While much has been written on the connections between Lollardy and the Reformation, this collection of essays is the first detailed and satisfactory interpretation of many aspects of the problem. Margaret Aston shows how Protestant Reformers derived encouragement from their predecessors, while interpreting Lollards in the light of their own faith.
This highly readable book makes an important contribution to the history of the Reformation, bringing to life the men and women of a movement interesting for its own sake and for the light it sheds on the religious and intellectual history of the period.

No period has been more discussed, dissected and argued over than the Renaissance, and every age has reconstructed it in its own image. Today's emphasis is on its complexity - the way ideas, politics, religion, society, art and science depended upon and affected one another. The Renaissance Complete does away with watertight divisions by means of a lucid, innovatory system of cross-references and brings the image to centre stage. The fascinating range of topics covered includes the revival of classical learning, the printing press, the rise of the nation-state, philosophy and the role of women. The scope is all-embracing: Italy, France, Spain, Britain, Germany and the northern countries; courts and patrons, painters and sculptors, churchmen and traders, men, women and children. Over 1,000 illustrations are carefully focused on over 100 key topics, subject-matter taking precedence over art history. An impressive information resource provides biographies, timelines, bibliography, a gazetteer of museums and galleries and an illustrated glossary.

Why were so many religious images and objects broken and damaged in the course of the Reformation? Margaret Aston's magisterial new book charts the conflicting imperatives of destruction and rebuilding throughout the English Reformation from the desecration of images, rails and screens to bells, organs and stained glass windows. She explores the motivations of those who smashed images of the crucifixion in stained glass windows and who pulled down crosses and defaced symbols of the Trinity. She shows that destruction was part of a methodology of religious revolution designed to change people as well as places and to forge in the long term new generations of new believers. Beyond blanked walls and whited windows were beliefs and minds impregnated by new modes of religious learning. Idol-breaking with its emphasis on the treacheries of images fundamentally transformed not only Anglican ways of worship but also of seeing, hearing and remembering.

This is a study of the enormous religious reversal that England experienced as the avoidance of idolatry became a priority of the Reformation. Opposition to church images was a feature of English life from Wyclif to Oliver Cromwell. It was an aspect of reform that affected all believers, from theologians who wrote so massively on the topic of idolatry, to parishioners who were taught to reject idols and whose churches were denuded of colour and ornament. The phenomenon of iconoclasm cannot be understood except through the developments in theology brought about by sixteenth-century reformers. Both divine and secular laws were changed, as Protestants remodelled the text of the decalogue to give new prominence to the prohibition of images, and the new scriptural priority was reflected in the enactments of church and state. Pressure for image reform was building up long before Henry VIII turned iconoclast, and by the time of the civil war, a century of action and teaching against images had profoundly affected English belief, as well as English churches. England's Iconoclasts offers new insight into the nature and effect of these changes, and is a substantial contribution to our understanding of the entire process of Reformation.

Why were so many religious images and objects broken and damaged in the course of the Reformation? Margaret Aston's magisterial new book charts the conflicting imperatives of destruction and rebuilding throughout the English Reformation from the desecration of images, rails and screens to bells, organs and stained glass windows. She explores the motivations of those who smashed images of the crucifixion in stained glass windows and who pulled down crosses and defaced symbols of the Trinity. She shows that destruction was part of a methodology of religious revolution designed to change people as well as places and to forge in the long term new generations of new believers. Beyond blanked walls and whited windows were beliefs and minds impregnated by new modes of religious learning. Idol-breaking with its emphasis on the treacheries of images fundamentally transformed not only Anglican ways of worship but also of seeing, hearing and remembering.