The Northern symbolists, also, took clustering grapes to have the same value as the Eucharistic wine as an emblem of Christ’s blood. This is clearly seen in a tapestry of the fourteenth century, formerly in the Spitzer Collection. The Infant Christ, seated between the Virgin and Saint Joseph, presses with His hands the juice of a bunch of purple grapes into a chalice. Another Flemish tapestry of the same period, which was also in the same collection, depicts the Holy Family with Saint Anne. Mary, from whom the Saviour received His human blood, hands to her Son the grapes which He crushes till the wine drops down into the cup. But the cluster of grapes which several of the Flemish artists place in the hand of the Infant Christ seems to be not only the emblem of the holy blood, but also, in some sort, the antithesis of the apple as the fruit of redemption, which in the hand of the second Adam replaces the fruit of the Fall. In a picture by Mabuse, inscribed ‘Verus Deus et Homo: casta mater et Virgo,’[302] the Virgin offers a bunch of grapes to the Infant Christ, who holds a quince, foreshadowing that He should exchange the fruit of Eden, by which all men died, for the fruit of redemption, by which they shall be saved, and this substitution of the fruit of the vine for the apple of Eden became in the North a rather favourite variation of the symbolism of the fruit of the Tree of Knowledge of Good and Evil. XX THE FRUIT OF THE TREE OF KNOWLEDGE The Scriptures give no indication whatever as to the size, shape or colour of the Fruit of the Tree of Knowledge of Good and Evil which grew in the midst of Eden, and it has been variously interpreted. Adam is depicted with an apple, a pear, a quince, a fig, according to the individual opinion of the painter. Milton took the tree to be an apple: ‘A goodly tree.... Laden with fruit of fairest colours mixt Ruddie and gold ... Sharp desire I had Of tasting those fair apples.’[303] And the majority of artists have chosen that fruit. It grew in every part of Europe, and, except the cherry, it was almost the only cultivated fruit in Germany and the Netherlands. Besides grapes, figs and pomegranates it is the only fruit mentioned in Scripture, and it is also possible that some found reason for identifying it with the fruit which brought sin into the world in the apparent similarity of the two Latin words, ‘mălum’ = evil, and ‘mālum’ = an apple. And as the fruit varies in the hand of Adam so it varies in the hand of the Infant Christ, the second Adam. Memling and the painters of Cologne depict Him with an apple. Il Moretto paints a pear,[304] Giovanni Bellini a quince,[305] and Botticelli a pomegranate.[306] The Eve of Jan van Eyck holds a lemon,[307] but he keeps to the older convention in the symbols which he places in the hand of the Infant Saviour: the bird, emblem of the human soul, the inscribed scroll or the cross-surmounted orb.