None of the scholars seems to show any interest in Bruegel's relationship with Granvelle. There's soemthing a bit odd about it, all the same, however indiffent he was to what was going on aroudn him. The reenacted Edict of Blood made it a capital offense for any layperson "to converse or dispute concerning the Holy Scriptures, openly or secretly, especially on any doubtful or difficult matters." It also promised death to anyone not having "duly studied theology and been approved by some renowned university" who taught or expounded the Scriptures--or even read them. Well, Bruegel was a layperson, so far as anyone knows. He can scarcely have had time, before he took up his pupilage as a painter in Antwerp, to study theology or graduate from any university, renowned or otherwise. So he was forbidden on pain of death to read the Bible. And yet he somehow managed to paint The Conversion of Saul, The Procession to Calvary, The Tower of Babel, The Adoration of the Kings, not to mention Granvelle's own Flight into Egypt. On the face of it, the cardinal was buying self-evidently illicit merchandise from a flagrant criminal.
All the artists in the Netherlands who worked on religious subjects were in the same position, of course; maybe they were allowed a little latitude. Their status had improved somewhat since 1425, when Philip the Good hired Jan van Eyck to be his peintre et valet de chambre. All the same, they were still members of craft guilds, very like the other craft workers and small tradesmen who were the readiest converts to Protestantism and the most frequent victims of its suppression. Let painters indulge their vices, and how do you draw the line at weavers and candlestick makers? Difficult even to turn a blind eye, because there must have been plenty of people ready to out a closet Bible reader. The Edict required everyone to inform on suspected heretics. If you failed to , you were liable to the same punishments as the heretics themselves; if you succeeded in getting a heretic executed, you were entitled to up to half of his property.
拙译：
学者们似乎对勃氏与Granvelle的关系不感兴趣。尽管勃氏对周围发生的事情很不在乎，但这事情还是有点怪。重新颁行《血诏》后，如果一般信众“公开或秘密地谈论或争论《圣经》的事情，尤其在可疑或棘手的地方”，则会被处死。任何人如果没有“好好学习神学并得到教授、阐释乃至诵读《圣经》的著名学府认可”亦必死无疑。那末，据我们所知，勃氏便是个一般信徒。在他以画家身份前往安特卫普重拾孩提时代的生活之前，他压根儿没有时间去读什么神学，或从著名或不著名的学府拿什么学历。因此，他读《圣经》是违禁的，是会被处死的。可是，他还是画了《The Conversion of Saul》、《The Procession to Calvary》、《The Tower of Babel》和《The Adoration of the King》，更不用说Granvelle的《Flight into Egypt》。看来，我们这位红衣主教是从明目张胆的罪犯手上买来了分明是非法的商品。
在荷兰，所有研究宗教问题的艺术家，其地位都是一样的；可以回旋的地方也就那么一点点。1425年，Philip the Good雇请了Jan van Eyck做他的peintre et valet dechambre。由此，他们的地位得到了改善。可是，他们仍旧是工艺同业工会的会员，很似其他工艺工人和小商贩，随时都会变成新教徒，在镇压新教徒时，亦随时成为受迫害的对象。就让画家们坏去吧，纺织工人和烛台工人之间又怎么能划清界限呢？要睁一只眼闭一只眼就更困难了，因为随时想将蹲（此字译法待考)在厕所里看《圣经》的人揪出来的大有人在。《诏书》要求举报异教徒嫌疑犯。不报者，则和异教徒同罪；能成功将异教徒处死者，可分得他一半的物业。
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