In this study Natasha Constantinidou considers the views articulated by the scholars Pierre Charron (1541-1603), Justus Lipsius (1547-1606), Paolo Sarpi (1552-1623) and King James VI and I (1566-1625), in response to the religious ruptures of their time. Though rarely juxtaposed, all four authors were deeply affected by the religious divisions. In their works, they denounced religious zeal, focusing on non-dogmatic piety. Drawing on classical tradition and church history, they set out to offer consolation to the people of a war-torn continent and to discuss means of reconciliation. Their responses sought to define the role of religion in public and private. They emphasised the need for lay control of religious affairs as the only way of ensuring peace, whilst circumscribing belief and its practice to the private realm.

The Voice of Virtue illuminates the musical practices at the heart of the Neostoic movement that spread across French lands during the Wars of Religion in the latter half of the sixteenth century. Guided by twin reparative traditions granting music and philosophy therapeutic power, composers and performers across the embattled Catholic and Protestant confessions turned to moral song as a means of repairing personal and collective virtue damaged by the ongoing conflict. Moral song collections enlarged interest in Stoic philosophy by circulating its ethical program to a broader audience through attractive paraphrases of Stoic maxims set to music. Even more importantly, this skillfully composed repertoire of polyphonic song offered a multi-sensory moral practice that would have resonated powerfully for those well-versed in the paradoxes of the Stoic tradition. Bringing together a repertoire of little-known music prints, a rich visual culture, and an impressive body of literary and philosophical sources, The Voice of Virtue not only illuminates the influence of Stoicism on music, but also reveals that we cannot fully understand Neostoicism as an intellectual or cultural movement without accounting for its vibrant musical sounds. Virtue, as voiced in these Stoic practices, proves to be both rational and fully invested in the sensory processes of the singing body.

Long ghettoized within British and Irish studies, Catholicism and Recusancy in Britain and Ireland demonstrates that, despite many challenges and differences among them, English, Scottish, Welsh, and Irish Catholics formed strong bonds and actively participated in the life of their nations and their Church.

The story of the troubled accession of England's first Scottish king and the transition from the age of the Tudors to the age of the Stuarts at the dawn of the seventeenth century.

Constraint on Trial examines the life and thought of Dirck Volckertsz Coornhert (1522-1990). The self-made Coornhert was a notary, secretary, artist, poet, playwright, translator, theologian, but most of all, he was an intrepid controversialist, "born to contradict", indefatigable in his critique of the public church and sects. His main concern in polemics and disputations was the defense of freedom of conscience and advocacy of toleration. Coornhert's individualism made him eschew any restrictions on personal religious choice. His tolerationist writings, especially Synod on the Freedom of Conscience (1582) and Trial of the Killing of Heretics(1590), were rooted in his spiritualist belief system. He found inspiration in other protagonists of religious freedom, such as Sebastian Franck and Castellio, but his ideas were uniquely Coornhertian. He possessed an unrelenting drive to combat constraint, and regarded himself as "God's battering ram, meant to break down the prison of men's conscience".

This collection of essays, commissioned in honour of Andrew Pettegree, presents original contributions on the Reformation, communication and the book in early modern Europe. Together, the essays reflect on Pettegree’s ground-breaking influence on these fields, and offer a comprehensive survey of the state of current scholarship.

An investigation of modes of receiving and responding to Greek culture in diverse contexts throughout early modern Europe, in order to encourage a more over-arching understanding of the multifaceted phenomenon of early modern Hellenism and its multiple receptions.