Julie Spraggon offers a detailed analysis of Puritan iconoclasm in England during the 1640s, which led to a resurgence of image breaking a century after the break with Rome. She examines parliamentary legislation, its enforcement & the parallel action undertaken by the army to rid the land of superstition.

"In this modern edition, the long-separated Cambridgeshire and Suffolk entries are published together for the first time, emphasising Dowsing's extensive coverage of the region. A detailed commentary accompanies the Journal, based on an examination of each of the churches he visited. Full use has been made of contemporary records (including those of the Cambridge colleges) to fill out the details of Dowsing's diary entries; maps and photographs graphically illustrate the range and scale of his activities.".

Reflections on the Puritan Revolution (1986) examines the damage done by the Puritans during the English Civil War, and the enormous artistic losses England suffered from their activities. The Puritans smashed stained glass, monuments, sculpture, brasses in cathedrals and churches; they destroyed organs, dispersed the choirs and the music. They sold the King’s art collections, pictures, statues, plate, gems and jewels abroad, and broke up the Coronation regalia. They closed down the theatres and ended Caroline poetry. The greatest composer and most promising scientist of the age were among the many lives lost; and this all besides the ruin of palaces, castles and mansions.

Reflections on the Puritan Revolution (1986) examines the damage done by the Puritans during the English Civil War, and the enormous artistic losses England suffered from their activities. The Puritans smashed stained glass, monuments, sculpture, brasses in cathedrals and churches; they destroyed organs, dispersed the choirs and the music. They sold the King's art collections, pictures, statues, plate, gems and jewels abroad, and broke up the Coronation regalia. They closed down the theatres and ended Caroline poetry. The greatest composer and most promising scientist of the age were among the many lives lost; and this all besides the ruin of palaces, castles and mansions.

Before the outbreak of hostilities between Charles I and the Long Parliament, the King had authorized a regular monthly fast for the realm which members of parliament later adopted as a program of national humiliation. At the invitation of individual members of parliament, two preachers, generally leading puritan clerics connected with the Westminster Assembly, which had been convened for the purpose of reforming the Church of England, were invited to speak. Drawing from some 240 published sermons, Professor Wilson presents a survey of the program, giving detailed scrutiny to the form and contents of the sermons. His aim throughout is to clarify the puritans' conceptions of the relationship between their religious movement and the political events of the period, and to assess the importance of these sermons for the interpretation of Puritanism. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Originally published in 1988, and the companion book to The Puritan Gentry, covering the period of the Civil War, the English republic and the Restoration of Charles II in 1660, this book gives an account of how the godly interest of the Puritans dissolved into faction and impotence. The fissures among the Puritan gentry stemmed, as the book shows, from a conflict between their zeal in religion and the conservative instincts which owed much to their wealth and status.

Until recent years, the historical moment of Charles II's return to England was universally accepted as a clear marker of the end of "the Cavalier winter," a welcome victory over theater-hating Puritans. To verify this historical view, literary historians have often glorified the role of King Charles II in the history of the "revival" of drama during the Restoration, whereas they tend to consider the Long Parliament's 1642 closing of the theaters as a decisive manifestation of Puritans' antitheatricalism. This historical perspective based upon what is often known as "the rupture model" has obscured the vibrant development of dramatic forms during the English civil wars and the ways in which the revolutionary energy exploded during this period continued to influence in the Restoration the deployment of dramatic forms and imagination across various social groups. By focusing on the generic development of drama and theatricality during the English civil wars, my dissertation challenges the conventional historiography of the English civil war literature, which has been overemphasizing the discontinuity between the English civil war and the periods before and after it. The first chapter shows how the theatrical energy displaced from traditional cultural domains energized an emerging cheap print market and contributed to the invention of new dramatic forms such as playlets and newsbooks. The second chapter questions the conventional association of Puritanism and antitheatricalism by rehistoricizing antitheatrical writers and their pamphlets and by highlighting the dramatic impulses at work in Puritan iconoclasm during the English civil wars. The final chapter offers the Restoration Milton as a case study to illustrate how the proposed historical perspective replacing "the rupture model" better explains not only the politics of Milton's Paradise Lost but also of Restoration drama.

The sequence of civil wars that ripped England apart in the seventeenth century was the single most traumatic event in this country between the medieval Black Death and the two world wars. Indeed, it is likely that a greater percentage of the population were killed in the civil wars than in the First World War. This sense of overwhelming trauma gives this major new history its title: God’s Fury, England’s Fire. The name of a pamphlet written after the king’s surrender, it sums up the widespread feeling within England that the seemingly endless nightmare that had destroyed families, towns and livelihoods was ordained by a vengeful God – that the people of England had sinned and were now being punished. As with all civil wars, however, ‘God’s fury’ could support or destroy either side in the conflict. Was God angry at Charles I for failing to support the true, protestant, religion and refusing to work with Parliament? Or was God angry with those who had dared challenge His anointed Sovereign? Michael Braddick’s remarkable book gives the reader a vivid and enduring sense both of what it was like to live through events of uncontrollable violence and what really animated the different sides. The killing of Charles I and the declaration of a republic – events which even now seem in an English context utterly astounding – were by no means the only outcomes, and Braddick brilliantly describes the twists and turns that led to the most radical solutions of all to the country’s political implosion. He also describes very effectively the influence of events in Scotland, Ireland and the European mainland on the conflict in England. God’s Fury, England’s Fire allows readers to understand once more the events that have so fundamentally marked this country and which still resonate centuries after their bloody ending.

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 engaging book is the first full study of the satirical print in seventeenth-century England from the rule of James I to the Regicide. It considers graphic satire both as a particular pictorial category within the wider medium of print and as a vehicle for political agitation, criticism, and debate. Helen Pierce demonstrates that graphic satire formed an integral part of a wider culture of political propaganda and critique during this period, and she presents many witty and satirical prints in the context of such related media as manuscript verses, ballads, pamphlets, and plays. She also challenges the commonly held notion that a visual iconography of politics and satire in England originated during the 1640s, tracing the roots of this iconography back into native and European graphic cultures and traditions. Published for the Paul Mellon Centre for Studies in British Art