Anabel Thomas challenges the accepted assumptions about art works in religious establishments populated by women. They claim that these works did not have gender-specific qualities; and that religious women played no role in commissioning such imagery or in influencing its design and purpose. Through case studies, she establishes that in fact artistic imagery did figure prominently in conventual communities and she also identifies its various institutional roles. Based on archival findings that are published here for the first time, Thomas" groundbreaking study contributes to a growing literature that reexamines the role and influence of gender on religious imagery in the early modern period.