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.
In the course of that practice he had not merely found utterance for his genius, but he had shown the entire adequacy of wood-engraving for the purposes of the artist when the laws which spring out of its peculiar nature are most rigidly observed. He had employed it with complete success as a mode of obtaining beautiful architectural design, of depicting charming genre scenes, of attacking abuses by the keenest and most effective irony, of making real for the popular comprehension the solemn and beautiful stories of the Scriptures, and of expressing passionate feeling and profound thought; and he thus exercised upon his own time and upon the future an influence which was perhaps more
