Both the Protevangelion and Harleian MS. agree in placing the vision in the garden; the latter adding, that she fled "into her chamber in great fear, and fell upon her bed, and lay as in a trance all that day and all that night, but did not tell the vision to her maid, because of her bitter answering." Giotto has deviated from both accounts in making the vision appear to Anna in her chamber, while the maid, evidently being considered an important personage, is at work in the passage. Apart from all reference to the legends, there is something peculiarly beautiful in the simplicity of Giotto's conception, and in the way in which he has shown the angel entering at the window, without the least endeavour to impress our imagination by darkness, or light, or clouds, or any other accessory; as though believing that angels might appear any where, and any day, and to all men, as a matter of course, if we would ask them, or were fit company for them.
[IV.]
THE SACRIFICE OF JOACHIM.
The account of this sacrifice is only given clearly in the Harleian MS.; but even this differs from Giotto's series in the order of the visions, as the subject of the next plate is recorded first in this MS., under the curious heading, "Disse Sancto Theofilo como l'angelo de Dio aperse a Joachim lo qual li anuntia la nativita della vergene Maria;" while the record of this vision and sacrifice is headed, "Como l'angelo de Dio aparse anchora a Joachim." It then proceeds thus: "At this very moment of the day" (when the angel appeared to Anna), "there appeared a most beautiful youth (unno belitissimo zovene) among the mountains there, where Joachim was, and said to Joachim, 'Wherefore dost thou not return to thy wife?' And Joachim answered, 'These twenty years God has given me no fruit of her, wherefore I was chased from the temple with infinite shame.... And, as long as I live, I will give alms of my flocks to widows and pilgrims.'... And these words being finished, the youth answered, 'I am the angel of God who appeared to thee the other time for a sign; and appeared to thy wife Anna, who always abides in prayer, weeping day and night; and I have consoled her; wherefore I command thee to observe the commandments of God, and his will, which I tell you truly, that of thee shall be born a daughter, and that thou shalt offer her to the temple of God, and the Holy Spirit shall rest upon her, and her blessedness shall be above the blessedness of all virgins, and her holiness so great that human nature will not be able to comprehend it.'...[14]
"Then Joachim fell upon the earth, saying, 'My lord, I pray thee to pray God for me, and to enter into this my tabernacle, and bless me, thy servant.' The angel answered, 'We are all the servants of God: and know that my eating would be invisible, and my drinking could not be seen by all the men in the world; but of all that thou wouldest give to me, do thou make sacrifice to God.' Then Joachim took a lamb without spot or blemish ...; and when he had made sacrifice of it, the angel of the Lord disappeared and ascended into heaven; and Joachim fell upon the earth in great fear, and lay from the sixth hour until the evening."
This is evidently nothing more than a very vapid imitation of the scriptural narrative of the appearances of angels to Abraham and Manoah. But Giotto has put life into it; and I am aware of no other composition in which so much interest and awe has been given to the literal "burnt sacrifice." In all other representations of such offerings which I remember, the interest is concentrated in the slaying of the victim. But Giotto has fastened on the burning of it; showing the white skeleton left on the altar, and the fire still hurtling up round it, typical of the Divine wrath, which is "as a consuming fire;" and thus rendering the sacrifice a more clear and fearful type not merely of the outward wounds and death of Christ, but of his soul-suffering. "All my bones are out of joint: my heart is like wax; it is melted in the midst of my bowels."[15]
The hand of the Deity is seen in the heavens—the sign of the Divine Presence.