[Footnote 16:  The MS. makes the angel Raphael the only messenger.  Giotto clearly adopts the figure of Gabriel from the Protevangelion.]

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VI.

THE MEETING AT THE GOLDEN GATE.

“And Joachim went down with the shepherds, and Anna stood by the gate, and saw Joachim coming with the shepherds.  And she ran, and hanging about his neck, said, ’Now I know that the Lord hath greatly blessed me.’” (Protevangelion, iv. 8, 9.)

This is one of the most celebrated of Giotto’s compositions, and deservedly so, being full of the most solemn grace and tenderness.  The face of St. Anna, half seen, is most touching in its depth of expression; and it is very interesting to observe how Giotto has enhanced its sweetness, by giving a harder and grosser character than is usual with him to the heads of the other two principal female figures (not but that this cast of feature is found frequently in the figures of somewhat earlier art), and by the rough and weather-beaten countenance of the entering shepherd.  In like manner, the falling lines of the draperies owe a great part of their value to the abrupt and ugly oblongs of the horizontal masonry which adjoins them.

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VII.

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.

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VIII.