supposed to ascend.

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 see