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.

* * * * *

VIII.

THE PRESENTATION OF THE VIRGIN.

"And when three years were expired, and the time of her weaning
complete, they brought the Virgin to the temple of the Lord with
offerings.

"And there were about the temple, according to the fifteen Psalms of
Degrees, fifteen stairs to ascend.

"The parents of the blessed Virgin and infant Mary put her upon one of
these stairs; but while they were putting off their clothes in which
they had travelled, in the meantime, the Virgin of the Lord in such a
manner went up all the stairs, one after another, without the help of
any one to lead her or lift her, that any one would have judged from
hence that she was of perfect age." (Gospel of St. Mary, iv. 1-6.)

There seems nothing very miraculous in a child's walking up stairs at
three years old; but this incident is a favourite one among the
Roman-Catholic painters of every period: generally, however,
representing the child as older than in the legend, and dwelling
rather on the solemn feeling with which she presents herself to the
high-priest, than on the mere fact of her being able to walk alone.
Giotto has clearly regarded the incident entirely in this light; for
St. Anna touches the child's arm as if to support her; so that the
so-called miraculous walking is not even hinted at.

Lord Lindsay particularly notices that the Virgin is "a dwarf woman
instead of a child