“And behold an angel of the Lord stood by her and said, ’Anna, thy prayer is heard, thou shalt bring forth, and thy child shall be blessed throughout the whole world.’  And Anna said, ’As the Lord liveth, whatever I shall bring forth, be it a man-child or a maid, I will present it an offering to the Lord.’  And behold another angel came and said to her, ’See, thy husband Joachim is coming with his shepherds;’ for an angel had spoken to him also, and had comforted him with promises.  And Anna went forth to meet her husband, and Joachim came from the pasture with his herds, and they met at the golden gate; and Anna ran and embraced her husband, and hung upon his neck, saying, ’Now know I that the Lord hath blessed me.  I who was a widow am no longer a widow; I who was barren shall become a joyful mother.’

“And they returned home together.

“And when her time was come, Anna brought forth a daughter; and she said, ‘This day my soul magnifieth the Lord.’  And she laid herself down in her bed; and she called, the name of her child Mary, which in the Hebrew is Miriam.”

* * * * *

With the scenes of this beautiful pastoral begins the life of the Virgin.

1.  We have first Joachim rejected from the temple.  He stands on the steps before the altar holding a lamb; and the high priest opposite to him, with arm upraised, appears to refuse his offering.  Such is the usual motif; but the incident has been variously treated—­in the earlier and ruder examples, with a ludicrous want of dignity; for Joachim is almost tumbling down the steps of the temple to avoid the box on the ear which Issachar the priest is in the act of bestowing in a most energetic fashion.  On the other hand, the group by Taddeo Gaddi (Florence, Baroncelli Chapel, S. Croce), though so early in date, has not since been excelled either in the grace or the dramatic significance of the treatment.  Joachim turns away, with his lamb in his arms, repulsed, but gently, by the priest.  To the right are three personages who bring offerings, one of whom, prostrate on his knees, yet looks up at Joachim with a sneering expression—­a fine representation of the pharisaical piety of one of the elect, rejoicing in the humiliation of a brother.  On the other side are three persons who appear to be commenting on the scene.  In the more elaborate composition by Ghirlandajo (Florence, S. Maria Novella), there is a grand view into the interior of the temple, with arches richly sculptured.  Joachim is thrust forth by one of the attendants, while in the background the high priest accepts the offering of a more favoured votary.  On each side are groups looking on, who express the contempt and hatred they feel for one, who, not having children, presumes to approach the altar.  All these, according to the custom of Ghirlandajo, are portraits of distinguished persons.  The first figure on the right represents the painter Baldovinetti;