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is the very first time these texts by ecclesiastics from Seville Cathedral and leading members of the religious orders in seventeenth-century Seville have been translated into English, and they provide further insight into the Sevillian intellectual milieu. On Christian Iconography’s 123 illustrations in full color, which in themselves constitute an invaluable visual introduction to religious art in the Spanish Golden Age and to the visual sources used by Spanish artists, include seldom-reproduced paintings from churches in Andalucía by artists such as Antonio Mohedano, Pablo de Céspedes, or Juan de Roelas. Equally creditable are the religious prints, often mentioned by Pacheco himself, among which are reproductions of Dürer’s Bible prints and selections from the series by the Wierix brothers illustrating Jerome Nadal’s Adnotationes et meditationes in Evangelia. Inevitably in a work of this breadth, there are some copyediting errors that introduce occasional confusion (i.e., minor misspellings and grammatical errors). There are also a few mistakes in the captions to the illustrations, with fig. 48 (an Adoration of the Shepherds ) and fig. 54 (an Adoration of the Magi ) being attributed to Juan de Roelas and Diego Velázquez respectively, when in fact they are both executed by Francisco de Zurbarán. These are, however, entirely minor considerations given the overall stellar achievement of On Christian Iconography.