THE BIRTH OF THE VIRGIN. "And Joachim said, 'Now I know that the Lord is propitious to me, and hath taken away all my sins.' And he went down from the temple of the Lord justified, and went to his own house. "And when nine months were fulfilled to Anna, she brought forth, and said to the midwife, 'What have I brought forth?' And she told her, a girl. "Then Anna said, 'The Lord hath this day magnified my soul.' And she laid her in the bed." (Protevangelion, v. 4-8.) The composition is very characteristic of Giotto in two respects: first, in its natural homeliness and simplicity (in older designs of the same subject the little Madonna is represented as born with a golden crown on her head); and secondly, in the smallness of the breast and head of the sitting figure on the right,--a fault of proportion often observable in Giotto's figures of children or young girls. For the first time, also, in this series, we have here two successive periods of the scene represented simultaneously, the babe being painted twice. This practice was frequent among the early painters, and must necessarily become so wherever painting undertakes the task of lengthened narrative. Much absurd discussion has taken place respecting its propriety; the whole question being simply whether the human mind can or cannot pass from the contemplation of one event to that of another, without reposing itself on an intermediate gilt frame. * * * * * VIII. THE PRESENTATION OF THE VIRGIN. "And when three years were expired, and the time of her weaning complete, they brought the Virgin to the temple of the Lord with offerings. "And there were about the temple, according to the fifteen Psalms of Degrees, fifteen stairs to ascend. "The parents of the blessed Virgin and infant Mary put her upon one of these stairs; but while they were putting off their clothes in which they had travelled, in the meantime, the Virgin of the Lord in such a manner went up all the stairs, one after another, without the help of any one to lead her or lift her, that any one would have judged from hence that she was of perfect age." (Gospel of St. Mary, iv. 1-6.) There seems nothing very miraculous in a child's walking up stairs at three years old; but this incident is a favourite one among the Roman-Catholic painters of every period: generally, however, representing the child as older than in the legend, and dwelling rather on the solemn feeling with which she presents herself to the high-priest, than on the mere fact of her being able to walk alone. Giotto has clearly regarded the incident entirely in this light; for St. Anna touches the child's arm as if to support her; so that the so-called miraculous walking is not even hinted at.