Archbishop of Canterbury Justin Welby sets out a radical vision for 21st century Britain in this updated paperback edition. It is now three years since Justin Welby first published his Reimagining Britain. The fundamental message of that book remains as urgent as ever. But in this revised and expanded edition, Welby has taken fully into account the impact of the COVID-19 pandemic, Brexit and all the social and political unrest that has ensued. If anything, the new edition of Archbishop Welby's book is even more important than its predecessor. Here is a radical vision for 21st century Britain. The thesis of this book is that the work of reimagining is as great as it was in 1945, and will happen either by accident – and thus badly – or deliberately. Welby explores the areas in which values are translated into action, including the traditional three of recent history: health (especially public, and mental), housing and education. To these he adds family; the environment; economics and finance; peacebuilding and overseas development; immigration; and integration. He looks particularly at the role of faith groups in enabling, and contributing to, a fairer future. When so many are immobilized by political turmoil, this book builds on our past to offer hope for the future, and practical ways of achieving a more equitable society.

In this, the first comprehensive study of post-Reformation provincial English portraiture, Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for portraiture of this era as more than the familiar court-and-London based presence, but rather as a phenomenon which was surprisingly widespread, both socially and geographically, throughout the realm. He suggests that provincial portraiture differed from the 'mainstream', cosmopolitan portraiture of the day in its workmanship, materials, inspirations, and even vocabulary, showing how its native English roots continued to guide its production. Innovative chapters consider the aims and vocabulary of English provincial portraiture, the relationship of portraiture and heraldry, the painter's occupation in provincial (as opposed to metropolitan) England, and the contrasting availability of materials and training in both provincial and metropolitan areas. The work as a whole contributes to both art history and social history: it speaks to admirers and collectors of painting as well as to curators and academics.