It is curious that among the countless pictures of the Annunciation, in very few indeed has surprise been expressed in the countenance and attitude of the Virgin, though it is impossible to imagine an incident more properly calling for profound astonishment on the part of the principal personage in a composition, even in the absence of startling miraculous accessories such as that introduced by Rossetti. Probably the reason for this is connected with the difficulty of expressing great surprise unaccompanied with some other feeling, as pleasure, or sorrow, or fear, but there does not seem to be any cause why an exalted joyful excitement should not be exhibited. Mrs. Jameson thinks that the Virgin should not appear startled, as She was "accustomed to the perpetual ministry of Angels who daily and hourly attended on Her,"[a] but it is questionable whether this can be properly assumed by the artist, and in any case from the point of view of art, the action should correspond with the nature of the event as it is generally understood. Of the few masters who have indicated surprise in an Annunciation picture, Tintoretto has gone the farthest. He shows the Virgin with Her lips parted, and both hands held up, evidently with astonishment,[b] an example followed by Paris Bordone.[c] Raphael in an early picture represents Her holding up one hand, but the attitude might signify the reception of an announcement of importance.[d] Perugino shows Her with both hands raised, but otherwise She appears unconcerned.[e] A few other artists, including Venusti and Foppa, and among modern men, Girodet, adopt Raphael's method of composition. Rubens goes a step farther, and represents the Virgin apparently standing back with surprise, though this is only faintly suggested by the facial expression.[f] [a] _Legends of the Madonna._ [b] Scuolo di San Rocoo, Venice. [c] Sienna Gallery. [d] The Vatican. [e] Santa Maria Nouvo, Perugia. [f] Vienna Gallery. INDEX OF SCULPTORS, PAINTERS, AND WORKS OF ART NOTE.--The Schools to which the earlier Italian painters belonged are given in brackets. A Adam, Franz, 1815-1886, German --Bavarian Regiment before Orleans, 257 Aivasovsky, I. K., 1817-1900, Russian, 205 Albani, Francesco, 1578-1660, Italian, 163 --Toilet of Venus, 118 Albertinelli, Mariotto, 1467-1512, Italian [Florentine] --The Salutation, 243 Alcamenes, fifth century B.C., Greek, 304 Altdorfer, A., 1480 (_c._)-1538, German --The Nativity, 268 Aman, Jean, 1860-, French --Sorbonne panels, 254 Ancher, Anna K., 1859-, Danish --The Funeral, 189 Andreani, A., 1540-1623, Italian, 257 Angelico, Fra (Giovanni da Fiesole), 1387-1455, Italian [Florentine], 17, 101 Antico (Pier Giacomo Ilario), worked late 15th and early 16th century, Italian, 326 Antonella da Messina, 1421 (_c._)-1493, Italian [Venetian] --Crucifixion, 243