It will be seen that any number of Madonna pictures, having been arranged in the five groups designated in Part I., may be gathered up and redistributed in the three classes of Part II. To make this clear, the pictures mentioned in the first method of classification are frequently referred to a second time, viewed from an entirely different standpoint. Since the lines of cleavage are so widely dissimilar in the two cases, both methods of study are necessary to a complete understanding of a picture. By the first, we learn a convenient term of description by which we may casually designate a Madonna; by the second, we find its highest meaning as a work of art, and are admitted to some new secret of a mother's love.