Let us imagine, for a moment that we are in Undløse church, in the village of the same name, within Holbæk county, Denmark. In fact, there is little need to strain our mind's eye to envision this as, with the assistance of Google Street view, we can virtually step into the church and pan our viewpoint up to admire the frescos that cover the vaults of the small church. Zooming in on the scenes of St Lawrence's abduction from his mother's bed and the demons busily engaged in abandoning the infant saint in a tree, we can admire the expressive figures and the careful restoration work carried out between 2013 and 2015. To say that we are viewing these frescos differently than the fifteenth-century congregation is to state the obvious. According to Michael Baxandall's theory of the period eye, this would be the case even if we travelled to see the frescos in person. For Baxandall, the way in which a viewer of an image processes that visual information is culturally and temporally specific; thus a fifteenth-century audience would literally see the frescos in Undløse differently than we would today. Of course, the congregation in Undløse when these frescos were first revealed were not an undifferentiated mass. To account for this, building on Baxandall's period eye as well as Randolph's feminine or gendered period eye, L’Estrange suggests a situational eye, that is a lens ‘informed (to varying degrees) by gender, social class, and personal circumstances’. For instance, in the frescos at Undløse, the substitution occurs while the saint is tucked up in bed next to his sleeping mother (Figure L 1 a). While this could be viewed in terms of metaphors about sin and demonic influences, the parents of young children in the congregation could understand this primarily as a warning about the dangers of co-sleeping. To go one step further, and building on my discussion of intent in the previous chapter, while the hagiographic legends that included child substitution were undoubtedly used to discuss spiritual concerns of all stripes, those that commissioned, designed, and discussed the images of these saints’ lives were also working within a context where the physical safety of infants was of particular concern. Thus, these images were intended to be multivalent, with the care of infants being one of the strands that informed their creation and use.