Lo stregozzo (1520s), the first Italian engraving dedicated to witchcraft, has been studied in terms of attribution, iconography, textual and visual sources, and in relation to early modern witch beliefs. An associational and metaphoric reading opens new possibilities for contextualizing the print. The chimera and the hovering man beneath the witch are deployed as a means of thinking about the early modern conception of witchcraft and the artistic process of creating this print. In one sense, they define witchcraft as a subverted world governed by inversion, heresy, and monstrosity, and in another, they raise theoretical and practical problems concerning artistic imitation and invention.