Browse Items (3223 total)

The image shows a young woman in the hands of a man drinking. To the left, an old woman with a greedy face appears taking a bag that the young woman is handing her. The old woman in this image acts as a procuress for the young woman.

Although it is a portrait, the arrangement of the mother and daughters of marriageable age recalls some compositions of procuresses or madamas and their pupils. "This is the last of Degas’s great family portraits. It is also among the most…

Calisto (Juan Diego Botto) and Melibea (Penélope Cruz)

Cover
On the top part, Elicia (Gemma Cuervo) is shown in mourning and Areúsa (Tina Sáinz) is eating.
Celestina (Tony Solder) is smiling in the bottom part.

Back cover
In the image of the top part Elicia is crying over the tragic death of…

Cover
On the top part, Elicia (Gemma Cuervo) is shown in mourning and Areúsa (Tina Sáinz) is eating.
Celestina (Tony Solder) is smiling in the bottom part.

Back cover
In the image in the top part Celestina (Tony Solder) is arguing with Pármeno…

Cover
On the top part, Elicia (Gemma Cuervo) is shown in mourning and Areúsa (Tina Sáinz) is eating.
Celestina (Tony Solder) is smiling in the bottom part.

Back cover
In the image of the top part you can see the face of pain that Elicia feels…

Cover in Korean that includes an image inspired by the movieAmerican Beauty(1999), on the right.

The titles of this miniseries includeThe False Aunt (La tía fingida), The Valencian Widow (La viuda valenciana), Celestina's Daughter (La hija de Celestina), The Garduña of Seville (La garduña de Sevilla), The Lusty Andalusian…

Dutch painting, genre painting or merry company.
Note the old woman in the foreground with the beer or wine mug.

Original title: Lockere Gesellschaft
Other title: Brothel Scene

Same illustration used for the argument opening Fadrique de Basilea's Burgos 1499 edition of the Comedia de Calisto y Melibea.

Other title: Egloga nueuame[n]te trobada por juan d[e]l enzina : En la qual se introduzen dos enamorados llamada ella…

Drawing of Calisto on horseback while the falcon is flying.

Women in the Celestina

Cut out puppet theatre of Melibea's garden with the characters from the play. The front page, in English and Spanish, includes a summary of the story and explains that the garden is near Salamanca's Old Cathedral, which clearly appears in the…

Original title: Elégante compagnie dans un intérieur("Elegant company in an interior").The image shows an indoor scene where young men and women appear, some hugging and even kissing. Note the old woman who appears on the left with her head covered,…

Other titles: Elegant company playing backgammon in an interior, an amorous couple, and a monk and procuress with a young lady.

Painting in the manner after William Hogarth.

The image shows four figures, a man and three young women playing…

Likely the printer's emblem that depicts an animal, such as a fox or a wolf in vegetable form that appears to be the letter V.

The image represents a brothel scene, where the client is paying the procuress on the left and the prostitute is naked, semi-covered in bed on the right. Next to the prostitute the figure of the fool appears. The fool is pointing at the transaction…

This emblem represents a typical Celestinesque scene where a naked young woman rests on a bed while a young man approaches her holding the hand of an old woman who acts as a procuress. The Latin description reads:

"Est meretrix dicta quæ reddit…

Calisto, building with a person identified as Lucrecia, building with two people, and one identified as Melibea, while on the right side two figures identified as Sempronio and Pármeno.

Calisto climbing into Melibea's garden. Same engraving used in act XIV.

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…

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

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.

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

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.

It is copied with changes from theZaragoza 1545edition.

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.

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.

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 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 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

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 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.

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.

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…

Copiada girada y alterada de la deZaragoza, 1545

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…

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

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.

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

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

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

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

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

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

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

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

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

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

Factotums of the images of Sempronio, Pármeno, Calisto and Areúsa. Houses in the right 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 Melibea, Celestina, Lucrecia and Alisa. Houses in the left margin.

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

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

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.

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

Execution of Pármeno and Sempronio.

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

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.

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.

Sosia and Tristán carry the dead Calisto after his fall.

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

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

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

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

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

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

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

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

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 Melibea, Lucrecia and Pleberio. Tree and houses.

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

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

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…

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

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

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…

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…

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…

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 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.

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

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.

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

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…

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

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

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…

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

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

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.

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