We do not wonder that the difference between the estate of an archangel sent by God, and the humility of the Virgin of Galilee, should have misled some artists; or that with them the angel held the first place, especially as it was only thus that any element of splendor could be introduced into their pictures. Indeed, we have engravings after a picture by Raphael, in which the Virgin is kneeling before the angel, who raises the right hand in benediction. But the gradual increase in the veneration accorded to the Virgin, and the titles of Queen of Heaven, and Queen of Angels, which were bestowed on her, soon changed the spirit of the representations of the Annunciation; and while the Virgin loses none of her humility and submission, the angel bows, and even kneels to her, thus emphasizing his acknowledgment of her superior holiness,--since an archangel could only kneel before spiritual perfection. It was well that the patriarchs and prophets should acknowledge the superiority of the angels sent to them,--but the glory of the Mother of Christ should be represented as commanding the reverence of even the highest of created being--only thus could the faith of the Church, for which these religious pictures were painted, be fittingly illustrated. Thus it became customary to omit the sceptre in the hand of the angel, and to give him the lily alone, or the lily and the scroll. Indeed, there are notable pictures in which Gabriel has no symbol, but with hands clasped over his breast, and head inclined, he seems to worship the Virgin while declaring his mission to her. There are, however, few Annunciations in which the lily does not appear. It is the special symbol of the purity of Mary, to whom is applied the verse from the Song of Solomon: “I am the rose of Sharon, and the lily of the valleys.” In some pictures the lily is seen in a vase near the Virgin. Occasionally the symbol of peace is introduced in pictures of the Annunciation by placing a crown of olive on the head [Illustration: ALESSANDRO ALLORI.--THE ANNUNCIATION.] of the archangel, or an olive branch in his hand. Here Gabriel is presented as announcing the “Peace on earth and good will towards men,” which Raphael and his attendant angels chanted to the shepherds on the birth of Jesus. The early German painters were fond of picturing Gabriel in priestly robes, heavily embroidered, and rich in color. This dress supplied the same gorgeous effect as was given by the princely trains of which I have spoken. In these pictures Gabriel usually kneels,--his ample robes falling on the pavement around him,--thus avoiding the proud bearing of the regally vestured messenger. The simplicity of the scene, when Gabriel is appropriately draped in the filmy white robe,--which is the usual conception of an angel’s dress,--is far more satisfactory and harmonious with the spirit of the miraculous Annunciation than any splendid vestments can possibly be.