Browse Items (3223 total)

Death of Celestina. While one of the male characters holds her, the other is ready to stab her. Elicia is pulling her hairs. Curiously, there is a window or door with two characters outside. Shelves with cups and glass containers.

Calisto dead at the foot of the ladder is carried by Sosia and Tristan

Melibea's suicide with her and Pleberio. Two unidentified male characters on the margin are included. There is also an image of an object in the sky that may be Melibea's girdle or cord falling or another object.

Adaptation by Paul Achard

Adaptation by Paul Achard

Factotums of houses, Celestina, Parmeno, Areúsa and Elicia (image used previously for Lucrecia).

Pármeno and Sempronio kill Celestina.

Double image, Celestina's death at the hands of Pármeno and Sempronio with Elicia as witness on the left and their jump from the window and the judge sentencing them on the right. Only the house wall serves to partially separate the scenes.

Double scene. On the left the judge, a soldier and a dead or executed body of a man; on the right, Celestina's death at the hands of Pármeno and Sempronio, with Elicia tearing at her hair.

Pármeno and Sempronio's execution scene with Sosia as witness, plus judge, two soldiers and another character pointing their fingers.

Adaptation by Paul Achard

Sosia and Tristán speak at the door about Pármeno and Sempronio's execution while Calisto lies in his bed.

Calisto climbs the ladder to the garden where Melibea and Lucrecia are waiting for him and outside Tristán and Sosia are armed. It is reused in act XIX.

Same image used in act XIV; Calisto climbing the ladder to the garden where Melibea and Lucrecia wait for him and outside Tristán and Sosia armed.

Image repeated from XIV: scene of Calisto with the ladder entering the garden, where Melibea and Lucrecia wait for him. Outside, with weapons, Sosia and Tristán. One of the two with a finger to his mouth in a gesture of silence.

Adaptation by Paul Achard

Sosia and Tristán retrieve Calisto's corpse.

Melibea throws herself from the tower while Pleberio opens his arms on the left side (variation of the image used in the previous act) and a woman with her hair down joins her hands in prayer.

Scene of the suicide of Melibea with her falling and Pleberio with his arms raised at the foot of the tower.

Melibea throws herself from an elevated location with locked doors, while Pleberio joins his hands in a gesture of begging or prayer.

Scene of the execution of Pármeno and Sempronio, although it only shows one culprit being executed, two soldiers and Tristán as witness. There doesn't appear to be a judge in the scene.

Adaptation by Paul Achard. Illustration in Celestinesca vol 22, num 2 of the French edition illustrated by Maurice L'Hoir.

Factotum of Celestina with her rosary.

From the series La Celestina (2008, c.)

La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.

Drawing of Calisto bowing, probably before the arrival of Celestina to his house.

Adaptation by Paul Achard

Illustration of one of the problematic copies of the supposed 1502 edition, actually 1513-15, Cromberger, This copy includes the usual illustration for the execution plus this one of a servant taken to the gallows. It looks as it had been taken from…

A strange illustration of the execution of Parmeno and Sempronio that introduces a female character as executioner. It could be Areúsa or Elicia, or an allegorical character. It is not clear if there is a bag of money or an allusion to the horn of…

Ink drawing on paper, 24,5 x 32 cmRich man talks to a procuress while a naked young woman covers her face

La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro. Page 33.

A couple that looks like Sempronio and Elicia having sexual relations while Celestina faces the fire while cooking or perhaps preparing her spell for the string.

La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro.

Celestina the sorceress.

Drawing of Calisto playing the lute while Pármeno and Sempronio speak in the back.

Sempronio llama a Celestina vieja avarienta

Adaptation by Paul Achard

Sketch of Celestina, where the procuress appears with her head covered and looking at the viewer.

Sketches of various scenes and characters in the play, including a pair of sketches of the procuress, both with her head covered, one where the procuress looks at the viewer and the other where she looks to her right. At the bottom there are sketches…

Sketch of Celestina, where the procuress appears with her head covered and a rosary in her hand.

Copy of the Toledo, 1526, coloured. Ticket worth 200 pesetas from February 9, 1974 to celebrate Valentine's Day.

A young woman in the center of the drawing. On the left, an old woman looking at her, on the right a young man looking at her.

Calixto (Francisco Guijar) hires Celestina's (Lola Gaos) services, who at first believes the way Calixto expresses himself towards Melibea is absurd.

Text: "Por la áspera ponzoña de las víboras de que este aceite fue hecho, con el cual unto este hilo, que quede amarrado el corazón de... "
Translation: "By the harsh venom of the vipers from which this oil was made, with which I smear this thread,…

The painting represents a naked young woman lying on a bed and an older woman appears in the background. The figure in the background is not a procuress but a ghost or the spirit of death. However, the painting connects with the famous Olympia…

A young couple sit outside. The young man takes the young woman's hand as he puts his hand to his heart. At the door of the house, an old woman looks at them.

Bronze statue of an older woman and a plaque with the loversCalisto and Melibea in the hawk scene. The following fragment taken from the work has been engraved below:'Soy una vieja cual Dios me hizo, no peor que todas …. Si bien o mal vivo, Dios es…

Granite statue of Fernando de Rojas in his hometown, Puebla de Montalbán, of the province of Toledo, Glorieta square. It includes an inscription that says "Relic of the remains of Fernando de Rojas, donated by Talavera de la Reina"

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.

