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 not one in the Madonna of the title-page of the "Marieenleben," which for that reason is a work of greater Art.

The fact is, that whilst his engraved and black and white work reaches at times monumental height, great in saecula saeculorum, there are too few of his painted pictures that have the power to arrest the attention of the student of Art, who must not be confounded with the student of Art-history.

As a painter he is essentially a primitive; as a graver he overshadows all ages.

Thus we see his great pictures one after the other: his Paumgaertner altarpiece, his "Deposition"—both in Munich; "The Adoration of the Magi" in the Uffizi; the much damaged but probably justly famed "Rosenkranz fest" in Prague, with his own portrait and that of his friend Pirckheimer in the background, and Emperor Max and Pope Julius II. in the