Scarcely less interesting than the Passion plates, is the series of twenty wood-cuts representing the "Life of the Virgin." The female figures in these cuts--especially those of the Virgin--are very quaint, but they are nearly all very beautiful, and, like the representations of Christ to which we have referred, they are even more suggestive than the more graceful performances of artists who were Durer's superiors in technique. There is a peculiar charm about all of Durer's Madonnas. Take, for example, the beautiful little print of "The Holy Virgin Crowned by an Angel,"--No. 14 of the Catalogue. Here the artist has taken for a model a plump, round-faced, blue-eyed, flaxen-haired little Nuremberg damsel, "A creature not too bright or good/ For human nature's daily food;" but he has contrived to express in the bright, happy face a virginal purity that is as lovely in its way as the awe and wonderment of the Italian peasant girl balancing herself on the clouds, amidst a choir of cherubim, between Pope Sixtus and Saint Barbara, in Raphael's "Sistine Madonna." [Pp. 18-19 (supp.).]
Exhibition of Engravings, Etchings & Mezzotints, held under the Auspices and for the Benefit of the Pennsylvania Academy of the Fine Arts, in the building adjoining their new structure, Broad Street, above Arch, Philadelphia, Dec. 1874. Philadelphia: Henry B. Ashmead, Book and Job Printer, Nos. 1102 and 1104 Sansom Street. 1874. (and) Exhibition of Prints (Claghorn Collection) under the Auspices of the Pennsylvania Academy of Fine Arts. Critical Notices by William J. Clark, Jr., reprinted from "the Evening Telegraph" of Philadelphia; with the opening address delivered by W.S. Baker. Philadelphia: Rue & Jones, Book and Job Printers. Nos. 106 and 108 South Third Street. 1875.