1.  It is sometimes treated with great simplicity; for instance, in the bas-relief by Andrea Orcagna, there are only three principal figures—­the Virgin in the centre (too old, however), and Joachim and Anna stand on each side. (Florence, Or San Michele.)

2.  In the fresco by Taddeo Gaddi we have the same artless grace, the same dramatic grouping, and the same faults of drawing and perspective as in the other compartments of the series. (Florence, Baroncelli Chapel.)

3.  The scene is represented by Ghirlandajo with his usual luxury of accessories and accompaniments. (Florence, S. Maria Novella.) The locality is the court of the temple; on the right a magnificent porch; the Virgin, a young girl of about nine or ten years old, is seen ascending the steps with a book in her hand; the priest stretches out his arms to receive her; behind him is another priest; and “the young virgins who were to be her companions” are advancing joyously to receive her. (Adducentur Regi Virgines post eam.  Ps. xlv.) At the foot of the steps are St. Anna and St. Joachim, and farther off a group of women and spectators, who watch the event in attitudes of thanksgiving and joyful sympathy.  Two venerable, grand-looking Jews, and two beautiful boys fill the foreground; and the figure of the pilgrim resting on the steps is memorable in art as one of the earliest examples of an undraped figure, accurately and gracefully drawn.  The whole composition is full of life and character, and that sort of elegance peculiar to Ghirlandajo.

4.  In the composition of Albert Durer we see the entrance of the temple on the left, and the child Mary with flowing hair ascending the steps; behind her stand her parents and other personages, and in front are venders of provisions, doves, &c., which are brought as offerings.

5.  The scene, as given by Carpaccio, appears to me exceedingly graceful.  The perfectly childish figure of Mary with her light flowing tresses, the grace with which she kneels on the steps, and the disposition of the attendant figures, are all beautifully conceived.  Conspicuous in front is a page holding a unicorn, the ancient emblem of chastity, and often introduced significantly into pictures of the Virgin. (Venice Academy.)

6.  But the most celebrated example is the Presentation by Titian, in the academy at Venice, originally painted for the church of the brotherhood of charity (Scuola della Carita), and still to be seen there—­the Carita being now the academy of art.

In the general arrangement, Titian seems to have been indebted to Carpaccio; but all that is simple and poetical in the latter becomes in Titian’s version sumptuous and dramatic.  Here Mary does not kneel, but, holding up her light-blue drapery, ascends the steps with childish grace and alacrity.  The number of portrait-heads adds to the value and interest of the picture.  Titian himself is looking up, and near him stands his friend, Andrea de’ Franceschi,