The Christian Cabala, a Christianised version of Jewish mysticism originating in Renaissance Italy, reached England in the early sixteenth century and was met with a variety of responses from English Catholics in the Reformation period. While ‘cabala’ was used as a slur by both Protestant and Catholic polemicists, Robert Persons drew positively from the work of the Italian cabalist Pietro Galatino, and in 1597 Sir Thomas Tresham, then a prisoner at Ely, described in detail a complex cabalistic design to decorate a window. While the Christian Cabala was only one source of inspiration for Tresham, he was sufficiently confident in his cabalistic knowledge to attempt manipulations of names of God in his designs for the window at Ely and to insert measurements of cabalistic significance in the gardens on his Lyveden estate. Persons’s and Tresham’s willingness to draw on Christian cabalism even after its papal condemnation suggests the intellectual independence of English Catholics, who were prepared to make use of esoteric traditions to bolster their faith. The evidence for experiments with cabalism by a few English Catholics highlights the need for further re-evaluation of the significance of esoteric traditions within the English Counter-Reformation and the eclectic nature of post-Reformation English Catholic mysticism.

St Alban’s English College in Valladolid, established at the height of the Catholic Reformation for the training of English secular clergy under the rule of Spanish Jesuits, underwent an alteration in its management after the expulsion of the religious order from Spain in 1767. As part of this process, numerous valuable archival records were produced which have not, thus far, been studied. This article analyses a portion of these documents: the surviving manuscript inventories of the library. It also considers the series of governmental orders issued by the Spanish authorities as part of the process of expulsion and examines how these orders shaped the production of the library inventories. It offers an overview of the contents of the catalogues, with descriptions of some of those specific book entries that make these inventories unique. The study of these archival documents provides insight into, and understanding of, a key moment in the College history: its shift from Spanish Jesuit control to an English secular one and the difficulties that the Spanish authorities faced because of this change in the College’s national identity.

This article offers a reading of nineteenth-century Roman Catholic theology through the sacred art produced by and for women religious. The practices and devotions that the article explores, however, are not those that drew from the institutional Church but rather from the legacies of mysticism, many of which were shaped in women’s religious communities. Scholars have proposed that mysticism was stripped of its intellectual legitimacy and relegated to the margins of theology by post-Enlightenment rationalism, thereby consigning female religious experience to the politically impotent private sphere. The article suggests, however, that, although the literature of women’s mysticism entered a period of decline from the end of the Counter-Reformation, an authoritative female tradition, expressed in visual and material culture, continued into the nineteenth century and beyond. The art that emerged from convents reflected the increasing visibility of women in the Roman Catholic Church and the burgeoning of folkloric devotional practices and iconography. This article considers two paintings as evidence that, by the nineteenth century, the aporias1 of Christian theology were consciously articulated by women religious though the art that they made: works which, in turn, shaped the creed and culture of the institutional Church. In so doing, the article contributes to the growing body of scholarship on the material culture of religion.