The plans usually adopted by the greatest masters, were, to present the maximum repose with the Child sitting in the lap of the Virgin; or to place Him apart from her, and engaged in some slight action; or to show Him in the arms of the Virgin, either held at the side, or in front, with the Virgin more or less in profile. In all of these schemes the serene contemplation of the Holy Mother is practically undisturbed. In his many groups of the Virgin and Child, and of the Holy Family, Raphael only varied twice from these plans,[a] and in both the exceptions the Child reclines across the lap of the Virgin, so that very little of her figure is hidden. Titian has the Child standing by her side,[b] or held away from her, and in one example the Virgin is placing Him in the hands of St. Joseph.[c] Correggio, when away from the influence of Mantegna, usually showed the Child held apart from the Mother, or placed on the floor, or on a bench. It is a common device to show the Child on the lap of the Virgin, but leaning over to take a flower or other object offered Him,[d] and numerous artists allow Him to play around separately.[e] In Holbein's fine group at Augsburg, the Child stands between the Virgin and St. Anne, and another German painter shows Him held up by the same personages, but clear from both of them.[f] Murillo commonly stands the Child at the side of the Virgin, but in one picture adopts the novel method of placing Him in the arms of St. Joseph.[g] [a] Madonna and Child, Bridgewater Coll., England; and same group with St. John, Berlin. [b] Madonna of the Cherries, Imperial Gallery, Vienna. [c] Meeting of Joachim and Anna, Bridgwater Coll., England. [d] Filipino Lippi's Madonna and Angels, Corsini Palace, Florence. [e] Luca Signorelli's group at Munich, and Bonfiglio's at Perugia. [f] Hans Fries, National Museum, Nuremburg. [g] Holy Family, Petrograd.