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Last week the Círculo de Estudios de la Literatura Picaresca y Celestinesca (CELPYC) presented officially the conference proceedings of the I Congreso Virtual del CELPYC, in video format.The conference, which took place the 4th and the 5th of June of this year via Zoom, devoted its second session to Celestina in its entirety, with papers by early career, not-so-early-career, and veteran celestinistas. Celestinesque illustrations received particular attention, with four papers on the topic:El cuerpo en pedazos: violencia, erotismo y fragmentación en las ilustraciones de la Tragicomedia de Calisto y Melibea by Loreto Romero (University of Virginia)La primera portada celestinesca sevillana: estudio de una parodia iconográfica e iconológica by Ana Milagros Jiménez Ruiz (Universidad de Zaragoza)¿Un programa iconográfico original? Modelos alemanes para los tacos de la edición Zaragoza, en la oficina de Jorge Coci a costa de Pedro Bernuz y Bartolomé de Nájera, 17 de junio de 1545, de Celestina by Amaranta Saguar García (Universidad Complutense – CAM)Dos ilustraciones y un cuadro: testimonios de la recepción de La Celestina en tres épocas by Enrique Fernández (University of Manitoba)The remaining two papers dealt with the characterisation of Melibea and Marcela, the shepherdess of El Quijote (“La víbora no merece ser culpada por la ponzoña que tiene”: Melibea y la pastora Marcela by Ivette Martí Caloca) and a Broadway musical version of Celestina (“Celestina, a Tragic Musical Comedia”: A New Old Bawd-way Musical by Brad Bond).The celestinesque session closed with the presentation of the books Vida escénica de "La Celestina" en España (1909-2019) (Peter Lang: 2020), by María Bastianes, and "La Celestina", un mito literario contemporáneo (Iberoamericana-Vervuert: 2020), by Jéromine François.The full range of papers can be viewed at the official website of the CELPYC: Videoactas del I Congreso del CELPYC