I must mention here an old tradition cited by St. Jerome, and which has been used as a text by the painters. The various suitors who aspired to the honour of marrying the consecrated "Virgin of the Lord," among whom was the son of the high-priest, deposited their wands in the temple over night,[1] and next morning the rod of Joseph was found, like the rod of Aaron, to have budded forth into leaves and flowers. The other suitors thereupon broke their wands in rage and despair; and one among them, a youth of noble lineage, whose name was Agabus, fled to Mount Carmel, and became an anchorite, that is to say, a Carmelite friar. [Footnote 1: The suitors kneeling with their wands before the altar in the Temple, is one of the series by Giotto in the Arena at Padua.] According to the Abbé Orsini, who gives a long description of the espousals of Mary and Joseph, they returned after the marriage ceremony to Nazareth, and dwelt in the house of St. Anna. * * * * * Now, with regard to the representations, we find that many of the early painters, and particularly the Italians, have carefully attended to the fact, that, among the Jews, marriage was a civil contract, not a religious rite. The ceremony takes place in the open air, in a garden, or in a landscape, or in front of the temple. Mary, as a meek and beautiful maiden of about fifteen, attended by a train of virgins, stands on the right; Joseph, behind whom are seen the disappointed suitors, is on the left. The priest joins their hands, or Joseph is in the act of placing the ring on the finger of the bride. This is the traditional arrangement from Giotto down to Raphael. In the series by Giotto, in the Arena at Padua, we have three scenes from the marriage legend. 1. St. Joseph and the other suitors present their wands to the high-priest. 2. They kneel before the altar, on which their wands are deposited, waiting for the promised miracle. 3. The marriage ceremony. It takes place before an altar, in the _interior_ of the temple. The Virgin, a most graceful figure, but rather too old, stands attended by her maidens; St. Joseph holds his wand with the flower and the holy Dove resting on it: one of the disappointed suitors is about to strike him; another breaks his wand against his knee. Taddeo Gaddi, Angelico, Ghirlandajo, Perugino, all followed this traditional conception of the subject, except that they omit the altar, and place the locality in the open air, or under a portico. Among the relics venerated in the Cathedral of Perugia, is the nuptial ring of the blessed Virgin; and for the altar of the sacrament there, Perugino painted the appropriate subject of the Marriage of the Virgin.[1] Here the ceremony takes place under the portico of the temple, and Joseph of course puts the ring on her finger. It is a beautiful composition, which has been imitated more or less by the painters of the Perugino school, and often repeated in the general arrangement.