'With great learning and understanding Margaret Aston explains the
attempts to persuade the English people that the holy could not be
served by art ... This book's importance in making comprehensible
so traumatic a conversion can hardly be exaggerated.' Susan
Brigden, Lincoln College, Oxford
Times Higher Educational Supplement
'Laws against Images lays the groundwork for what will certainly be
a definitive study, its scholarship vastly superior to that of the
only other monograph on this strangely neglected topic, The
Reformation of Images.'
Patrick Collinson, TLS
'This is a much-needed book. She does not merely give us the
15th-century background her readers will expect: she gives us the
Byzantine background of the iconoclastic controversy. Never again
will we need to search our sources to see when Jewel and Foxe were
quoting truly and when they were tailoring their sources: we can
check what was available to them, and how they used it. The book's
strength on Lollardy is expected'
Conrad Russell, London Review of Books
'extraordinarily authoritative first part'
The Burlington
'The chapters are ... richly furnished with extract and
illustration of every kind; the flavour and character of the
preoccupations of the English iconoclasts is conveyed elegantly and
convincingly. We look forward to the completion of a needed and
invaluable resource.'
G.R. Evans, Journal of Theological Studies
'great work ... a valuable feature of this extraordinary
authoritative first part is the way in which the author deals with
the arguments for and against images put by the Lollards and their
forebears up to and beyond the Reformation ... Aston has included
an especially impressive critical apparatus'
Nigel Llewellyn, University of Sussex, Brighton, The Burlington
Magazine
`This first installment of a two-volume magnum opus is scholarship
at its fullest: ambitious in scale, massively learned,
interpretively resourceful.'
Church History
'one of the most important books on the English Reformation to have
appeared for more than a generation ... it represents the fruits of
many years' work as well as a breadth of vision and a maturity of
scholarship that is rarely found today'
Ian Green, Queen's University, Belfast, History No. 243 Feb
1990
'fascinating first volume ... attractively written, widely
researched, formidably learned and intricate, and its footnotes are
a treasury of unexpected information'
Christopher Haigh, Christ Church, Oxford. EHR Apr 90
'erudite and compelling ... Margaret Aston recreates effectively
the intellectual and ideological context of the sixteenth-century
reform of images in England.'
Gervase Rosser, The Ricardian, Vol VIII, No 110, Sept 1990
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