contemporary Protestants, as demonstrating the efficacy of sola gratia, as well as sola fide or "justification by faith alone", since Jesus' action in restoring Lazarus to life is presented in the Gospels as unrelated to anything Lazarus has done to deserve this. Mythological paintings The eroticism of his mythological works was daring for the time, and some of the small paintings were probably not displayed publicly, by their original collectors as much as later by museums. Two of the preparatory drawings for different painted versions of Mars and Venus Surprised were mutilated by later owners to remove parts of the lovers' bodies, and the Mauritshuis version, part of the founding royal gift, was not displayed in the 1920s, the contemporary explanation being that this was "to protect an immature public from itself". It remained in storage, and rather dirty, until the 1980s, when, after the Getty Museum acquired their version of the subject, it was cleaned and placed on display, soon joining touring selections of "masterworks" from the museum. The Getty version was itself kept in private collections in ways that meant it was not normally visible, which may partly explain its immaculate condition. Other works by Wtewael have also been changed by overpainting to hide erotic anatomical details. Wtewael had other means of creating a sensuous atmosphere, such as the suggestive pink mouths of large shells that often lie on the ground below nude females, as in the Louvre Andromeda or the National Gallery Judgement of Paris. His depiction of erotic subjects are not simply tittilating, but like many such Dutch paintings, depicted subjects that allowed for moralistic interpretations. Anne Lowenthal, the most dedicated scholar of Wtewael, has analysed his several depictions of Lot and his Daughters, dating from several periods of his career, and proposes that his treatments are designed to allude to various different possible interpretations of the biblical story, and to pose a "moral dilemma" for the viewer. His favourite subjects had all been used previously, especially in Mannerism, but his choices seem to show a deliberate avoidance of the most familiar, as in his preference for the Adoration of the Shepherds over the more common Adoration of the Magi. About 30% of his paintings are of mythological subjects, historically an unusually large proportion even within Northern Mannerism, perhaps not exceeded before Nicolas Poussin. His treatments are not without realist elements; the furniture, metalware, and other