This small cut is one of the two single-column blocks (that of Thomas Wattes, small cut [e] is the other) that show a martyr in an unlit pyre and with the pikes of armed men in the background. It too was repeated, though only once in the last two books of 1583, at page 2047. It already had a chip in its frame in 1570.

In conjoining two adjacent reports in the text, this woodcut appears (unusually) to misrepresent Foxe's account, by showing prisoners from two different prisons confined in one place. In 1570 Foxe changed his first report of the prisoners' locations, but the story still involved two prisons. The three men shown seated in the stocks (finally identifed as Thomas Leyes, John Wade and George King), part of the group of ten accused, some of whom featured in the illustration a few pages earlier, were indeed reported as awaiting trial by Bonner in the Lollards' Tower (the southern of the two western towers of old St Paul's Cathedral). There they became so ill that they were confined to houses in the city where they died. William Andrewe however, an Essex carpenter who had been sent up to the council by Sir Richard Rich, was imprisoned in Newgate after examination by Bonner. Depicted here collapsed on the straw, seemingly as broken as the pitcher beside him (his condition attributed in the text to 'straite handlynge' in prison) he died m Newgate. The author's verification of his stories is reflected in the changes of the prisoners' names. In 1563, the central figure in the stocks was labelled 'Ri. Smith', but in 1570 and thereafter, probably because of doubts about his reported death in prison, Smith was replaced by the correct name of John Wade. George King was named Thomas in 1563, corrected to George in 1570. The typeface label for Andrewe, originally set upside down as 'Androws' (1563) and then 'Andrew' (1570), was only placed the right way up in the block in 1583. This illustration therefore shows the endeavour to provide accuracy, as reflected in the changes to the names, combined with the pictorial licence of representing in one prison individuals who were incarcerated in different places. However, the latter procedure may be seen as analogous to the temporal elisions that appear elsewhere (with separate episodes of one narrative being set in a single picture frame), itself an old and accepted device of pictorial narrative. A comparable picture of prison stocks appears in the scene of 'Maister Philpots beyng in the Colehouse'.