grand-chancellor of Venice,[1] robed as a Cavaliero di San Marco.  In the fine bearded head of the priest, who stands behind the high-priest, we may recognize, I think, the likeness of Cardinal Bembo.  In the foreground, instead of the poetical symbol of the unicorn, we have an old woman selling eggs and fowls, as in Albert Durer’s print, which must have been well known to Titian.  Albert Durer published his Life of the Virgin in 1520, and Titian painted his picture about 1550. (Venice Academy.)

[Footnote 1:  “Amorevolissime del Pittare,” says Ridolfi.  It is the same person whom Titian introduced, with himself, in the picture at Windsor; there, by a truly unpardonable mistake, called “Titian and Aretino.”]

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From the life of the Virgin in the temple, we have several beautiful pictures.  As she was to be placed before women as an example of every virtue, so she was skilled in all feminine accomplishments; she was as studious, as learned, as wise, as she was industrious, chaste, and temperate.

She is seen surrounded by her young companions, the maidens who were brought up in the temple with her, in a picture by Agnolo Gaddi.  (Florence, Carmine.) She is instructing her companions, in a charming picture by Luini:  here she appears as a girl of seven or eight years old, seated on a sort of throne, dressed in a simple light-blue tunic, with long golden hair; while the children around her look up and listen with devout faces. (Milan, Brera.)

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Some other scenes of her early life, which, in the Protevangelion, are placed after her marriage with Joseph, in pictures usually precede it.  Thus, she is chosen by lot to spin the fine purple for the temple, to weave and embroider it.  Didron mentions a fine antique tapestry at Rheims, in which Mary is seated at her embroidery, while two unicorns crouching on each side look up in her face.

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I remember a fine drawing, in which the Virgin is seated at a large tapestry frame.  Behind her are two maidens, one of whom is reading; the other, holding a distaff, lays her hand on the shoulder of the Virgin, as if about to speak.  The scene represents the interior of the temple with rich architecture. (Vienna, Col. of Archduke Charles.)

In a small but very pretty picture by Guido, the Virgin, as a young girl, sits embroidering a yellow robe. (Lord Ellesmere’s Gal.) She is attended by four angels, one of whom draws aside a curtain It is also related that among the companions of Mary in the temple was Anna the prophetess; and that this aged and holy woman, knowing by inspiration of the Holy Spirit the peculiar grace vouchsafed to Mary, and her high destiny, beheld her with equal love and veneration; and, notwithstanding the disparity of age, they become true and dear friends.

In an old illumination, the Virgin is seated spinning, with an angel by her side. (Office of the Virgin, 1408.  Oxford, Bodleian.)