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Some eighty years after the Reformation, the brief span of the Anglican Counter-Reformation in the 1620s and 1630s saw a revival of the arts in the Church. With the rise of a `High Church' movement, initiated by Lancelot Andrewes and propelled by William Laud, John Cosin and Matthew Wren, the arts of religion flourished once again. New churches were built, and cathedrals and parish churches began to install new furnishings that were appropriate to the ceremonial forms of worship now being introduced. Painted glass, religious painting and sculpture, and ornate screens, font-covers and tombs all re-appeared. Sacred music enjoyed a revival too, as cathedral and chapel choirs required an enlarged repertoire for the more complex services that the Laudian movement favoured. The heightened mood of piety also found expression in a remarkable flowering of devotional poetry and prose. All these are discussed in this remarkable book.    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In his Second Defence of the English People (1654), reflecting on his career as a prose writer, prior to embarking on the composition of Paradise Lost, John Milton identified 'three varieties of liberty without whichcivilized life is scarcely possible, namely ecclesiastical liberty, domestic or personal liberty, and civil liberty'. In retrospect he was able to find in his earlier writings a systematic exposition of the grounds of freedom, and a commitment to expanding its domain through publication and polemic. 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In the case of religious verse, the poetry is read within its devotional context, which in turn is related to the fortunes of the Church of England in Stuart and Commonwealth times. The book also pays serious attention to the millenarian strain which ran through religious poetry at this time.  Graham Parry has selected nine poets, both well and lesser known: Jonson, Donne, Herrick, Milton, Herbert, Crashaw, Vaughan, Traherne and Marvell. For each, he considers individual volumes of poetry as they originally appeared and by analysing their structure and layout, as well as the content of the poems, he shows us what effects the poets aim to produce on their audience. In bypassing conventional groupings of seventeenth-century poets, and in emphasising the historical and social context in which they wrote, the author provides students with a fresh and illuminating perspective on their work. 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