Legenden der Madonna, wie in der Bildenden vertreten artsForming die dritte Serie der Heiligen und die legendäre Kunst. Avho war unfruchtbar shallbecome Eine fröhliche Mutter. X 154 LEGENDEN DER MADONNA. Und sie kehrten nach Hause zusammen. Und wenn ihre Zeit gekommen war, Anna adaughter hervorgebracht; und sie sagte: Diesen Tag meine Seele magnifieth theLord. Und Sie legte sich in ihr Bett, und shecalled der Name Ihres Kind Maria, die in der hebräischen isMiriam. Taddeo Gaddi. Florenz. Mit den Kulissen dieser schöne pastorale beginnt das Leben der Jungfrau Maria. 1. Wir haben erste Joachim aus dem Tempel abgelehnt. Auf der Hestands

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Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . Avho was barren shallbecome a joyful mother. X 154 LEGENDS OF THE MADONNA. And they returned home together. And when her time was come, Anna brought forth adaughter; and she said, This day my soul magnifieth theLord. And she laid herself down in her bed; and shecalled the name of her child Mary, which in the Hebrew isMiriam. Taddeo Gaddi. Florence. With the scenes of this beautiful pastoral begins the life ofthe Virgin. 1. We have first Joachim rejected from the temple. Hestands on the steps before the altar holding a lamb; and thehigh priest opposite to him, with arm upraised, appears torefuse his offering. Such is the usual motif; but the inci-dent has been variously treated — in the earlier and ruderexamples, with a ludicrous want of dignity ; for Joachim isalmost tumbling down the steps of the temple to avoid thebox on the ear which Issachar the priest is in the act ofbestowing in a most energetic fashion. On the other hand, the group by Taddeo Gaddi, though so early in date, has. 80 LEGEND OF JOACHIM AND ANNA. 155 not since been excelled either in the grace or the dramatic sig-nificance of the treatment. Joachim turns away, with hislamb in his arms, repulsed, but gently, by the priest. To theright are three personages who bring offerings, one of whom, prostrate on his knees, yet looks up at Joachim with asneering expression — a fine representation of the pharasaicalpiety of one of the elect, rejoicing in the humiliation of abrother. On the other side are three persons who appear tobe commenting on the scene. In the more elaborate com- Ghiriandajo.position by Ghiriandajo, there is a grand view into the in- Florence, terior of the temple, with arches richly sculptured. Joachim Noveiia.is thrust forth by one of the attendants, while in the back-ground the high priest accepts the offering of a more favouredvotary. On each side are groups looking on, who ex

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• bookcentury1800
• bookdecade18