Meanwhile in Florence, during the fifteenth century, the lily, already the flower of the virgin saints, was attributed more especially to the Virgin Mary as the symbol of spotless purity, and it became accepted throughout Christendom with this significance. Therefore, on the rare occasions after the fourteenth century when the lily is placed in the hand of the Infant Christ it is the symbol of purity, of His perfect sinlessness. In the Enthroned Madonna of Luca Signorelli[16] He holds a large stalk of _lilium candidum_. In the great majority of representations of the Madonna with the Child in her arms only the symbol in the Child’s own hand refers to Him; other symbols refer to Mary. But in this picture, to the jewelled cross of the Baptist is attached a scroll with the legend, ‘_Ecce Agnus Dei_,’ and all the symbols are the attributes of the Saviour. Besides the lily, which denotes perfect sinlessness, there are two transparent vases in which are jasmine, violets and roses. The jasmine’s starry blooms recall the Heaven which He has left, the violet is a symbol of His humility, and the rose of His divine love. In the wreath behind the throne is jasmine again, with pendant trails of white convolvulus, which is also an emblem of humility.[17] Occasionally the Infant Christ is represented offering a branch of lilies to a Saint,[18] and then the lily represents the gift of chastity, which He bestows. It is only in modern times that Christ, grown to manhood, has been represented with a lily in His hand. An instance is the fresco illustrating the parable of the Wise and the Foolish Virgins, painted in 1864, by Lord Leighton, P.R.A., for Lindhurst Church. The virgins stand on either side of the Celestial Bridegroom, who holds in His left hand the lily which emphasizes the mystical character of the divine nuptials. It may be noticed in this connection that modern, and more particularly Protestant, ecclesiastical art takes its subjects largely from the parables of Christ, a usage unknown to the Roman Catholic Church during the period when the great masters of art were in her service. Northern mediæval art, that is, the art of the Flemish and German schools, introduced the lily into representations of the Last Judgment, placing the sword and stalk of lilies, ray-wise, behind the head of the judging Christ. In the very early representations of this subject Christ is depicted with a two-edged sword issuing from His mouth, in illustration of the text of the Revelation of Saint John: ‘And out of his mouth went a sharp two-edged sword.’ And again: ‘Which sword proceeded out of his mouth.’ But pictorially it was ugly and theologically it was harsh, suggesting wrath rather than mercy as the determining impulse at the final doom. Then men remembered the promise to the righteous: ‘The wilderness and the solitary places shall be glad for them; and the desert shall rejoice and blossom as the rose.’[19]