Browse Items (3223 total)

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

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…

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

Factotums of Calisto, Celestina, Pármeno and Sempronio.

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.

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

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

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.

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

Factotums of Calisto, Sempronio, Pármeno and Areúsa.

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.

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

Factotums of Melibea, Celestina, Lucrecia and Alisa.

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.

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

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

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:…

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.

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

Pármeno and Sempronio's execution.

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

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.

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.

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…

A house with an unidentified woman, Areúsa, Centurio and Elicia in mourning; a tree to complete the scenery. Return to the use of factotums.

Factotums of houses, Elicia, Centurio, Areúsa and a tree.

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…

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

Factotums of Melibea, Lucrecia, Alisa and Pleberio.

A tree, Elicia, Areúsa, Sosia and building with an unidentified woman.

Factotums of houses, Elicia Sosia, Areúsa and a tree.

Building with two people, Centurio, Elicia with a flower, Areúsa, a tower with various unidentified people.

Factotums of houses, Areúsa, Centurio, Elicia and a tree.

A house with an unidentified character, Pleberio, Lucrecia, Melibea and a tree. Variant of the factotums of act XVI.

Melibea's suicide throwing herself from the tower. At the sides, Pleberio and Alisa, and two buildings.

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…

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…

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.

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…

Melibea's suicide and Pleberio's lament. A third character coming out of the tower

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

Scene of a client being robbed while he negotiates with a prostitute and procuress in the background.

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…

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…

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.

Areúsa (Paz Yáñez) using her charm to receive information from Sosia (Rafael Díaz) about Calixto and Melibea's meetings.

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.…

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…

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

Illustration from the edition Les Bibliophiles de France, made by Maurice Lalau.

Calisto gives Celestina 100 gold coins.

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

Celestina leaves Melibea's house.

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

La Celestina (Tragicomedia de Calisto y Melibea) Barcelona, Ediciones Marte, 1968. Illustrations by F. Ezquerro. Page 99.

Illustration perhaps of Elicia or Areusa from the French edition Les Bibliophiles de France, illustrated by Maurice Lalau.

Sempronio falls from a window after killing Celestina.

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

Calixto gives Celestina a gold chain, therefore, his soul. Behind can be observed Sempronio and Pármeno as witnesses.

Drawing of Calisto playing the lute in his room with a sleeping dog in the foreground and the city seen through the window.

Sempronio le cuenta a Celestina que sus armas están destrozado

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.

It is the same image used in the illustred edition:Valencia, 1946, for act XII

"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…

Celestina (Amelia de la Torre), Melibea (Elisa Ramírez) and Calisto (Julián Mateos)

Colour film poster
Daniela (Daliah Lavi), Luisella (Beba Loncar), Loredana (Mirella Sannoner) twice, Celestina (Assia Noris) and Anna (Mirella Maravidi)

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.

Calisto and Melibea (Isela Vega y Luigi Montefiori) hugging, almost without clothes, eye spying from behind a curtain.

Calisto and Melibea (Julián Mateos y Elisa Ramírez) hugging in the foreground, Celestina in the background (Amelia de la Torre)

Célestine manipulating her male puppets.

The comedy's protagonist: Célestine (Lina Romay)

Célestine and her shady business.

The figure of the go-between Celestina (Elisa Ramírez) stands out and the lovers Calisto (Julián Mateos) and Melibea (Amelia de la Torre).

Celestina (Penélope Cruz) and Calisto in one of their clandestine encounters.

Melibea (Amelia de la Torre) stands out in the background, while Celestina (Elisa Ramírez) and Areúsa (Heidelotte Diehl) are found in the foreground.

Calisto (Luigi Montefiori) and Melibea (Isela Vega). On the top part, you can see the eye of the procuress Celestina (Ofelia Guilmáin).

The shadow of Celestina, Calisto and Melibea

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).

Image of Celestina (Assia Noris) and several of her protegées

Calisto and Melibea (Juan Diego Botto y Penelope Cruz) lie embraced in the garden.

Celestina (Amelia de la Torre), Melibea (Elisa Ramírez) and Calisto (Julián Mateos).

Celestina: manipulator of men

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.

Está copiada con cambios notables de la edición deZaragoza, 1545. No tiene equivalente en la reedición deAmberes 1616

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.

Initial encounter between Calisto and Melibea. Horse and falcon. Space surrounded by a wall, but different from the garden.

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.

Meeting at Celestina's house, Celestina, Alisa and Lucrecia.

Calisto speaks with Melibea through the garden door while his servants keep watch. Lucrecia listens to the conversation between Calisto and Melibea.

Pleberio goes to wake up Alisa with the bad news of Melibea's death. Lucrecia laments in the background.