The angel is the chief figure in this scene in the earlier pictures; he is joyfully triumphant, announcing the coming of the Saviour, while the Virgin is all humility and submission; in some cases her head is covered, an extreme expression of lowliness, and she is always self-effacing in attitude and expression. An early custom in churches was to place the picture of the Virgin on one side of the altar, and that of the angel on the other side; or, if both figures were in the same frame, a division was made by an architectural pillar, or a conventional ornament between them. In many cases the Virgin and the Archangel were placed separately above, or on each side of some scene from the life of Jesus, usually an altar piece. The picture by Fra Filippo Lippi, which we give, is a very fine example of the so-called “divided Annunciations.” It is in the Florentine Academy. This picture is very beautiful, and fittingly expresses the humility and surprise of the Virgin and the reverence of the heavenly messenger. It is also a good example of Fra Filippo’s style; his draperies were graceful, abundant, and usually much ornamented with designs in gold, of which we have here enough for elegance, while it is not overdone as in other works of this artist. [Illustration: FRA FILIPPO LIPPI.--A DIVIDED ANNUNCIATION.] A very ancient Annunciation, of peculiar and elaborate arrangement, dating from the fifth century, is in mosaic, over the arch in front of the choir in the church of Santa Maria Maggiore, in Rome. The classical treatment of the dresses, and of the entire composition, makes this work so different from the usual conception of the subject as to be worthy of observation. There are two scenes: in the first, the archangel is sent on his mission, and is rapidly flying towards the earth, as if in haste to utter his joyous salutation, “Hail! thou art highly favored! Blessed art thou among women!” The second scene presents Gabriel standing before the Virgin, who is seated on a throne, behind which are two guardian angels. This representation is so utterly unlike what is known as Christian art as to make a lasting impression, by reason of its classical treatment; all the details have an air of belonging to an earlier period than that known as mediæval, and the figures might be those of ancient Greeks. It is extremely curious and interesting to observe the various methods of representing the Archangel Gabriel in pictures of the Annunciation. At times he might be mistaken for the ambassador of a proud and powerful earthly potentate. He is clothed in gorgeous raiment, with a rich train, sometimes borne by one, and again by three page-like angels, while he carries himself with majestic haughtiness.