We are in the Pinakothek in Munich camera looking at a painter who lived in Munich, Franz von Stuck. And this is his painting - The Sin. Von Stuck is probably best known as a symbolist artist, this lay in 19th century movement that was interested in the interierself. And a common beam among these painters was the femme fatale, the dangerous woman and thats exactely what Stuck has painted here he's given us the embodiment, personification of sin, at the same time as the figure of Eve. Well, in a very literal way you have this nude female figure who is wrapped by the serpent that winds around her body and seems to be looking to directly head as almost hissing as if it might strike at any moment. In fact, the very act of looking at her seems dangerous. Look at the way the serpent looks at us from just above her breasts. Full face and then the painter implies that the snakes body turns around her neck. It's massive body, rides down her left side and then turns around at the bottom of her belly. It is in direct contact with her flesh. It's almost lost in the darkness. And if you think about more typical representations of Eve, it's the serpent that tempts Eve in the garden of Eden, it's the serpent that's embodiment of Evil. And Eve's who is weak and gives into that teptation, but here that's not that case. She is evil. He has made her as anxious as possible, so that we are - as viewers - in trap. I mean, what's so interesting about this painting is that he is very conscious of the role of viewer and he is engaging the viewer as somebody who is directly involved in the unfolding of the narrative. Remember, this is the time of Freud, this is the late 19th century, that really 20th century and this is not an investigation of sin in the christian sense. But in the investigation of sin and temptation as atributes of human psychĂŠ. Look how the artist has framed this canvas stuff. We have this completely overwrought gold frame with these 2 large doric pillars with beatiful floating and inscription that has the title in it. Very classicising, making sin itself a subject somehow eternal, so here we have the end of the 19th century with christianity no longer a primary social driver. A moment ago you talked about Freud and Freud is so interesting in this historical movement because the churches lost it's premisy and science is now moving into the forge deal with the same isues the religion had once dealth with. Here was seen a painting where religion has been stripped out of it but where was still left with the moral problem of the sin of corruption how do we now, in the contemporary world, deal with this.