Now, this was very different from, really, what had gone before, because we're coming out of the Counter-Reformation, a strict time, a severe time, a time of a sort of moral crackdown, and suddenly we have this explosion of sensual extravagance, really. The restraints of the Counter-Reformation are long gone by this stage, and what you're out to is really to draw in the viewer and that's why you do things that are absolutely theatrical and absolutely dramatic, and that explains why you have such an erotic piece that ends up in a church, where you would at least expect it. The viewer thinks, a modern-day viewer would think, "OK, this is something absolutely secular. What is it doing inside a church?" But it is part, I think, of this emotional sensibility that people expected at the time, even inside a church, even from the faithful. It is part of the religious picture of the time.


此时，这和过去的的确有所不同，因为我们才离开反宗教改革这一区域。反宗教改革是一个严苛的时代、一个严峻的时代、一个信仰凌驾于所有之上镇压其他信仰的时代。我们确实可以了解这时纸醉金迷的生活。 在这个时期，为反宗教改革所设立的一些限制条款已不复存在了。人们打算做什么都如实记载下来供人们参观，这就是为什么这个时期人们处理事情时会如此戏剧化并这般夸张，这也解释了人们为什么会将一色情色彩极浓的作品放在教堂里了，这是你无论如何都想像不到的。参观者认为，如今的观光者以为：“好吧，这是不朽的杰作，不过为什么要把它放在教堂里？”。不过我觉得这体现了那个时代人们情感认知的一部分，哪怕在教堂里从对教会忠实的角度体现出来。这是那个时代宗教画卷的一部分。