Scholarship on religious printed images during the English Reformation (1535-1603) has generally focused on a few illustrated works and has portrayed this period in England as a predominantly non-visual religious culture. The combination of iconoclasm and Calvinist doctrine have led to a misunderstanding as to the unique ways that English Protestants used religious printed images. Building on recent work in the history of the book and print studies, this book analyzes the widespread body of religious illustration, such as images of God the Father and Christ, in Reformation England, assessing what religious beliefs they communicated and how their use evolved during the period. The result is a unique analysis of how the Reformation in England both destroyed certain aspects of traditional imagery as well as embraced and reformulated others into expressions of its own character and identity.

This book offers a unique analysis of visual religion in Reformation England as seen in its religious printed images. Challenging traditional notions of an iconoclastic Reformation, it offers a thorough analysis of the widespread body of printed images and the ways the images gave shape to the religious culture.

In 1547, the young King Edward VI issued a series of religious injunctions that were intended to reform the Churches in England. Religious imagery was a tangible and permanent aspect of the landscape, both inside and outside churches. For many people, it was one of the first aspects of the Church to be reformed, and the degree to which it was reformed often was indicative of an individual's or community's theological leanings. Behind this destruction lay a longstanding debate over the nature, purpose, and appropriate uses of images, particularly in relation to worship and devotion. The Reformation lines between icon and idol, however, are much more difficult to identify than any single debate, event, or royal injunction would suggest. FromIcons to Idols tracks the image debate from the perspectives of both Protestants and Catholics across the period of religious change in England from 1525 to 1625. For scholars of the English Reformation, iconoclasm has played a major role in the historiographical disputes over the nature, length, and efficacy of Protestant reform. The fresh perspective of David J. Davis incorporates geography historical use and abuse, popular appeal, size, dimensions and what was represented.

Unity in Diversity presents a fresh appraisal of the vibrant and diverse culture of Stuart Puritanism, provides a historiographical and historical survey of current issues within Puritanism, critiques notions of Puritanisms, which tend to fragment the phenomenon, and introduces unitas within diversitas within three divergent Puritans, John Downame, Francis Rous, and Tobias Crisp. This study draws on insights from these three figures to propose that seventeenth-century English Puritanism should be thought of both in terms of Familienähnlichkeit, in which there are strong theological and social semblances across Puritans of divergent persuasions, and in terms of the greater narrative of the Puritan Reformation, which united Puritans in their quest to reform their church and society.

In recent years many historians have argued that the Reformation did not - as previously thought - hamper the development of Northern European visual culture, but rather gave new impetus to the production, diffusion and reception of visual materials in both Catholic and Protestant milieus. This book investigates the crosscurrents of exchange in the realm of illustrated religious literature within and beyond confessional and national borders, and against the background of recent insights into the importance of, on the one hand material, as well as on the other hand, sensual and emotional aspects of early modern culture. Each chapter in the volume helps illuminate early modern religious culture from the perspective of the production of illustrated religious texts - to see the book as object, a point at which various vectors of early modern society met. Case studies, together with theoretical contributions, shed light on the ways in which illustrated religious books functioned in evolving societies, by analysing the use, re-use and sharing of illustrated religious texts in England, France, the Low Countries, the German States, and Switzerland. Interpretations based on points of material interaction show us how the most basic binaries of the early modern world - Catholic and Protestant, word and image, public and private - were disrupted and negotiated in the realm of the illustrated religious book. Through this approach, the volume expands the historical appreciation of the place of imagery in post-Reformation Europe.

Were mid-Tudor evangelicals roaring lions or meek lambs? Did they struggle with a minority complex, or were they comfortable with their position of political ascendancy under Edward VI? How did their theological blueprint of the ‘True Church’ fit their temporal realities? By relocating the Book of Common Prayer at the centre of the English Reformation, Stephen Tong gives new significance to two underacknowledged drivers of reform: ecclesiology and liturgy. Edwardian reformers caused a sensation in England by engaging with these questions, which spilled over into Ireland, and continued to cast a shadow over subsequent generations of the English Protestants.

The English Bible in the Early Modern World is a wide-ranging collection of essays investigating the impact of the English Bible on popular religion and reading practices, and on theology, religious controversy and intellectual history between 1530 and 1700.