ABSTRACT
The emotionally involving large pictures of the martyrs first printed in the first edition of 1563 and reused and copied thereafter, and the small images of icon-like martyrs engulfed in flames. The memories isolate what had been unified. What follows is in part a reconstruction of what was a planned unity and in part a concentrated look at some of the previously overlooked images, their kinds and designers. Scholars have distinguished three kinds of images in the Acts and Monuments - those Warren Wooden describes as 'combining realistic with allegorical techniques', the same ones that Margaret Aston and E. Ingram identify as 'marker' cuts because of their position and purpose; large ones of narratives; and small non-narrative repetitive ones of martyrs. The prototype for the succeeding editions, that the pattern is set. Its presentation displays the systematic distinctions that are made among the roles of the various kinds of images in the pattern of their repetitions, reuses and identifications.
