The design, as a whole, is a particularly fine and effective one, and has not suffered to any great extent from the cutting, which is good, though not the handiwork of a Lützelburger. Certain of the figures are of great beauty, in particular those of the risen Christ, the Adam and Eve, and the Paul. The resemblance, in facial type and movements, between the figure of the Saviour sending forth His disciples to preach and the Christ in the “Noli me Tangere” picture at Hampton Court, has been already noted.[161] Footnote 160: Woltmann, 237. Reproduced by Woltmann, i. dedication; Davies, p. 192. Footnote 161: See Vol. i. p. 97. The few designs which Holbein made for woodcuts while in England appear to have been all done at about this time, when the abuses of the Church were being attacked most severely and the monasteries were being swept away; though some of them were not actually published until some years later. In them Holbein, just as he had done in his woodcuts produced in Basel, in no way attempts to disguise his adherence to the reformed religion. This feeling was shown very strongly in a series of twenty-two small satirical drawings of the Passion which appear to have been preserved in a little book, now unfortunately lost. At one time it was in the possession of the Earl of Arundel, and was shown by him to Sandrart as a work of Holbein’s. The latter mentions it in his _Teutsche Akademie_, stating that each sheet was full of little figures of every kind, that of the Redeemer always appearing under the form of a monk attired in black. Sixteen of these designs were engraved in the seventeenth century, no doubt while in the Arundel collection, and most probably by Hollar, though they are unsigned and have not the customary “Ex Collec. Arundell:” beneath them. In them “the enemies of Christ are represented in the dress of monks and friars, and instead of weapons they bear croziers, large candlesticks, and other church ornaments; Judas appears as a capucin, Annas as a cardinal, and Caiaphas as a bishop. In the subject of Christ’s Descent to Hades the gates are hung with papal bulls and dispensations; above them are the Pope’s arms, and the devil as keeper of the gate wears a triple crown.”[162] Footnote 162: Chatto, _Treatise on Wood Engraving_, p. 378, note. Described more fully by Woltmann, i. 395-7. See also Walpole, _Anecdotes_, ed. Wornum, i. p. 98.