (2004)
Calisto se pone su capa para salir a defender a sus criados
Second illustration of act XX from the Zaragoza edition (1545)
Melibea throws herself from an elevated location with locked doors meanwhile Pleberio joins his hands in a sign of prayer.
Second illustration of act XX of the Estella edition (1557)
The same illustration used in act XIII Pármeno and Sempronio's execution. Now it does not seem to be connected with the action of the current scene, save for referencing the previous event.
Second illustration of act XX of the Rome edition: Marcelo Silber, 1515 (colophon Stanislao Polono, Sevilla, 1502)
The scene of Melibea's suicide in which she throws herself from the tower while Pleberio and a female character watch the event. Note the prominence of the lock on the door of the tower to show that the door is locked. This image is of a simpler…
Second illustration of act XX of the Valencia edition (1529)
Sosia and Tristán retrieve Calisto's body. He has just fallen from the ladder.
Second illustration of the cover page of the Salamanca edition (1540)
Tristán and Sosia recover Calisto's fallen corpse from in front of the garden wall. Different from the previous illustration, Calisto does not have a beard. Two fortified towers on the sides of the canvas of the garden wall. Not shown, are Melibea or…