Do not confound with any of these =devotional Madonnas=, with or without select groups of saints, various other classes of picture which somewhat resemble them. Each of these has in early art its own proper convention and treatment: it was a recognised species. A =Holy Family=, for example, consists, as a rule, of a Madonna, the Infant Christ, St. Joseph, St. Elizabeth, and the child Baptist. Like the other subjects, it is sometimes complicated by the addition of selected Saints as spectators or assessors. A =Coronation of the Virgin=, again, is an entirely celestial scene, taking place in the calm of the heavenly regions. The Madonna is usually crowned by her Son, but sometimes by angels or by the Eternal Father. (Several interesting examples of this, for comparison, occur in Room VI, ground floor, at Cluny.) =Nativities=, of course, belong rather to the group of pictorial histories, such as the Life of Christ, or the Seven Joys of Mary. The sculptures in the ambulatory at Notre-Dame give one a good idea of such continuous histories. One interesting set of Madonnas, largely exemplified here, to take a particular example, is the later Lombard type of the =School of Leonardo=. This type, well distinguished by its regular oval features, its gentle smile of inner happiness, and its peculiar waving hair with wisps over the shoulders, is usually regarded as essentially belonging to Leonardo himself and his immediate followers. It is foreshadowed, however, by Foppa, Borgognone, and other early Lombard painters, specimens of whom are not numerous in the Louvre. Leonardo, when he came to Milan to Ludovico Sforza, adopted this local type, which he transfused with Florentine grace and with his own peculiar subdued smile, as one sees it already in the Mona Lisa. From Leonardo, again, it was taken, with more or less success, by his immediate pupils, Beltraffio, Solario, Cesare di Sesto, and others, as well as by Luini, who was not a pupil of Leonardo himself, but who was deeply influenced by the master’s methods and his works in Milan. The number of these Leonardesque Madonnas in the Louvre is exceptionally great, while Leonardo himself can here be better estimated than in Italy. Nowhere else perhaps, save possibly at Milan, can this type as a whole be compared by the student to so great advantage.