During and after the Catholic Reformation, Marian piety experienced unforeseen growth with over 500 pages of mariological writings during the 17th century alone. The Jesuit Francisco Suárez was the first theologian to use the Thomist method on Marian theology. Other well-known contributors to Marian spirituality are Lawrence of Brindisi, Robert Bellarmine, and Francis of Sales. The sacrament of penance was transformed from a social to a personal experience; that is, from a public community act to a private confession. It now took place in private in a confessional. It was a change in its emphasis from reconciliation with the Church to reconciliation directly with God and from emphasis on social sins of hostility to private sins (called "the secret sins of the heart"). The Catholic Church was a leading arts patron across much of Europe. The goal of much art in the Counter-Reformation, especially in the Rome of Bernini and the Flanders of Peter Paul Rubens, was to restore Catholicism's predominance and centrality. This was one of the drivers of the Baroque style that emerged across Europe in the late sixteenth century. In areas where Catholicism predominated, architecture and painting, and to a lesser extent music, reflected Counter-Reformation goals. The Council of Trent proclaimed that architecture, painting and sculpture had a role in conveying Catholic theology. Any work that might arouse "carnal desire" was inadmissible in churches, while any depiction of Christ's suffering and explicit agony was desirable and proper. In an era when some Protestant reformers were destroying images of saints and whitewashing walls, Catholic reformers reaffirmed the importance of art, with special encouragement given to images of the Virgin Mary. "The Last Judgment", a fresco in the Sistine Chapel by Michelangelo (1534–1541), came under persistent attack in the Counter-Reformation for, among other things, nudity (later painted over for several centuries), not showing Christ seated or bearded, and including the pagan figure of Charon. Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.