3.  The altercation between St. Anna and her maid Judith I have never met with but once, in the series by Luini, where the disconsolate figure and expression of St. Anna are given with infinite grace and sentiment. (Milan, Brera.)

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4.  “The meeting of Joachim and Anna before the golden gate.”  This is one of the most important subjects.  It has been treated by the very early artists with much naivete, and in the later examples with infinite beauty and sentiment; and, which is curious, it has been idealized into a devotional subject, and treated apart.  The action is in itself extremely simple.  The husband and wife affectionately and joyfully embrace each other.  In the background is seen a gate, richly ornamented.  Groups of spectators and attendants are sometimes, not always, introduced.

In the composition of Albert Durer nothing can be more homely, hearty, and conjugal.  A burly fat man, who looks on with a sort of wondering amusement in his face, appears to be a true and animated transcript from nature, as true as Ghirlandajo’s attendant figures—­but how different! what a contrast between the Florentine citizen and the German burgher!  In the simpler composition by Taddeo Gaddi, St. Anna is attended by three women, among whom the maid Judith is conspicuous, and behind Joachim is one of his shepherds[1].

[Footnote 1:  In two compartments of a small altar-piece (which probably represented in the centre the Nativity of the Virgin), I found on one side the story of St. Joachim, on the other the story of St. Anna.—­Collection of Lord Northwick, No. 513, in his Catalogue.]

The Franciscans, those enthusiastic defenders of the Immaculate Conception, were the authors of a fantastic idea, that the birth of the Virgin was not only immaculate, but altogether miraculous, and that she owed her being to the joyful kiss which Joachim gave his wife when they met at the gate.  Of course the Church gave no countenance to this strange poetical fiction, but it certainly modified some of the representations; for example, there is a picture by Vittore Carpaccio, wherein St. Joachim and Anna tenderly embrace.  On one side stands St. Louis of Toulouse as bishop; on the other St. Ursula with her standard, whose presence turns the incident into a religious mystery.  In another picture, painted by Ridolfo Ghirlandajo, we have a still more singular and altogether mystical treatment.  In the centre St. Joachim and St. Anna embrace; behind St. Joachim stands St. Joseph with his lily wand and a book; behind St. Anna, the Virgin Mary (thus represented as existing before she was born[1]), and beyond her St. Laurence; in the corner is seen the head of the votary, a Servite monk; above all, the Padre Eterno holds an open book with the Alpha and Omega.  This singular picture was dedicated and placed over the high altar of the Conception in the church of the Servi, who, under the title of Serviti di Maria, were dedicated to the especial service of the Virgin Mary. (v.  Legends of the Monastic Orders.)