This book purports to be a ‘re-assessment’ of John Calvin's thought as it relates to artistic production. The bibliography is extensive although not complete. The study aims to be both comprehensive and revisionist, but falls somewhat short on both accounts. There is occasional inattention to detail, which, although these details are generally minor, can be jarring. Christopher Joby argues for a more positive understanding of John Calvin's view of the arts than has formerly been postulated. Leon Wencelius was the progenitor in the early twentieth century of the first serious examination of Calvin's attitude to artistic production, and he tipped the scales in a negative direction, emphasising the iconoclastic inclinations within the Reformed tradition. However, Joby focuses more on the writing and thought of the Reformer himself, and draws more favourable conclusions. He also examines church music, art and architecture in this regard. He concludes that ‘what I want to leave the reader with is a sense in which … the increased presence of the visual arts in churches of the Reformed tradition is not a move away from the central tenets of this movement, but rather a trend that is consonant with the deeper rationale underpinning it’ (p. 196). The study is not without merit. It will be read by graduate students and deserves a place on scholars' bookshelves, chiefly for its contribution in cataloguing the interdisciplinary links between Scripture, Calvin's sermons, the Genevan Psalter and some artefacts such as church organs and Rembrandt paintings.