appears to apply to all parish churches. War, in fact, was denounced
against Satan's Congregation; {81b} if it troubles the Lords'
Congregation, there could therefore be little idea of tolerating their
nefarious creed and ritual.

Probably Knox, at Dieppe in 1557 and early in 1558, did not know about
the promising Band made in Scotland. He was composing his "First Blast
of the Trumpet against the Monstrous Regiment of Women." In England and
in Scotland were a Catholic Queen, a Catholic Queen Mother, and the Queen
of Scotland was marrying the idolatrous Dauphin. It is not worth while
to study Knox's general denunciation of government by ladies: he allowed
that (as Calvin suggested) miraculous exceptions to their inability might
occur, as in the case of Deborah. As a rule, a Queen was an "idol," and
that was enough. England deserved an idol, and an idolatrous idol, for
Englishmen rejected Kirk discipline; "no man would have his life called
in trial" by presbyter or preacher. A Queen regnant has, ex officio,
committed treason against God: the Realm and Estates may have conspired
with her, but her rule is unlawful. Naturally this skirl on the trumpet
made Knox odious to Elizabeth, for to impeach her succession might cause
a renewal of the wars of the Roses. Nothing less could have happened, if
a large portion of the English people had believed in the Prophet of God,
John Knox. He could predict vengeance on Mary Tudor, but could not see
that, as Elizabeth would succeed, his Blast would bring inconvenience to
his cause; or, seeing it, he stood to his guns.

He presently reprinted and added to his letter to Mary of Guise, arguing
that civil magistrates have authority in religion, but, of course, he
must mean only as far as they carry out his ideas, which are the truth.
In an "Appellation" against the condemnation of himself, in absence, by
the Scottish clergy, he labours the same idea. Moreover, "no idolater