The Emergence of Pastoral Authority in the French Reformed Church, c.1555-c.1572 offers an account of the issues and ambiguities connected to the implementation of the authority of the first generation of Geneva-trained French Reformed pastors.

To understand the great theologians of the past, we must understand the circumstances that formed them. In the newest volume of the Reformed Historical Theological Studies series, Martin I. Klauber and his troupe of capable historians survey the history and doctrine of the French Reformation. This volume provides a quality introduction to French Reformed theology that will help readers grasp the political and ecclesiological climate in which Reformed like giants John Calvin and Theodore Beza wrote.

In Lay Activism and the High Church Movement of the Late Eighteenth Century, Robert M. Andrews presents a biography of the late eighteenth-century High Church layman, William Stevens (1732-1807), elucidating his influence within the High Church movement of his day.

In this book on The Arnhem mystical sermons, Ineke Cornet offers the first in-depth study of the mystical and theological content of this sixteenth-century sermon collection from St. Agnes in Arnhem.

This transhistorical, international and interdisciplinary work will be of interest to students, theater professionals and Shakespeare scholars.

The Dutch painter Jan Steen (1626-1679) has long enjoyed a reputation for his dissolute life, redeemed only by a keen eye for the follies of his contemporaries and an exquisite ability to capture his observations in paint. Steen's paintings of unruly households, rambunctious revels, and wily seductresses have come to define our image of the delicious and immoral excesses of the Golden Age. But rather than simply recording the illicit pleasures of Dutch burghers and peasants, Steen transformed them into ambitious genre paintings that rival the peasant epics of Bruegel the Elder and jest with the genteel idylls of Vermeer and Terborch. By placing Steen within Dutch society and culture of the seventeenth century, Mariet Westermann shows how the contradictions and parallels between his life and his art were essential to his innovative achievements. In a detailed analysis of his career and audience, she suggests how Steen became a comic painter and why his pictures appealed to prosperous urban connoisseurs. Documented throughout with seventeenth-century jokes, poems, and plays, The Amusements of Jan Steen gives the first full account of Steen's creative relationship to comic literature and performance.