The fresh format and illustrative input of the 1570 edition included grand new woodcuts to mark important phases of the remodelled text. Important among these was the image of Henry VIII triumphing over the pope. Regal assurance and papal dismay are here affirmed in full. The king himself, enthroned in state, central and corporeally impressive, presides over the collapsing and confused posse of papal supporters who are doing their best to rescue the falling Pope Clement who has become the royal footstool. The calm that prevails above, as Archbishop Cranmer, supported by Cromwell, receives the Bible at the king's hands, is matched by the confusion below of Bishop Fisher and the cardinal and frenzied friars who cling onto their triple cross as the papal mitre falls apart, and a hasty getaway on the caparisoned horse remains the only hope. Despair (witness the group bottom right) is all that remains for papal pomp and presence. The king himself, authorised by and authorising the book of scripture, seated in state on his high throne like another Solomon (to whom Chancellor Audley likened him in parliament in June 1536), was to be seen as the image of justice. In 1570 and 1576, this woodcut was used to illustrate the events of 1534 which it portrayed. But in 1583 it was given a more declaratory position, marking the opening of Book VIII on the reign of Henry VIII at the start of the second volume. The expulsion of the pope becomes the key to the achievements of this reign, and the religious revolution is announced at its start. WREN copy: note that gold detail is provided in this copy (but not in CUL); for example, the sword, book spine, arms (which include blue), and horse's bridle are all detailed in gold.