he old
Italians who followed the Byzantine models seldom omit this attendant,
but in some instances (as in the magnificent composition of Michael
Angelo, in the possession of Mr. Bromley, of Wootten) a handmaid
bearing a basket on her head is substituted for the boy. In many
instances Joseph, attired as a traveller, appears behind the Virgin,
and Zacharias, in his priestly turban and costume, behind Elizabeth.

The locality is often an open porch or a garden in front of a house;
and this garden of Zacharias is celebrated in Eastern tradition. It is
related that the blessed Virgin, during her residence with her cousin
Elizabeth, frequently recreated herself by walking in the garden
of Zacharias, while she meditated on the strange and lofty destiny
to which she was appointed; and farther, that happening one day to
touch a certain flower, which grew there, with her most blessed hand,
from being inodorous before, it became from that moment deliciously
fragrant. The garden therefore was a fit place for the meeting.

* * * * *

1. The earliest representation of the Visitation to which I can refer
is a rude but not ungraceful drawing, in the Catacombs at Rome, of two
women embracing. It is not of very high antiquity, perhaps the seventh
or eighth century, but there can be so doubt about the subject.
(Cemetery of Julius, v. Bosio, Roma sotterana.)

2. Cimabue has followed the Greek formula, and his simple group
appears to me to have great feeling and simplicity.

3. More modern instances, from the date of the revival of art, abound
in every form. Almost every painter who has treated subjects from the
life of the Virgin has treated the Visitation. In the composition by
Raphael (Madrid Gal.) there are the two figures only; and I should
object to this otherwise perfect picture, the bashful conscious look
of the Virgin Mary. The heads are, however, eminently beautiful and
dignified. In the far background is seen the Baptism of Christ--very
happily and significantly introduced, not merely as expressing the
name of the votary who dedicated the picture, _Giovan-Battista_
Branconio, but also as expressing the relation between the two unborn
Children--the Christ and his Prophet.

4. The group by Sebastian del Piombo is singularly grand, showing in
every part the influence of Michael Angelo, but richly coloured in
Sebastian's best manner. The figures are seen only to the knees. In
the background, Zac