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t light is the basis of all creation. From the Bible, “This is themessage we have heard from him and proclaim to you, that God is light, and in him isno darkness at all. (1 John.15) “The conclusion can be drawn that all creation is areflection of God’s glory and all creation rests on light. God is pure light and creation isreflected light. It also reflects that the sun radiates light in a very dominant, constant andeternal way.
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Chapter TwoVisualized Politics and the Royal Captivity of the Church in February Eclogue

This eclogue contains a discourse of old age in the person of Thenot, an old,crookedness and unlustiness shepherd, who is scorned of Cuddy, an unhappyherdsman’s boy. According to the season of the month, the year at this time wasdrooping and drawing to last age of Thenot. For as in this time of year so then in ourbodies there is a dry and withering cold which conceals the crude blood and freezes theweather-beaten flesh with storms of Fortune and hoar frosts of care. To which purposethe load man tells a tale of the Oak and the Briar so lively as if the thing were set forthin some picture before our eyes, more plainly could not appear.

A. Visualized images and the Patronage in the February Woodcut
The February eclogue gives a critique of patronage. In this eclogue of ShepeardesCalender, the key to that critique is the fable of the Ambitious and spiteful “brier”, whoinduces the husbandman to cut off the oak tree. A patronage and rhetorical strategieswas played out through it which was woven into the fable. It is the court’s exploitationof the church to provide fuel for the system of royal rewards that is its focus.The officially moderate tone and philosophical tidiness of the rationales for theCrown’s supremacy over the church should not blind us to the blunt exercise of power itentailed, the flavor of which is expressed by the queen’s words to bishop of Ely: “proudprelate, you know what you were before I made you what you are now. If you do notimmediately comply with my request, I will unforck you, by god.” The dominion of thechurch was inextricably bound up with patronage, an institution integral to the Crown’spower because it centralized the distribution among courtiers for material and symbolicbenefits the Crown could confer. In order to maintain the power patronage provided, theCrown had to replenish the system with new wealth, a major source of which was thechurch.Patronage has played an important role in criticism, often serving as an explanatoryparadigm in the interpretation of Renaissance literature. In that role however, patronagehas generally been described as of institution dynamics central to political power. TheFebruary eclogue which writers bridled from time to time at the constraints of thepatronage system, there has not been adequate recognition of the capacity of the earlymodern artist to analyze its dimensions of patronage, while demonstrating how eventhose institutions in which the artist is implicated can be subject to his scrutiny. It isparticularly valuable in reminding us that patronage in Elizabethan England was notonly a practice affecting courtiers and what we would now call the civil service, but ithad decisive effects on the institutional church as well.
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B. Effects of The Crown’s Plunder
The Crown’s plunder of the church had several important effects. First, it impairedthe system of socia