When these two works appeared at Lyons, Holbein had been for many years a resident at the English court, where he painted that series of portraits which remains unsurpassed as a gallery of typical English men and women represented by an artist capable of revealing character as well as of portraying looks. In these later years of his life he busied himself but little with designing for woodcuts, but he did not entirely neglect the art, and was, without doubt, of great service in spreading a taste for it in England, and in improving its practice there. The English printers imported their best woodcuts, and probably wood-engraving was hardly a recognized English art before Holbein’s day. The great titlepage which he designed for Coverdale’s Bible in 1535 was apparently cut by some Swiss engraver, as were some other similar works; but a few designs, which Holbein seems to have drawn so as to require the least possible skill in the engraver to reproduce them, were apparently executed in England. They were produced when England was separating from Rome, in the time of Cromwell’s power, and are marked by the same satirical spirit as Holbein’s earlier work at Bâsle; the self-righteous Pharisee wears a cowl, the lawyers, who are offended when Christ casts out the devil from the possessed one, have bishops’ mitres; the unfaithful shepherd who flees when the wolf comes is a monk. These cuts, in which Holbein last used his art as a weapon of civilization, mark the close of his practice of it.