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K. Hen. 7. The Image of the true Catholicke Church of Christ.

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Part of the pictorial amplification of the 1570 edition of the Acts and Monuments, with its heightened animus against the pope, was the sequence of twelve woodcuts entitled 'The proud primacy of popes painted out in tables'. This polemical addition, like the huge ten Persecutions woodcut at the beginning of the book with which it was linked, textually and iconographically, was added at the end of volume one as part of a last-minute declaratory response to the 1570 papal bull excommunicating Elizabeth, causing considerable hiatus to the formatting of the book. Like the enormous prefatory 'Table', 'the proud primacy of popes' drew on traditional as well as Reformation iconography. Of these twelve woodcuts one was a repeat. This was the Canossa scene considered above, which was an obvious odd man out in the series, being smaller than the rest. It seems likely that whoever designed the others in this series drew on existing exemplars, and there were plenty of sources, pre- as well as post-Reformation. Here, as in the Ten Persecutions picture, the illustrators drew on a range of precedents, and in both instances it is clear that continental sources were a model. An important text was Cranach's Passional Christi und Antichristi of 1521, with its paired contrasting images of the life of Christ and Antichrist, demonstrating the antithesis between Christ's simplicity and papal pomp. The influence of Cranach's images is clear in the fourth and twelfth of the Foxe series, showing the emperor kissing the pope's feet, and the pope being pope 'carried on men's shoulders' in a canopied litter -- itself an image of neutral content that had acquired contentious meaning. The opening woodcut for this section depicts an emperor watching scenes of savage persecution. It may have been designed to illustrate persecutions of the early Christians. It certainly bears a marked resemblance in style and composition to the woodcut of the ten persecutions of the early church. Perhaps it was even a prototype for that larger woodcut, put to use in this section. Like the huge prefatory woodcut this illustration shows the designer borrowing from Dürer's Martyrdom of the Ten Thousand.in its presentation of the terrible eye-boring, and in the figure of the emperor on the left. These resemblances suggest that work on the two pictorial additions were carried out in tandem. There is a peculiar dislocation between the the seated emperor and the tortures over which he presides, that seems to call for explanation. The figure of the enthroned emperor on the left is incongruous on several counts. He and his courtiers are huddled into a very small space; they also appear out of proportion with the other figures in the woodcut; they are almost twice the size of the torturers. It is also noteworthy that the seated ruler and his courtiers, unlike the other figures in the woodcut, bear marked similarities in style to depictions in other woodcuts in this section of the Emperor Constantine. It is therefore possible that the figure of the emperor and his courtiers were actually part of a larger picture carved on a separate block, which was then joined to the original woodcut to make a more suitable picture for this section. CUL copy: this is the first use in the volume of a heavy, thick royal blue for clothing. There is considerable detail provided in the colouring in of this picture, such as in the wounds inflicted. See, for example, the wounds of the man being savaged by lions in the background. It appears likely that a different painter worked on this section, the Proud Primacy, from the rest of the volume; some of the stock of colours and techniques employed are different. WREN copy: the clothes in this copy are not as detailed as in the CUL copy but this could be due to damage. The blood flecks added to this copy are cruder. The curtains are in green.

The proude primacie of Popes 
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Proud primacy of the popes

The lack of pagination for this section (at least in the 1570 edition where it first appeared) is almost certainly because it was a late insertion into thetext. It is also almost certain that this section was a response to the revolt of thenorthern earls in 1569 and the papal deposition of Elizabeth at the beginning of 1570. This section is illustrated with a dozen woodcuts depicting historical, or putatively historical, instances of papal dominance over secular rulers. All but one of thesewoodcuts was newly created, apparently for this section. (The woodcut depicting thehumiliation of Henry IV at Canossa, which had been used earlier in the volume, wasreused in this section). The expense involved in creating these woodcuts suggeststhat Day may have received financial support for producing this section. It iscertainly true that Archbishop Parker aided Foxe in researching this section.

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Yet while the carving of the woodcuts must have taken weeks, if not months,it would appear that the text for this section was composed fairly quickly. This section consists of a summary of the rise of the papacy, an exegesis of passages in St Paul's second letter to the Thessalonians identifying the Antichrist, as well as a summary of papal attempts to depose and dominate European rulers. This sectionconcludes with 'The Image of Antichrist', which, in turn, is an exact reprinting of ananonymous work, A solemne contestation of diverse popes for the advancing of their supremacy (London, 1560), STC 20114, which had been printed by John Daya decade earlier. (For a discussion of this work, and an argument that Foxe himselfcompiled it, see Thomas S. Freeman, 'A solemne contestation of diverse popes: A Work by John Foxe?', English Language Notes 31[1994], pp. 35-42). Apart from nuggets of information contributed by others, there is littlenew research in this section, which largely reiterates episodes already described in theActs and Monuments. What is striking, however, are the important borrowings, acknowledged and unacknowledged, from William Tyndale's Practice of Prelates. Foxe did not normally cite Tyndale's work, probably because he had access to better and more detailed sources. But in this section, Foxe gives an indication of the impact that Tyndale's interpretation of history had on his thought.

