Nirit Ben-Aryeh Debby's book sets out its aims clearly: it provides a survey of the visual representations of St Clare that were produced in Italy from the thirteenth to the seventeenth century, approached chronologically. The first chapter addresses the medieval St Clare, focusing on works by artists including Guido da Siena, Simone Martini and Giotto. The second chapter concentrates on fifteenth-century depictions of Clare, as interest in the saint spread beyond Assisi and Umbria. The third chapter considers the influence of the climate of reform on the iconography of the saint, as her cult continued to gain popularity. The book seeks to explore how concepts of an individual's sanctity could change and develop over time in response to the shifting demands of worshippers. It proposes a narrative in which Clare was considered first as a humble companion of Francis, then as a miracle-worker in the model of other female saints such as Catherine of Siena, and finally as a saint associated with crusading zeal and Catholic defences of the power of the eucharist. Although the analysis of individual artworks tends to be quite straightforward, the author should be commended for the range of visual sources that are considered, including majolica plates and cheaper prints alongside painted masterpieces. This reader wished that the diverse ways in which these artworks communicated with their respective audiences had been explored. Moreover, throughout the book very little attention is paid to different contexts of viewing. How distinct was the St Clare of Franciscan monks, Clarissan nuns, tertiaries, confraternity members and ordinary lay worshippers? Answers to this interesting question are hinted at throughout the book but there is scope for further research here. Alongside images Debby considers the homiletic tradition which, she argues, provides evidence of the changing role and status of St Clare over the centuries. This argument is upheld best in the third chapter, when in the climate of reform both sermons and images placed emphasis on Clare's active, and specifically Catholic, agency. In earlier chapters this link is less well elucidated (on occasions there are clear contrasts between verbal and visual presentations of the saint), and the processes by which preachers and artists might have informed and influenced one another are never touched upon. Despite the fact that more specialist readers might wish for greater depth and sophistication of analysis, this book is a useful compendium of images of St Clare. It could be used successfully to introduce undergraduates to the central role of artworks in constructing and communicating saintly identity, and the way in which this could change over time.