This fascinating study of the images of witchcraft produced during the period from about 1480 to 1590 shows how artists and printers gave a visual dimension to the newly defined crime of witchcraft and how audiences may have viewed and understood them. Charles Zika's extensive knowledge of the production of these images, his detailed analysis of more than 150 illustrations, his mastery of the vast scholarship on early modern witchcraft and his demonstration of the way in which artists and printers drew upon different artistic and literary traditions to convey social and cultural meaning make this study one of the most valuable contributions to the history of European witchcraft in the past twenty years. Each of the nine chapters deals with a specific theme, including female sexuality and gender disorder, the artistic use of the folkloric tradition of the wild ride to symbolise moral disorder, the appropriation of classical figures like Circe as witch figures and the identification of witches with exotic peoples in distant lands, especially Amerindian cannibals in the New World. In a chapter entitled ‘Witches’ cauldrons and women's bodies', Zika argues that the frequent appearance of the cauldron in images of witchcraft not only linked the crime with traditional female labour in the preparation of food but also with the carnality of women's bodies, which were viewed as vessels in a different sense. The book also reveals two significant chronological developments. The first was the inclusion of demonic images in the depiction of sorcery and magic in the fifteenth century, an iconographical transformation that reflected the demonisation of magic and sorcery in the minds of theologians. The second was the depiction of the practice and punishment of witchcraft in the narratives of witchcraft cases that proliferated after 1560, when witch-hunting entered its most intense phase. The pamphlets and broadsheets in which these images appeared, such as those included in the massive collection of sensationalist news reports by the Swiss pastor Johann Jakob Wick, provided visual evidence of a broader cosmic struggle between God and the devil and reflected the apocalyptic fear of increasing demonic intervention in the world. These images allowed the viewer to ‘participate symbolically in the drama of demonic attack and divine counter-attack, and ultimately, in the rituals of conquest and purification’ (p. 179). There were far more images of the devil in these illustrations than in the woodcuts, engravings and paintings of the early sixteenth century, and these new images depicted the devil as more violent and horrifying than in earlier representations. The one missing element in this late sixteenth-century art was the depiction of the devil at large witch assemblies. Visual images of the witches' sabbath appeared only in the early seventeenth century, when a new generation of artists sought to convey the social and political threat that large-scale witchcraft represented. Zika does not explore this later period of early modern witchcraft, but his study of the visual representation of witchcraft during the formative years sets the standard for future work on the subject.