Another of these martyrdom prints may claim brief notice. Two companies of martyrs are seen, one composed of the bishops, and the other of less distinguished persons, between whom there is a heap of burning fagots. Nearly all the figures say something, and the space under the picture is filled with verses. Cranmer, with the Bible in his left hand, holds his right in the fire, exclaiming, "Burne, unworthie right hand!" Latimer cries, "Lord, Lord, receive my spirit!" Philpot, pointing to a book which he holds, says, "I will pay my vowes in thee, O Smithfield!" The other characters utter their dying words. The verses are rough, but full of the resolute enthusiasm of the age:
"First, Christian Cranmer, who (at first tho foild),
And so subscribing to a recantation,
God's grace recouering him, hee, quick recoil'd,
And made his hand ith flames make expiation.
Saing, burne faint-hand, burne first, 'tis thy due merit.
And dying, cryde, Lord Jesus take my spirit.
"Next, lovely Latimer, godly and grave,
Himselfe, Christs old tride souldier, plaine displaid,
Who stoutly at the stake did him behave,
And to blest Ridley (gone before) hee saide,
Goe on blest brother, for I followe, neere,
This day wee'le light a light, shall aye burne cleare.
"Whom when religious, reverend Ridley spide,
Deere heart (sayes hee) bee cheerful in yr Lord;
Who never (yet) his helpe to his denye'd,
& hee will us support & strength afford,
Or suage ye flame, thus, to the stake fast tide,
They, constantly Christs blessed Martyres dyde.
"Blest Bradford also comming to the stake,
Cheerfully tooke a faggott in his hand:
Kist it, &, thus, unto a young-man spake,
Wch with him, chained, to ye stake did stand,
Take courage (brother) wee shal haue this night,
A blessed supper wth the Lord of Light.
"Admir'd was Doctor Tailers faith & grace,
Who under-went greate hardship spight and spleene;
One, basely, threw a Faggot in his face,
Wch made ye blood ore all his face bee seene;
Another, barberously beate out his braines,
Whilst, at ye stake his corps was bound wth chaines."
In many of the English pictures of that period, the intention of the draughtsman is only made apparent by the explanatory words at the bottom. In one of these a friar is seen holding a chalice to a man who stretches out his hands to receive it. From the chalice a winged cockatrice is rising. There is also a man who stabs another while embracing him. The quaint words below explain the device: "The man which standeth lyke a Prophet signifieth godliness; the Fryer, treason; the cup with the Serpent, Poyson; the other which striketh with the sworde, Murder; and he that is wounded is Peace." In another of these pictures we see an ass dressed in a judge's robes seated on the bench. Before him is the prisoner, led away by a priest and another man. At one side a friar is seen in conversation with a layman. No one could make any thing of this if the artist had not obligingly appended these words: "The Asse signifieth Wrathfull Justice; the man that is drawn away, Truth; those that draweth Truth by the armes, Flatterers; the Frier, Lies; and the associate with the Frier, Perjury." In another drawing the artist shows us the Pope seated in a chair, with his foot on the face of a prostrate man, and in his hand a drawn sword, directing an executioner who is in the act of beheading a prisoner. In the distance are three men kneeling in prayer. The explanation is this: "The Pope is Oppression; the man which killeth is Crueltie; those which are a-killing, Constant Religion; the three kneeling, Love, Furtherance, and Truth to the Gospel." In one of these crude productions a parson is exhibited preaching in a pulpit, from which two ecclesiastics are dragging him by the beard to the stake outside. Explanation in this instance is not so necessary, but we have it, nevertheless: "He which preacheth in the pulpit signifieth godly zeale and a furtherer of the gospel; and the two which are plucking him out of his place are the enemies of God's Word, threatening by fire to consume the professors of the same; and that company which (sit) still are Nullifidians, such as are of no religion, not regarding any doctrine, so they may bee quiet to live after their owne willes and mindes." Another picture shows us a figure seated on a rainbow, the world at his feet, up the sides of which a pope and a cardinal are climbing. In the middle is the devil tumbling off headlong. The world is upheld by Death, who sits by the mouth of hell. This is the explanation: "He which sitteth on the raynebowe signifieth Christ, and the sworde in his hand signifieth his wrath against the wycked; the round compasse, the worlde; and those two climing, the one a pope, the other a cardinall, striving who shall be highest; and the Divell which falleth headlong downe is Lucifer, whiche through pride fel; he whiche holdeth the world is Death, standing in the entrance of hell to receyve all superbious livers."
In another print is represented a Roman soldier riding on a boar, and bearing a banner, on which is painted the Pope with his insignia. A man stabs himself and tears his hair, and behind him is a raving woman. This picture has a blunt signification: "The bore signifieth Wrath, and the man on his back Mischief; the Pope in the flag Destruction, and the flag Uncertaine Religion, turning and chaunging with every blaste of winde; the man killing himselfe, Desperation; the woman, Madness."
There are fourteen specimens in this quaint manner in the collection of the British Museum, all executed and published in the early part of the reign of Elizabeth. As art, they are naught. As part of the record of a great age, they have their value.