If we are to account for a “decisive turn,” four questions must be asked, based upon the preceding considerations. First, what was the artistic ambience in seventeenth-century France that could have imposed a secular keyboard style upon a church-associated instrument? Second, what harpsichord composer or composers had sufficient contact with these organists to influence them to use a more secular style? Third, what stylistic similarities exist between that composer and the organists whose work he may have influenced? Fourth, are any of the same stylistic similarities present in the organ works of other seventeenth-century organ composers? By answering these questions, the writer intends to present evidence that Jaques Champion de Chambonnières was the inspirer of these four stylistic traits which appeared in French Baroque organ music during the second half of the seventeenth century. In so doing we shall regard his influence as a part of the cultural and artistic ambience which existed in France at that time.

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'The Art of War' studies the transition of the soldier from fighter to settler as it is reflected in the texts he produces. Drawing on texts written by soldiers, in English, between c. 1624 and 1685, it focuses on representations of events in Ireland from 1641-1655, that is to say, during the Catholic Confederation and the Cromwellian campaigns and settlement. The focus and methodology of the thesis seek to restore a more literary reading of seventeenth century texts from, and about, Ireland to the current vibrant historical debate on the period. It argues that the writings of the Old Irish, Old English, New English, and Cromwellian soldiers in Ireland draw on a variety of literary influences – the traces of Guicciardini and Machiavelli, Sidney and Spenser are clear. It also charts shifts in the genres of military writing from professional handbooks, to documents of civil policy, to romance, poetry, and the theatre. In doing so, it addresses the literary tools which the soldier-writer uses to define the self within a complex network of political, national, religious, and personal allegiances. The thesis is divided into three parts. The first, chapter one, explores the trafficking of military images between military handbook and literary text. It pays particular attention to Ireland as a borderland for the European Wars and the English colonial enterprise. The second part, comprising three chapters, examines three different perspectives on the Irish Wars. The first, that of the Old English writer Richard Sellings; the second, that of the anonymous Aphorismical Discovery; the third begins with a view of the 'Irish enemy' from England, as it is constructed and enforced in the pamphlet literature of the Civil War period, and ends with the perspective of Richard Lawrence, a Cromwellian soldier-turned-settler in the early 1680s. The third part, the fifth and final chapter, explores the controversies surrounding recent Irish history as they are played out in the wake of the Exclusion Crisis. This is followed by a brief conclusion.

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At least 65 of the books, pamphlets or broadsides printed in England in foreign vernaculars during the period covered by the Short Title Catalogue share a common characteristic: there is no clear indication anywhere on their title-pages, or within their colophons or texts, that they were printed in England and by English printers. Often the purpose of these ommissions was not so much to conceal the fact that the books were printed in England as to create a false impression that they were printed abroad. This thesis tries to resolve the various problems set by this class of book. As many as possible of the works have been identified, and bibliographical descriptions and photographs are given of all title-pages ornaments and capital initials contained in them. Although in the main printers have been identified through the presence of ornaments and initials to be found in other books which contain their full and clear imprint, occasionally supporting evidence of a different nature has been discovered and presented. The problems raised by these books are complex, and an Introduction of six chapters examines the background and origin of each individual item and attempts at the same time to trace the historical development of this distinctive branch of printing. Copies have been located in every major library in England and on the continent with the aim of discovering the trends and patterns of their sale and distribution, and it has been possible to distinguish sub-categories of these books which share a surprising number of characteristics. Thus in the period of nearly 90 years between the first of these publications, in 1552-3, and the delimiting date of 1640, there are three clear stages of evolution, each occupying approximately 30 years. The first, from 1553 to early 1584, is marked by the casual ommission of imprints. No fictitious imprints are found, and the motives of the various printers do not go beyond an implied intention to conceal the truth. The second stage begings in late 1584 and ends wwith the death of Sir Robert Cecil, Earl of Salisbury, in 1612. It was inaugurated by John Wolfe, a London printer who travelled and practised his craft in Italy and Germany before settin up shop in his own country. The privilege of printing certain profitable books