Ubiquitous, indispensable, sometimes notorious—priests are ever before the eyes of the faithful in Quattrocento, as central figures of both quotidian spectacle and the Church’s sacramental system. Visual representations of their priestly mediation have been largely overlooked by art historians. My dissertation examines priests as depicted subjects and calculated objects of art production and focuses on Sassetta’s Arte della Lana altarpiece (1425) as the site of a remarkable, and hitherto unremarked, display of sacerdotal visual rhetoric.