Plays and Representations

Lollards often objected to any visual representation of religious subjects, including paintings, illuminations, and sculptures (even crosses) (see “Lollardy Trials,” p. 59, “Censorship,” p. 242, and the “Chaucer portrait: Thomas Hoccleve, Regiment of Princes,” p. 141). Such a rejection of images was part of a more general late medieval desire for unmediated communication with God and a relationship that was also outside established institutional conventions. Criticisms of … Read the rest