Abstract
This paper analyses the scheme of imagery designed in about 1638 by Christopher Wren, dean of Windsor, for the chancel of East Knoyle parish church in Wiltshire. While Wren's close association with Lancelot Andrewes and the Laudian circle makes this scheme understandable as ‘Laudian’, its particular combination of picture and text accommodated a broader range of beliefs. The study of the theological content of the scheme, and of its intended manner of reception, sheds new light on the function of imagery within the pursuit of the ‘beauty of holiness’, drawing attention to the role it could play in establishing an active understanding of the liturgy.
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