Embarking on my second teaching practicum at the Getty—a departure from the grandeur of a mid-18th Century French bed in my first assignment—I find myself floating into a Renaissance painting titled “Madonna and Child,” dating back to 1290-1295. At an initial glance, it seems to be a rather typical church piece, the kind that might tempt you to casually stroll past in a museum due to its ubiquitous and overdone subject matter. In my secular life, untouched by the dominance of any particular faith, I pride myself in maintaining a healthy aversion to valuing a woman’s worth based on the status of her virginity or perceived purity.