In The White Devil, Webster delves into the contrast between the external facade of events and characters and their true essence. The play's title itself suggests this theme; as Margaret Loftus Ranald points out in her book John Webster, there was a popular saying in that era: “the white devil is worse than the black.” Many critics see the play’s title as an allusion to Vittoria. Her stunning beauty sharply contrasts with “the viciousness of her soul,” according to Ranald. This makes her more despicable than an overt villain because her allure masks her deceit.

Likewise, the splendor of Camillo’s household, and later Bracciano’s home in Padua, hides the corruption within. In Camillo’s situation, he seems unable to perform his marital responsibilities. Despite having a beautiful young wife, the elderly Camillo appreciates her only for her appearance. Vittoria can be viewed as a “trophy wife” in this context. Therefore, their marriage is shallow. Camillo’s impotence makes the marriage merely a facade.

Bracciano’s household is similarly deceptive, built on deceit and political schemes. He shows no concern for his wife or child, making his marriage another pretense. Driven by his lust for Vittoria, Bracciano first divorces and then murders his wife, all while upholding the image of a prosperous, powerful Duke.

In the universe of The White Devil, as Ranald explains, “appearance is in constant conflict with reality, good and evil are reversed, and humanity attempts to live in a world that accepts the individual as its god.” Webster cautions the audience to be skeptical of appearances, both in the intricate political setting of his Italian backdrop and, by implication, the corrupt politics of James I’s court.

At the heart of late medieval and Renaissance English philosophy is the notion of the "Great Chain of Being." This hierarchical framework encompasses all of creation, starting with inanimate objects like rocks at the lowest level, progressing through animals who are living but lack rationality, to humans, and ultimately culminating with angels. The Great Chain of Being is frequently represented in the literature and art of that era. This hierarchy is believed to provide order and stability to the universe; as long as each component maintains its rightful position, creation can operate smoothly. However, if any part of the chain fails to fulfill its designated role, the entire structure becomes destabilized.

Grasping this context is essential when analyzing The White Devil. In the play, characters frequently challenge societal expectations. Both Vittoria and Bracciano ignore the Church's bans on adultery and murder. During her famous trial scene, Vittoria refuses to adhere to traditional female roles. She adopts a masculine tone in her defense, proclaiming that she must "personate masculine virtue." By doing this, Vittoria questions the distinct boundaries between male and female roles that the Great Chain of Being's hierarchy dictates.

Moreover, none of the characters, aside from Cornelia and Isabella, act out of anything other than self-interest. Yet, it is Flamineo who poses the greatest threat to the entire creation. By killing his brother, he reenacts the biblical first murder of Cain slaying Abel. Renaissance audiences would interpret this act as a complete rejection of order and an embrace of chaos. In many ways, The White Devil acts as a cautionary tale, demonstrating the chaos, death, and destruction that can result when established hierarchical structures are ignored.