This study offers an iconographic analysis of the allegorical cycle accompanying the moral- -educational tract Masopust. Drawing on the text in the book and iconographic dictionaries, the study explains the meaning of the symbols, thus expanding on M. Bohatcová’s older description. Since the chosen iconographic means play a key role in the reader’s reception of the illustrations (and the entire book), subsequent research was made into parallel iconographic elements in the contemporary old prints and in manuscripts illuminated by M. Hutský, whose authorship of drawing models has recently been demonstrated by M. Šárovcová. The study concludes that although many analogies can be successfully found, Hutský’s cycle as such is unparalleled in our environment not only due to its predominantly secular and highly satirical content, but also due to the number of incorporated symbols and allusions. As the conservative Czech readership was not systematically educated to be able to identify them, it can be hypothesised that it was due to the barely intelligible iconography that the book did not meet with any reader’s response in contemporary literature and art. Therefore, the study also seeks to bring a new perspective on how an early modern individual related to the creative type of allegory.