was monopolised in late Elizabethan London by a small group of established printers, and newcomers often had difficulty in finding sufficient profitable material to keep their presses occupied. John Wolfe was one of these newcomers and in the course of his efforts to keep his presses busy he hit upon the idea of reprinting, in the original Italian, editions of well-known works by Machiavelli and Pietro Arentino which could no longer be produced in Italy after they had been placed on the recently-established Index Liborum Prohibitorum. There was no law of international copyright at that time, and in using fictitious impints in most of his early books in foreign vernaculars Wolfe was guided entirely by commercial considerations. English books printed in foriegn languages had a bad reputation in both foreign and domestic markets, since the insular English printer seldom had access to compositors with a reasonable grasp of foreign languages, and the occasional attempts to print in foreign vernaculars had usually resulted in inaccurate or even garbled texts. A statement made by John Charlewood to Giordano Bruno confirms this interpretation of Wolfe's motives; and it should be emphasised that at no time during this period did the English Government or the Stationers' Company express disapproval of the printing of any of these works. Wolfe naturally had his imitators. Charlewood in London and Joseph Barnes in Oxford both tried this expedient for increasing their sales of books in foreign vernaculars. Neither of them persevered, but the growing threat of Spanish invasion introduced a new motive for the use of fictitious imprints. The urgency of the times compelled Lord Burghley to write and get published a pamphlet called 'The Copie of a Letter ... to Don Bernadin de Mendoza'. This appeared in September, 1588, just after the news had been received of the English victory over the Spanish Armada. Its translation into Italian, specifically entered to John Wolfe, was produced with a fictitious imprint and it was the first piece of political propaganda to be surreptitiously printed in England in a foreign vernacular. Wolfe continued to produce books with misleading imprints for another three years, but in 1591 he virtually ceased to do his own printing and his place in this particular branch of the trade was taken by Richard Field. Field's first productions of this sort were his editions of the French translation of Burghley's pamphlet. These were followed by a group of books and pamphlets which are all but one characterised by bearing only the date, with occasionally a non-committal imprint such as "Nouvellement Imprimé". The exception, the Pedaços de Historia by Antonio Péres, bears the imprint: 'Impressoo in Leon'; but this was the only occasion that Field ever used a completely fictitious imprint. His later publications in this category consist of the books written by his Italian proof-reader, Petruccio Ubaldini, which appeared without any imprint at all, except for the date; and the books written, translated or edited by his Spanish proof-reader, Cipriano de Valera. The works produced by de Valera bear only Field's name translated into Spanish (Ricardo del Campo), and they have no geographical location. This imprint was designed to be misleading as most of these books were printed with the intention that some copies should be clandestinely exported to Spain. Thus during this second stage the motives of the authors and printers developed into a conscious aim of suggesting a false origin for their wares. The third stage extends from 1612 to the delimiting date, 164O. Salisbury does not seem to have been responsible for any surreptitiously printed political propaganda. After the death of his father he was by far the most powerful man in the English Government, and possibly it was because he did not use these tactics that no one else seems to have dared or cared to use them either. Three trends emerge in this final stage, and one of them may be noted in a pamphlet that was surreptitiously printed at the time of Salisbury's death. The surreptitiousness is only incidental, consisting of the omission of the imprint; and, as in the first stage, the imprint was left out rather because the edition was produced for a private order than because the printer had any intention to mislead or deceive. The second trend, concerned with the production of propaganda directed against particular groups of foreigners, was a continuation of the methods discovered by Wolfe and pioneered by Burghley. This had become a well-known and accepted strategem, and it was used on various occasions for definite purposes. The third trend, the production of illegal political propaganda directed against the home Government, was inaugurated in 1632 with Harper's edition of The Prince. It is hoped that this thesis will fill a gap in English bibliography. Books in English can be hard enough to identify when they contain authentic imprints. The problem becomes much more complicated when the books, although in English, were printed abroad with fictitious imprints, or when they were printed in England in foreign vernaculars but bore a fictitious imprint or no imprint at all. Messrs. Allison and Rogers have studied the problems of books printed abroad, and the present thesis tries to clear up some of the difficulties surrounding the books surreptitiously printed in England. Sixty-five titles are discussed, of which some two-thirds are not in STC.

