iful sketch by Garofalo (Alton Towers), in which, from amidst
a flood of light, and a choir of celestial spirits, such as Milton
describes as adoring the "divine sacrifice" proclaimed for sinful man
(Par. Lost, b. iii.), the archangel spreads his lucid wings, and seems
just about to take his flight to Nazareth. He was accompanied, says
the Italian legend, by a train of lower angels, anxious to behold
and reverence their Queen; these remained, however, at the door, or
"before the gate," while Gabriel entered.

The old German masters are fond of representing him as entering by
a door in the background, while the serene Virgin, seated in front,
seems aware of his presence without seeing him.

In some of the old pictures, he comes in flying from above, or he is
upborne by an effulgent cloud, and surrounded by a glory which lights
the whole picture,--a really _celestial_ messenger, as in a fresco
by Spinello Aretino. In others, he comes gliding in, "smooth sliding
without step;" sometimes he enters like a heavenly ambassador, and
little angels hold up his train. In a picture by Tintoretto, he comes
rushing in as upon a whirlwind, followed by a legion of lesser angels;
while on the outside of the building, Joseph the carpenter is seen
quietly at his work. (Venice, School of S. Rocco.)

But, whether walking or flying, Gabriel bears, of course, the
conventional angelic form, that of the human creature, winged,
beautiful, and radiant with eternal youth, yet with a grave and
serious mien, in the later pictures, the drapery given to the angel is
offensively scanty; his sandals, and bare arms, and fluttering robe,
too much _a l'antique_; he comes in the attitude of a flying Mercury,
or a dancer in a ballet. But in the early Italian pictures his dress
is arranged with a kind of solemn propriety: it is that of an acolyte,
white and full, and falling in large folds over his arms, and in
general concealing his feet. In the German pictures, he often wears
the priestly robe, richly embroidered, and clasped in front by a
jewel. His ambrosial curls fall over this cope in "hyacinthine
flow." The wings are essential, and never omitted. They are white, or
many-coloured, eyed like the peacock's train, or bedropped with gold.
He usually bears the lily in his hand, but not always. Sometimes it is
the sceptre, the ancient attribute of a herald; and this has a scroll
around it, with the words, "Ave Maria gratia plena!" The sceptre or
wand is, o