They followed the themes of the original 15th-century glass (installed by Archbishop Morton c.1490, restored by
Archbishop Laud in 1634 and destroyed in 1643 during the Commonwealth), using transcripts of
Archbishop Laud's trial for treason, in which the iconography of the 15th-century windows was discussed.
In another essay that highlights the volume's effort to rectify the "over-privileging of canonical voices" in Law and Literature (15), Deborah Shuger presents a fascinating analysis of
Archbishop Laud's prison diaries, "one of the unacknowledged masterpieces of English prose" (120).
The rest of the chapters take up range of subjects: legal documents in Shakespeare (Bradin Cormack), the trial of
Archbishop Laud (Deborah Shuger), Artegall as ward in The Faerie Queene (Judith Owens), discourses of civil religion (Elliott Visconsi), and tyranny and grace in Milton (Paul Stevens), among others.
Now, what is important about this is the way in which the author clearly demonstrates how
Archbishop Laud's harsh and destructive policies drove a moderate like Davenport out of the Church.
Moreover, competing positions in the debate over the ritual and governance of church could evolve over time and be recast ideologically in the face of altered circumstances: in short, how one defended episcopacy in 1641, after
Archbishop Laud had been dispatched to the Tower, might be different from how one did so during the Laudian ascendancy of the 1630s.
What he didn't tell us was what became of the God-fearing, royal loyalist
Archbishop Laud when Cromwell came to power.
Like Charles I and
Archbishop Laud, but against recent historiographical trends, she regarded the Puritans as a fundamental danger to the crown.
Stratford shoulders away the symbol of empty achievement as he kneels before his 'ghostly father'
Archbishop Laud, shortly himself to be decapitated, who extends his blessing through the bars of his cell.
Archbishop Laud's contemporaries accused him of 'unchurching' non-episcopal churches and of giving undue emphasis to the sacramental origins of bishops.
For example, we learn about readers of Foxe's book from
Archbishop Laud to John Bunyan, about the provenance of various copies, about how some copies were wom out from too much reading, about the explorers who carried the Book of Martyrs to the New World, and about the tendency of subsequent generations to add their own events (such as the Gunpowder Plot) to Foxe's master narrative.
In addition, he demonstrates how the changes within the Church of England brought about by
Archbishop Laud gave room for the Baptists to grow.
In 1638, too, Jones's handsome Classical screen was erected in Winchester Cathedral during the Episcopate (1632-47) of Walter Curl, largely at the desire of the King, prompted by
Archbishop Laud: it contained bronze statues by Le Sueur of the first two Stuart Kings (they can be seen in the Cathedral today) set in niches on either side of a centrepiece reminiscent of Serlio's drawing of the Arco dei Gavi in Verona.