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Thomas S. Freeman
University of Sheffield

paynted out in Tables 
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The phrase, 'paynted out in tables' means illustrated with woodcuts.

, in order of their rising vp by little and little, from faythfull Byshops and martyrs, to become Lords and gouernours ouer King and kingdomes, exalting themselues in the Temple of God, aboue all that is called God, &c. 2. Thessalonians. 2. 
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This title quotes 2 Thess 2:4, which was understood in the sixteenthcentury as a prophecy of Antichrist.

MarginaliaThe martirdome of good bishops vnder wicked Emperours in the primitiue Church.IN the Table of the primitiue Churche aboue described, hath bene (gentle Reader) set forth and exhibited before thine eies the greeuous afflictions and sorowfull tormentes, which thorough Gods secret sufferance, fell vpon the true Saints and members of Christes Church in that time, especially vpon the good Bishops, Ministers, and teachers of the flocke: of whome some were scourged, some beheaded, some crucified, some burned, some had their eies put out, some one way, some another, miserably consumed: which daies of wofull calamitie cōtinued (as is foreshewed) neare the space of CCC. yeares. During which time, the deare spouse and elect Church of God, being sharply assaulted on euery side, had small rest, no ioy, nor outward safetie in this present world, but in much bitternes of hart, in continuall teares and mourning vnder the crosse passed ouer their daies, being spoiled, imprisoned, contemned, reuiled, famished, tormented and martired euerywhere, who neither durst well tarie at home for feare and dread, and much lesse durst come abroade for the enemies, but onely by night, when they assembled as they might, sometimes to sing Psalmes and Hymnes together. In all which their dreadfull dangers, and sorrowfull afflictions, notwithstanding the goodnes of the Lord left them not desolate: but the more their outward tribulations did increase, the more their inward consolations did abound: and the farther off they seemed from the ioyes of this lyfe, the more present was the Lorde wyth them wyth grace and fortitude, to confirme and reioyce theyr soules. And though theyr possessions and riches in this world were lost and spoyled, yet were they enriched wyth heauenly giftes and treasures from aboue an hundreth fold. Thenwas true Religion truely felt in hart. MarginaliaThe true riches of the Church desribed.Then was Christianitie not in outwarde appearance shewed, but in inward affection receaued, and the true image of the Churche not in outwarde shew pretensed, but in her perfect state effectuall. Then was the name and feare of God true in hart, not in lippes alone dwellyng. Fayth then was feruent, zeale ardent, prayer not swimming in the lippes, but groned out to God from the bottome of the spirite. Then was no pride in the Church, nor laysure to seeke riches, nor tyme to keepe them. Contention for trifles was then so far from Christians, that well were they when they could meete to pray together agaynst the Deuill, authour of all dissention. Briefly, the whole Churche of Christ Iesus, wyth all the members thereof, the farther it was from the type and shape of this worlde, the nearer it was to the blessed respect of Gods fauour and supportation.

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¶ The first rising of the Byshops of Rome.

MarginaliaThe first rising of the Bishops of Rome.AFter this long tyme of trouble, it pleased the Lord at length mercifully to looke vpon the Saints and seruauntes of his sonne, to release their captiuitie, to release their miserie, and to binde vp the old Dragon the Deuill, which so long vexed them, whereby the Church began to aspire to some more libertie: and the Bishops which before were abiects, vtterly contemned of Emperours, through the prouidence of God (which disposeth all things in his time after his owne will) began now of Emperours to be esteemed and had in price. Furthermore, as Emperours grew more in deuotion, so the Bishops more and more were exalted, not only in fauour, but also preferred vnto honour, in so much that in short space they became not quarter maisters, but rather halfe Emperours with Emperours.

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Marginalia

The spirituall riches of the Church turned to worldly riches.

Ex libro Serm. Discipuli.

After this in processe of tyme, as richesse and worldly wealth crept into the Cleargye, and that þe diuell had poured his venome into the Churche (as the voice was heard þe same time ouer Constantinople) 
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This is a reference to a story that states that when the Donation ofConstantine was presented to the pope, a heavenly voice was heard in both Rome and Constantinople, crying in the air, 'Woe, woe woe! Today venom is poured into the church of God'. There were numerous medieval and Reformation versions of the story. In fact, Sir John Oldcastle had quoted this passage at his trial and Foxe had already printed it (1563, p. 269; 1570, p. 669; 1576, p. 541 and 1583, p. 562).

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so true humilitie began to decay, & pride to set in his foote, till at last they played as the Iuy doth with the Oke tree, which first beginning with a goodly greene shew, embraceth him so long, till at length it ouergroweth him, and so sucketh all his moisture from him, setting his roote fast in his barke, till at last it

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