The realisation of the honour and devotion that are due to our Lady in Mediaeval and early Renaissance times, engendered a corresponding increase in pictorial representation of scenes from her life and the childhood of our Lord. It is not infrequent that the source of the inspiration and the materials are to be traced to the Apocryphal legends. The heretical trends they contain and the dubious authenticity of many of the accounts have long rendered them suspect in the eyes of the Church. Notwithstanding this, the mind of the mediaeval artist was particularly susceptible to the graphic and imaginative nature of some of the stories, besides they served to satisfy the desire for a greater knowledge of the small intimacies of the life of the Holy Family.

The arrival in London of the collection from the Munich Alte Pinakothek affords a unique opportunity to see the treasures for many people in this country; they will remain on view until August the 7th. The collection contains, among other things, part of a fifteenth century German altarpiece by an anonymous artist called ‘The Master of the Life of the Virgin’, this series being his greatest known work. It consists of eight panels representing ‘Joachim and Anna at the Golden Gate’, ‘The Birth of the Virgin’, ‘Her Presentation in the Temple’ and the ‘Marriage of the Virgin’ in the upper row; ‘The Annunciation’, ‘The Visitation’, ‘The Presentation in the Temple’ and ‘The Assumption of Our Lady’ in the lower row. The unity of the series is now lost because of its dispersal—part permanently remains in England.