Aleksandra K o u t n y - J o n e s ’s study is a welcome addition in a world where English-language monographs on Polish-Lithuanian art are still a rare treat. Not only does it introduce a little-known subject to English-speaking audiences, but in doing so, it prompts the reader to ask more fundamental questions about artistic appropriation. In considering how western European art forms translated into Polish-Lithuanian contexts, the author follows the lead of other art historians who have explored the relationship between centre and periphery. Her monograph promises to add to this discussion by exploring the ways in which Polish-Lithuanian patrons and artists used artistic models from Germany and Italy to create locally coded representations of death and place-specific forms of family commemoration. In pursuance of this task, the author has written a useful work that brings together a vast body of visual and textual materials previously unknown to most art historians outside Poland, Lithuania, Ukraine and Belarus.