It appears therefore that the Life of the Virgin Mary, whether treated as a devotional or historical series, forms a kind of pictured drama in successive scenes; sometimes comprising only six or eight of the principal events of her individual life, as her birth, dedication, marriage, death, and assumption: sometimes extending to forty or fifty subjects, and combining her history with that of her divine Son. I may now direct the attention of the reader to a few other instances remarkable for their beauty and celebrity. Giotto, 1320. In the chapel at Padua styled _la Capella dell' Arena_. One of the finest and most complete examples extant, combining the Life of the Virgin with that of her Son. This series is of the highest value, a number of scenes and situations suggested by the Scriptures being here either expressed for the first time, or in a form unknown in the Greek school.[1] [Footnote 1: _Vide_ Kugler's Handbook, p. 129. He observes, that "the introduction of the maid-servant spinning, in the story of St. Anna, oversteps the limits of the higher ecclesiastical style." For an explanation I must refer to the story as I have given it at p 249. See, for the distribution of the subjects in this chapel, Lord Lindsay's "Christian Art," vol. ii. A set of the subjects has since been published by the Arundel Society.] Angiolo Gaddi, 1380. The series in the cathedral at Prato. These comprise the history of the Holy Girdle. Andrea Orcagna, 1373. The beautiful series of bas-reliefs on the shrine in Or-San-Michele, at Florence. Nicolò da Modena, 1450. Perhaps the earliest engraved example: very remarkable for the elegance of the _motifs_ and the imperfect execution, engraving on copper being then a new art. Albert Durer. The beautiful and well-known set of twenty-five wood-cuts, published in 1510. A perfect example of the German treatment. Bernardino Luini, 1515. A series of frescoes of the highest beauty, painted for the monastery Della Pace. Unhappily we have only the fragments which are preserved in the Brera. The series of bas-reliefs on the outer shrine of the Casa di Loretto, by Sansovino, and others of the greatest sculptors of the beginning of the sixteenth century. The series of bas-reliefs round the choir at Milan: seventeen subjects. * * * * * We often find the Seven Joys and the Seven Sorrows of the Virgin treated as a series. The Seven Joys are, the Annunciation, the Visitation, the Nativity, the Adoration of the Magi, the Presentation in the Temple, Christ found by his Mother, the Assumption and Coronation. The Seven Sorrows are, the Prophecy of Simeon, the Flight into Egypt, Christ lost by his Mother, the Betrayal of Christ, the Crucifixion (with St. John and the Virgin only present), the Deposition from the Cross, the Ascension when the Virgin is left on earth.