Presentation

The death of the procuress Méndez (Queta Claver) in jail.

Elena (Victoria Vera) kills her husband don Pascual (Luis Escobar).

The heroine and Rampín.

Sancho's (Máximo Valverde) arrival to the city admiring Elena.

The heroine

The heroine's nighttime visits.

Sancho (Máximo Valverde) meets with his uncle to confirm that he was deceived by the 3 swindlers.

The heroine and knight.

Sancho (Máximo Valverde) and Elena (Victoria Vera) meet again after 3 years.

Clarina and a knight

The ruffian and the pimp Montufar (Daniel Dicenta) being executed.

Meeting between old friends: Fernanda and Elena (Victoria Vera).

There is an older woman that acts as the Celestina for young, working-class women. Observe the older woman's scarf.

Relief sculpted in stone of the portrayals of Calisto and Melibea on the façade of the Instituto de Enseñanza Media Calisto y Melibea in the city of Santa Marta de Tormes, in the province of Salamanca, Spain.

A woman and a man in the center of a room. The woman points to the bed while he has his hand on her waist. There is another woman at the door.

"Honthorst's genre pictures of light-hearted gatherings had a great impact in Utrecht. He made such pictures while he was still in Italy. His Supper Party, painted during his last months in Italy, set a precedent for similar scenes done in the 1620s…

The images are pages from the book Tales of a Parrot ("Tuti-nama"), a series of folktales of Persian origin written by Shravana in 1560, c. in Mughal India, court of Akbar. The first image is from the seventeenth night titled "The old procuress…

Notice that the devil takes the form of a procuress to tempt Saint Anthony, offering him a young woman. There are other version by Teniers or his followers of the same scene, as the one at the National Museum of Western Art, Tokyo, and others.

Rozentāls's watercolor drawing (Image 1), represents a naked young woman under an apple tree and a snake coiled around the trunk looking at the young woman. The image is reminiscent of the biblical scene of Eve, the serpent and the apple of…

Painted terracotta figurine of Celestina and a sitting young woman. The Celestina figurine has the defining scar on the cheek.

The subject of the greedy or usurer old woman is indirectly related to the subject of the procuress, since it uses the same physical prototype.See painting:Vieja usurera, de Ribera (1638).Here the presence of a second character evokes Parmeno's…

In the image there is a figure seated in a chair with a fan with her back to the viewer. By the silhouette it is understood that she is an old woman with her head covered following the Celestinesque tradition, and that therefore the drawing…

Three figures appear in the painting: in the center, a young woman with a black mantilla looking at the viewer, to the right appears another woman with flowers on her head, holding a fan and looking at the young woman. Finally, an old woman with her…

Original title: Die Bevollmächtigte ("The commissioner"), y Plénipotentiaire ("Plenipotentiary").

Two women appear in the image, a young woman and an old woman. The young woman is with her breasts uncovered and the old woman is fully dressed and…

Scene of music and a banquet, a subject of which this painter has several paintings. Note the old woman on the right and the wine.

A young woman in the center of the painting. To his left, an old woman holding his hand. There are musicians around him and a girl on the right with a dog.

Original title: il concerto (Italian)

Original title: La Concierge (La Maquerelle - La Bonne) ("The Concierge (The procuress - The housemaid)").

In the image appears an old woman with her head covered. From the title it is understood that she is a procuress.

Although a Celestina does not appear in the painting, its composition resembles the prototype that Goya started with his majas on the balcony accompanied by their procuress. This is due to her position on the balcony and the presence of an older…

Two lovers in a local brothel with late 19th century set. In the background one can see Celestina, the old procuress who accentuates the scene with her inquisitive gaze. SignedP. Ruiz Picasso-in the bottom right-hand corner.Contribution of the…

A man in a hood talks to an old woman.

This painting by Dobson represents Salome receiving the decapitated head of Saint John the Baptist, according to the biblical scene. In this representation, Salomé appears on the right holding a tray, while a young man holds Saint John's head…

The image shows five figures; in the center, an old woman with her head covered following the celestinesque tradition, on the right a young couple, and on the left two women with habits. The trio can represent the typical triangle of prostitute,…

Interior scene where four figures appear. A young woman seated to the right, an old woman with her head covered and a club next to the young woman, a man standing in front of the young woman, and a child lying on the ground next to the young woman.…

A young woman covers her torso with a fan while smiling and looking to the left. On the left, an old woman smiling looking in the same direction as the young woman.

Painting of the Classic Period.

In the image appears a man sitting at a table surrounded by young women. Next to the man appears a woman visibly older than the rest of the women selling flowers. The flower seller is a symbolic celestina as she is offering to choose a beauty-flower…

Original title: Der Narrenkäfig ("The Fools' Cage").

A matchmaker has locked a group of fools in a cage. Among other words in German, she says: "When I was young, I was a whore/Now I am a matchmaker and I need this shipment" and other words…

The Fortune Teller displays the exaggerated tenebrism (contrasting light and shadow) that was initiated by Caravaggio. Symbolic elements such as the mirror that the young man on the left is holding suggests vanity, while the garlic on his head may…