This thesis examines the built environment and culture of Scotland between 1560 and 1645 by analysing church buildings erected during the period. The mid-sixteenth century ecclesiastical Reformation and mid-seventeenth-century political and ecclesiastical tumult in Scotland provide brackets that frame the development of this physical aspect of Scottish cultural history. This thesis draws most heavily on architectural and ecclesiastical history, and creates a compound of the two methods. That new compound brings to the forefront of the analysis the people who produced the buildings and for whom the church institution operated. The evidence used reflects this dual approach: examinations of buildings themselves, where they survive, of documentary evidence, and of contemporary and modern maps support the narrative analysis. The thesis is divided into two sections: Context and Process. The Context section cements the place of the cultural contributions made by ecclesiastical buildings to Scottish history by analysing the ecclesiastical historical, theological, and political contexts of buildings. The historical analysis helps explain why, for example, certain places managed to build churches successfully while others took much longer. The creative tension between these on-the-ground institutions and theoretical ideas contributed to Scotland’s ability to produce cultural spaces. The Process section analyses the narratives of individual buildings in several different steps: Preparing, Building, Occupying, and Relating. These steps connected people with the physical entity of a church building. The Preparing chapter shows how many reasons in Scotland there were to initiate a building project. The Building chapter uses financial, design, and work narratives to tease out the intricacies of individual church stories. Occupying and Relating delve into later histories of individual congregations to understand how churches sat within the world about them. Early modern Scottish church building was immensely varied: the position, style, impact, purpose, and success of church buildings were different across the realm. The manner people building and using churches reacted to their environments played no small role in forming habits for future action. Church buildings thus played a role establishing who early modern Scottish people were, what their institutions did, and how their spirituality was lived daily.

The Reformed church in Hungary and Transylvania had extensive connections with western Calvinist churches during the early seventeenth century, and became more closely linked with co-religionists abroad during this period. In this thesis I shall examine the ideology and shared interests of this international Calvinist community, and assess the significant impact which contacts with fellow Calvinists beyond Hungary's borders had on the development of the Hungarian Reformed church. The early seventeenth century saw increasing numbers of Hungarian student ministers travel to western Reformed universities, western Calvinist teachers travel to work in Hungarian schools, and the transfer and translation of foreign Reformed theological works for use in Hungary and Transylvania. This pattern of broad engagement with western Europe heavily influenced the development of education in the Reformed schools of Hungary and Transylvania, as well as the forms of worship and ceremony adopted by the Hungarian Reformed church. Godly princes, godly gentlemen and clergy were partners in the building-up of the Reformed church of Hungary and Transylvania. The church was indeed reliant in the early seventeenth century on patronage and support from a series of Reformed Transylvanian princes, and from Hungarian nobles. The continuing commitment of these parties to further religious reformation in the region was challenged by some Reformed ministers who, inspired by their experience of Calvinist churches abroad, sought to introduce presbyterial government and reforms of church ceremony and discipline, an agenda dubbed locally as Puritanism. International Calvinist contacts however largely served to bolster the theological orthodoxy of the Reformed community of Hungary and Transylvania against its confessional rivals, invigorating the Reformed church's zeal to defend its position with a stridently anti-Catholic ideology. Comparisons with other Reformed churches reinforced commitment in Hungary to tighten standards of discipline with an ethos of morality which was distinctively Reformed. International Calvinism therefore assisted the Reformed confessionalisation of Transylvania and eastern Hungary in the early seventeenth century. However the ties binding Transylvania with the rest of the Calvinist world in this period also encouraged Transylvania's princes to adopt a diplomatic policy of Protestant cooperation tinged with apocalyptic ideas, which was ultimately to jeopardise the stability of the principality and the place of Reformed religion in east-central Europe.