Most of the biblical Book of the Apocalypse describes what its author saw unravelling in front of his eyes – and hence a study of the interpretation of this text in the visual arts is of particular interest. Natasha O'Hear tackles this question in five case studies dealing with the thirteenth-century English Lambeth Apocalypse, the late fourteenth-century Apocalypse tapestry in the Chateau d'Angers, two Netherlandish altarpieces (Jan van Eyck's Ghent Altarpiece and Hans Memling's St John's Altarpiece), Botticelli's so-called Mystical Nativity and three German woodcut series (the Koberger Bible, Dürer's Apocalypse and Cranach's illustrations for the Septembertestament). The first section of each case study deals with the history and the probable audience for the individual works, and the second looks at their iconography. Surprisingly, the author left out some important series of Apocalypse illustrations, as in the Beatus manuscripts or the Bible moralisée, but included the Ghent Altarpiece and the Mystical Nativity, for which the Apocalypse is only one of many sources. The introductory sections of each chapter heavily rely on secondary literature, primarily on studies published in English since 1970. Hence, contributions like the monograph on the Cranach Apocalypse woodcuts by Peter Martin (Vestigia Bibliae 5, 1983) were overlooked. Some implausible hypotheses, like a panel-swapping machinery behind the Ghent altarpiece, are quoted uncritically (p. 76). The iconographic sections contain both descriptions that are detailed but not always correct (for example. Dürer's woodcut B.74 is paralleled with the Ghent Altarpiece because God is supposedly wearing a mitre – but it is in fact an imperial crown, p. 167), and interpretations that are sometimes hard to follow (for example that the small size of the heavenly Jerusalem in the last woodcut of the Koberger Bible ‘suggests that the future is […] being left open-ended’, p. 152). This study would have profited much from collaboration with an art historian or a historian of late medieval religion, who could have pointed out that some features, which are given much weight in the analysis, were in fact commonplace. When Jodocus Vijd, who commissioned the Ghent altarpiece, endowed a daily mass, he did what many wealthy burghers did and hardly betrayed any unusual ‘deeper preoccupation with the sacrament of the eucharist’ (p. 78). Memling's altarpiece shows John listening to divine instruction – a traditional formula for Evangelists. However, the author tentatively links it to a Wikipedia article on ‘automatic writing’ in Spiritism (p. 96). Consulting a missal and a breviary would have shown that the lesson of the mass on All Saints’ Day is Revelation vii.2–12 (p. 79), and that a link between the virtues in Psalm lxxxv(lxxxiv).11–12 and the Nativity was hardly Savonarola's invention (p. 120) – as part of Christmas Matins this Psalm is sung before Midnight Mass. The book would have benefited from more editing, some names are misspelled routinely (for example ‘Brandenberg’ for ‘Brandenburg’), and the description of fig. 27 on p. 117 does not match this image nor any other image in the book. The reception of biblical material in the visual arts, the link between exegetical and iconographic traditions and developments, deserves further study, and the intention of this book must be welcomed very much. However, it would have been better to have engaged more closely with the history of art and piety in the late Middle Ages.