Woltmann describes a second title-page, very finely cut, which he considers to have been produced during Holbein’s sojourn in England. So far it has not been discovered in any published book, but there is a fine proof of it in the Munich Print Room. On either side stand St. Peter and St. Paul, the latter pointing upwards, two tall slender figures. They appear as pillars of the church, and are represented as supporting the blank title itself, which is in the form of a paper scroll. In an arch above is Christ risen from the Tomb, trampling upon Death and Satan, and below are the arms of Henry VIII supported by two heraldic beasts.[163] Footnote 163: Woltmann, 238. Something of the same satirical feeling shown in the lost drawings of the Passion is to be seen in two or three small woodcuts of this period, which, from the inferiority of the cutting, were very probably produced in England. Two of them appeared among the twenty-six little cuts in _Cranmer’s Catechism_, a small octavo volume published in 1548, the full title being, “Catechismus, that is to say, a shorte instruction into Christian religion for the singular commoditie and profyte of childrē and yong people. Set forth by the mooste reverende father in God, Thomas Archbyshop of Canterbury, primate of all Englande and Metropolitane.—Gualterus Lynne excudebat, 1548.” The first of Holbein’s two small pictures (folio CL) represents the parable of the Pharisee and the Publican,[164] the scene taking place in a church, with the Pharisee as a monk, kneeling at an altar, whom Christ points out to His disciples, while the Publican stands with head bent in front of them. On the edge of a book on the altar steps are the initials “H. H.” The subject of the second cut (folio CCI) is Christ casting out the Devil from the possessed man,[165] which, in spite of the unsatisfactory cutting, is very dramatic and retains much of the beauty and individuality of Holbein’s design. The Pharisees and others who stand behind are represented as bishops, monks and priests. It is signed in full “HANS HOLBEN.” A third woodcut, very similar to these, but still more feeble in execution, represents Christ as the Good Shepherd,[166] surrounded by His disciples, and pointing to the “hired servant,” here again dressed as a monk, who is flying before the wolf which scatters his frightened flock. This also is signed in full “HANS HOLBEIN.” It appears in a small English pamphlet, “A lytle treatise after the manner of an Epystle, wryten by the famous clerk Doctor Vrbanus Regius,” which was also published by Walter Lynne, in the same year, 1548, as the Catechism. Footnote 164: Woltmann, 198. Reproduced by Chatto, p. 380; and in _Hans Holbein_ (Great Engravers Series), ed. A. M. Hind. Footnote 165: Woltmann, 199. Reproduced by Woltmann, i. p. 391; Chatto, p. 381; Wornum, p. 191; and in _Hans Holbein_ (Great Engravers Series), ed. A. M. Hind. Footnote 166: Woltmann, 200. Reproduced by Woltmann, i. p. 399.