Representations of the pig can be found in a wide variety of visual material worldwide, and throughout time. The term ‘pig’ is used here as a general term to cover all domestic and wild forms of Sus scrofa (where relevant and possible precise distinction between these forms will be specified). The images that exist, vary in terms of the form or shape of the pig, the representation of its characteristic features according to sex (male–boar vs female–sow), form (domestic or wild), age (adult pig or piglet), or physical characteristics (i.e. snout, tusks, tail, trotters, hair and hide coloration, razorback, and bristles). A visual appreciation of different living forms can be found in works such as Burnie (2001) or Buczacki (2002). This chapter is concerned with the creation and use of visual images of the pig. It offers a selection of materials dating in range from the medieval to the early modern period and will cite selected examples to represent continuity or change in the use of images where appropriate. The materials providing representations of the pig include (but are not exclusive to) illuminated manuscripts, prints and posters, engravings and drawings on either parchment or paper, canvas paintings, stained and painted glass, wood carvings, embroidery and textiles, stonework, moulded or cast metal, ceramic wares, and figurines. Exclusive porcine works discussing this iconography include those by Foster (1977), Ryba (1983), Brochier (1988), Bonera (1991), and Lawson (1995). In addition to depictions of pigs, functional and decorative and artistic uses were also found for the inedible body parts of real pigs such as the tusks appearing in visual cultural materials reflecting the precious value of the animal by some people. The main approach of this paper is thematic in order to emphasize how visual representations of the pig have had associations with filth, shame, lust, fantasy, care and consumption, inspiration, and human identity. Many assumptions have been made about the relative importance of the sources of inspiration drawn upon for the creation of particular images or motifs in the surviving media, and the availability of these to their creators (for a discussion on the practice of artistic transmission during the Middle Ages, see Scheller 1995).