When James i called the Hampton Court Conference, the ‘godly’ were hopeful that the ceremonies of the Book of Common Prayer might be further reformed to bring the Church of England more into line with the ‘best Reformed Churches’. Their hopes were unfulfilled, for James was drawn to the order and decency of the English liturgy. One of his favourite court preachers, Lancelot Andrewes, was already privately enriching the text of the liturgy in his own chapel, and was using incense and candles, because of the need for the ‘beauty of holiness’. This cause was espoused and furthered by the Durham House Group, or Laudians as they came to be called, under the patronage of Bishop Richard Neale of Durham. Graham Parry sets out to document and describe this concern for ceremony and the beautifying of church buildings. In fact, as he shows, the aesthetic dimension was one which influenced some who did not otherwise espouse the doctrinal views of the Durham House divines. Hence the title, The arts of the Anglican Counter-Reformation. Parry outlines the development of ceremonial and music under John Cosin at Durham which prompted the bitter denunciations of Peter Smart. He also draws attention to the importance of an anonymous work by ‘R.T.’, De templis, published in 1638, which discussed ceremonial in the Old Testament, and speculated on the worship of the early Christians. This Counter-Reformation is illustrated in the renovations of the cathedrals and some of the Oxford and Cambridge college chapels. Chapters on the furnishings of the Church, devotional works for private worship and on church music illustrate the wider influence of Laudian fashion, which was more popular than Laudian theology. This is an extremely detailed and well-written study, though marred slightly by anachronistic terminology. The word ‘Anglican’ is not really applicable until after 1662, and ‘English’ would have been a better term in the title. Also the use of ‘Anglo-Catholic’ for the seventeenth century is reprehensible. Furthermore, Parry's Laudian waters are muddied by trying too much to link this group with Richard Hooker and George Herbert. Hooker showed little interest in developing ceremonial, and George Herbert's High Churchmanship, as Daniel Doerksen has shown, was not that of the Durham House Group at all. Parry's Herbert was the creation of Isaak Walton to serve the post-Restoration Church. Perhaps the most seminal part of this work is the discussion of the anonymous De templis. The seventeenth century is littered with works trying to recreate the Jerusalem temple and work out the dimensions of the temple of the New Jerusalem. This was an international venture, with Jesuits, Church of England divines and continental Reformed churchmen all trying to reconstruct the original, and apply this to church buildings and interiors. It is such works that Sir Christopher Wren studied and used in his designs for rebuilding the London churches, and there is good reason to believe that a Catholic commentary on Ezekiel's temple vision influenced John Davenport's choice for founding the colony of New Haven. Parry's chapter might inspire a whole new work devoted to tracing that particular seventeenth-century quest.