The following cuts are reduced copies of two of the larger subjects of the same work. That which is here given represents the birth of the Virgin; and were it not for the angel who is seen swinging a censer at the top of the room, it might be taken for the accouchement of a German burgomaster’s wife in the year 1510. The interior is apparently that of a house in Nuremberg of Durer’s own time, and the figures introduced are doubtless faithful copies, both in costume and character, of such females as were generally to be found in the house of a German tradesman on such an occasion. From the number of cups and flagons that are seen, we may be certain that the gossips did not want liquor; and that in Durer’s age the female friends and attendants on a groaning woman were accustomed to enjoy themselves on the birth of a child over a cheerful cup. In the fore-ground an elderly female is perceived taking a draught, without measure, from a flagon; while another, more in the distance and farther to the right, appears to be drinking, from a cup, health to the infant which a woman like a nurse holds in her arms. An elderly female, sitting by the side of the bed, has dropped into a doze; but whether from the effects of the liquor or long watching it would not be easy to divine. On the opposite side of the bed a female figure presents a caudle, with a spoon in it, to St. Anne, the mother of the Virgin, while another is seen filling a goblet of wine. At the bottom of the cut is Durer’s mark on a tablet. The original cut is not remarkable for the excellence of its engraving, but it affords a striking example of the little attention which Durer, in common with most other German painters of that period, paid to propriety of costume in the treatment of such subjects. The piece is Hebrew, of the age of Herod the Great; but the scenery, dresses, and decorations are German, of the time of Maximilian I.