This is a fascinating collection of essays by different authors who, by means of careful examinations of texts, shed light on the nature, status, and practice of power in sixteenth- and early seventeenth-century Spain. Two pieces, one dealing with Juan de Palafox y Mendoza and, especially, one focused on the writings of Inca Garcilaso de la Vega, address Spain's relationships to the territories it had conquered in the New World. Three of the contributions (by Anne J. Cruz, Ignacio López Alemany, and Jason McCloskey, respectively) were first presented as lectures at a 2009 symposium organized in connection with the exhibition Sacred Spain: Art and Belief in the Spanish World at the Indianapolis Museum of Art, curated by Ronda Kasl. I mention the circumstance of this important exhibition as background and source because a striking characteristic of this compilation is that many of its essays make use of visual materials, especially paintings, and, in some cases, this treatment is quite extensive. The title itself, by emphasizing signs, gives notice of the book's participation in what is often now called the visual turn in the humanities. None of the authors are art historians; rather, they are linguists (Spanish and Portuguese) versed in literature and its relation to multiple aspects of human culture. The other key word in the title is “power,” the basic concern of the essays, which are divided into two parts: “Myths of Power” and “Challenges for Power.” The unsigned preface (authored, I suppose, by the volume's two editors, Jason McCloskey and Ignacio López Alemany) offers a good introduction to the contents of the book and the problems it intends to examine.The essays deal mostly with the reigns of Philip II and Philip III. The literary references brought into the analyses include classical authors, of course, as well as Miguel de Cervantes, Luis de Góngora, and Félix Lope de Vega, among others. In part 1, for example, Cervantes's Sansón Carrasco and Don Quixote are the focus of Frederick A. de Armas's essay on myths of power, with suggestive references to sculpture gardens, specifically the one at Bomarzo. In part 2, E. C. Graf examines Cervantes's La Numancia alongside El Greco's paintings for El Escorial, providing a cogent explanation for Philip II's reluctance to further patronize the painter. In connection to this interface between texts and paintings, Titian is, interestingly, the artist most mentioned in the collection, since several of the essays are concerned with the details of the well-known relationship between the Venetian painter and both Charles V and, especially, Philip II. In particular, Anne J. Cruz and Lucia Binotti deal sensitively with Titian's erotic paintings for Philip II, comparing them to classical and contemporary literature and placing them in the context of not only Philip's very personal concerns but also his dynastic and political ones. Titian is also central in McCloskey's essay, the last of part 2, which compares Lope de Vega's La Dragontea to the painter's Religion Succored by Spain. The canvas, to my mind, continues to be a puzzling work, certainly illuminated by literary comparisons but still insufficiently studied in terms of its visual lineage. Other painters mentioned are Giovanni Battista Perolli and Cesare de Bellis (not Cesare Arbasia, as he is identified in the text), who depicted the mythological, classical, and allegorical themes of the frescos at the El Viso estate of Álvaro de Bazán, admiral of the Spanish navy. López Alemany introduces these artists in his discussion of the concepts of power and honor.Other objects are brought to bear on the topic of “challenges for power,” the focus of part 2. Elvira Vilches focuses on coinage during the reign of Philip III in her discussion of trust in power and its potential instability. The ambivalent, personal use of heraldic imagery by Juan de Palafox y Mendoza is the topic of John Slater's essay. Ana María G. Laguna studies another case of contesting power, the openly critical writings of Antonio Pérez, former personal secretary of Philip II turned “traitor.” Finally, José A. Cárdenas Bunsen examines Inca Garcilaso's reasoning about legitimate power and the problems of just war in his Royal Commentaries. In conclusion, the essays in this collection succeed in engaging the reader through their high level of scholarship on varied topics, all focused on the exercise and reception of Spanish Hapsburg power.