On 28 January 1522, the first decisive tract on the Protestant position with respect to images was published in Wittenberg, the seat of Lutheranism. The author, Andreas Bodenstein von Karlstadt, condemned the use of images in churches. In his opinion, these images, deemed “harmful and diabolic”, had no real educational function, but tended to divert believers from the texts. All forms of iconoclasm actually ascribe great power to images. This volume of contributions examines this power, based on works by artists such as Pieter Bruegel, Albrecht Dürer and Hans Holbein, and their consequences on the genesis of modern art.