This image is unique in the work in being composed as a series of six separate panels, somewhat in the form of a narrative strip, as used in early sixteenth century woodcuts. Each panel accordingly bears its descriptive text, but the pictorial presentation is complicated by the central scene at the top of the poisoned king being portrayed within a cartouche, framing it as an image within the image. Rather oddly, it may seem, the narrative sequence runs serpentine fashion from top right to bottom left, starting with the absolution of the poisoner and ending with the mass for his soul. The foldout form of the illustration in 1563 perhaps made this order more obvious. It is to be noted that the illustrator set the elevation of the host by the monks of Swineshead not only at an altar with lit candles but also in a church or chapel with stained glass windows (an art form that remained visible in English churches in Foxe's day, to the anguish of Puritan purifiers). The central scene of the king receiving the poisoned cup has been seen as a parody of transubstantiation and the mass. Possibly the woodblock for this image ended up serving other uses, after leaving Foxe's book and being cut up. The British Musuem has a print of the two left panels which at first glance could be taken to be self-sufficient, though small traces of the hatching of the adjacent panel point to its lost neighbours. As with the previous illustration, this one appears to have inspired authors of the seventeenth century. In his play The Female Prelate (1680), for example, Elkanah Settle describes the Duke of Saxony: 'Poisoned by a Priest, his savage Confessor, / That curses Slave that fed upon his Smiles, / Fill'd the dire Bowl, and whilst the canting / Villain was whispering Heaven into his Ear, could lift / Damnation to his Lips.' Later in the play, the son and successor of the slain duke declares to the murderer, 'I will bequeath my dukedom to paynters and engravers to revenge me. There's not the humblest roof in all the principality of Saxony, that shall not have thy face drawn to the life in hell'. CUL copy: the monks' outfits are in greyish black. There is some considerable attention to detail in these robes – particularly in the scene of the monk removing the lid from the cup in the bottom central scene. Note that in the bottom left image, the stained glass windows have not been coloured in, except for the top left figure, which is covered crudely with blue paint.The priest elevating the host is dressed in white with a purple robe, which has blue lining. Note also the attention to detail in the frog from which the monk is extracting poison: it has a green belly with reddish limbs and head. WREN copy: the stained glass remains uncoloured and there is some poor detailing in black ink.