The fifth use of this cut in the last two books in 1583.

Bishop Bonner (who perhaps scarcely needed the label attached to his garden wall in this woodcut) is particularly vivid in his characterisation here as the fat unlaced figure of ridicule acting as master of devilish ceremony. There was no mistaking his outrageousness, as he beat the prisoner John Willes so hard that he wore out his willow scourge and turned to a birch one, drawing so much blood that even his attendants recoiled. This was a device used elsewhere by the illustrators, and here all eyes are averted from Bonner's actions - the two clerks confer on their own, the servants coming in with a fresh birch whip turn away, and the man whose job it is to hold down the unfortunate prisoner covers his eyes. Bonner, who died in 1569, was still alive when the first edition of the Acts and Monuments appeared, and according to John Harington's later story, when shown his picture in the work laughed and said, 'a vengeance on the foole, how could he get my picture drawn so right?' In conflating the accounts of this episode in the text the illustrators took some liberties, for instance with the 'lad' bringing the new birch rod, and the victim, Thomas Hinshaw - reported as aged 19 or 20 - both of whom appear older. They were ready to rise above the specifics of textual fidelity in order to produce an image of Bonner's personal cruelty on a par with the corporate cruelties of the persecuting 'true Catholic Church of Christ' (represented in the first woodcut of 'The Proud Primacy of Popes' series, 1570, sig. nnir; 1576, p. 756; 1583, 780. Play on Bonner's name added to the visual exploitation of his character. What good qualities could be found in this bishop who combined the role of ruthless persecutor with the rauncy as well as the pauncy Vice of old comedy fame? The point was made in a simple pun. 'Boner' for Bonner ('Bono' inscribed on the wall behind him - very much the contrary of its Latin meaning (bonus, good).