Protestantism postulated a truly personal relationship to the Divine. But why did this emerge in Germany, in the writings of Martin Luther? And what role was played by altarpieces, secular history paintings, portraits and prints? Are there any marked changes in how individuals were represented? Can we trace any broader impacts on how imagery was made, consumed and understood? To answer these questions, we shall draw on work by artists such as Durer and Cranach and on writings by academics such as Scribner, Baxandall, Moxey and Koerner. The broad aim is to explore what it meant to make and look at pictures in Reformation Germany, in a period of disenchantment with the image.