Dotlačilová discusses the key, but routinely overlooked, visual means of representing character on stage: costume. Her close analysis of Louis-René Boquet’s designs for costumes for Jean-Georges Noverre’s ballet d’action Médée et Jason (1763) underlines how much the new aesthetic trends of the century focus on the human body and its movement. Costume designs show Medea’s links to the early operatic witch, in contrast to the humanized Medea who emerges some decades later. The sartorial signs of the underworld in the early versions—mainly bats and magical symbols—became less visible in Boquet’s later designs. The 1791 design presented Medea in ‘her role of princess, woman, and mother’.