As an attribute of God the Son, lilies are used in those pictures known as Adorations, where the divine Child is laid upon the ground and the Mother kneels before Him in worship; and in those pictures where she holds Him, no longer a very young infant, on a ledge or pedestal before her. In these pictures all the symbolism refers to the Child, and if He lie among roses and lilies they signify respectively divine love and perfect sinlessness. If angels hold vases of lilies on either side, these lilies recall that He was born of a Virgin. The first Adorations were painted by the Florentine masters of the fifteenth century. In an early example by Filippo Lippi[12] the flowers are small and the species scarcely to be determined. Neri di Bicci[13] painted roses and lilies, and Luca della Robbia[14] has placed the Child beneath a freely-growing clump of tall lilies. The Virgin kneels before Him, while heavenly hands hold above her head a crown ornamented with the royal fleur-de-lys. Botticelli[15] appears to have been the first to have substituted the daisy for the lily, and to the daisy he added the violet of humility, and the strawberry, which symbolized the fruits of the spirit. These flowers were constantly repeated in this connection, a comparatively late example of their use being in the Adoration of Perugino, now in Munich. These same flowers are found in the North, but as Northern artists preferred incidents definitely recounted by the Scriptures to more imaginative devotional subjects, they were transferred to Nativities or Adorations by the Shepherds. In Siena during the fourteenth century, and in the school of Giotto, the lily, usually a single lily-cup, is sometimes placed in the hands of the Infant Christ. Here it is not the symbol of purity, but in accordance with the older symbolism it is the flower of Paradise. Siena was extremely conservative, and for its artists the Holy Child was still the royal Child of the Byzantine school, richly clothed, His right hand raised in blessing or holding the orb of sovereignty. Sometimes He holds a scroll, announcing His high mission, with the words ‘Ego sum lux mundi’ or ‘Ego sum via veritas et vita.’ More stress is laid upon His divinity than upon His humanity, and there is absolutely nothing to hint at or forecast His passion. He appears simply as the bringer of peace and blessing, and in His hand is still the flower of Paradise, the same lily which grows beside His throne in the mosaics. Gradually, however, a fruit replaced the flower in the Christ-Child’s hand. At first the fruit, following an artistic tradition as old as the fourth century, was also a promise of heavenly bliss, it was a fruit from the heavenly gardens; but it was soon identified as the fruit of the tree of Knowledge of Good and Evil, since He, as the Second Adam, had come to repair the fault of the first.