This lengthy monograph gives an excellent account of how and why the Opus Caroli Regis contra synodum (which the author continues to call the Libri Carolini) links discussion of icons to a discussion of the Trinity. The book opens with a good summary of the structure of the Opus Caroli, though I should have liked to have learned how Mitalaité thinks the work was composed and what the status of Charlemagne's marginal comments might be. Successive chapters treat the work's attitude to natural images (found in a mirror and in a rainbow) and artificial images, the understanding of persona as it relates to Christ, the Trinity and society, Byzantine and early Carolingian attitudes to miracles and eschatology. The final section is entitled ‘élite carolingienne et image’. The reader who can navigate past maxims such as ‘la parole est le seul moyen sensible capable de transgresser deux espaces divergeant’ and a propensity to refer to Plato and Cicero and to give extensive treatments of the development of Greek patristic doctrine will find a good discussion of what the Opus Caroli says about images and signs and about the Trinity. There are helpful sections on the treatment of David, the Spanish sources for some of Theodulf's thought, Alcuin's Trinitarian theology and early Carolingian attitudes to word and voice. Annexes list the vocabulary for artificial images and of voice and speaking. The account of the Carolingian religious elite is less convincing, and Mitalaité seems unaware of recent work by Helmut Nagel and Stefan Patzold. The proofreading of author's names in the footnotes is particularly careless.