The copperplate was not part of any of the major collections and is almost certainly not in existence.

The scene combines two well-known subjects in European art: an amorous couple leaving a party or kermis to have a private moment for themselves and a clearly anti-catholic picture of a priest and/or nun making love. This latter connotation will not have been important for Rembrandt, probably the reason for him to replace the nun in Aldegrever’s print by a girl that seems to be in consent. The jug besides the girl indicate that she is a milkmaid. In those years milkmaids had a sexual connotation.

The scene in this etching is well known from an engraving by Heinrich Aldegrever from around 1530 (The monk and the Nun, B 179). Contrary to that version, in which the actors are interrupted by a soldier, Rembrandt provides at least some privacy. The onlooker is not shown, the cornfield provides some protection.

NHD list four copies, all in the same direction. Copy A is published by Hertel (48 x 64 mm, WB 2). Copy C is by Dominique Denon (69 x 67 mm, WB 1), included in the Recueil of H.L. Basan, page 10. The Recueil is in the collection “Rembrandt in Black & White” as nr 54. Copy B are D are anonymous, both inscribed Rembrandt 1631 (resp. 50 x 72 mm and 84 x 89 mm). Copy D is with mezzotint and rocker.

The etching is considered as special by Rovinski.
The plate is not by Rembrandt according to Seidlitz, Michel, Campbell Dodgson and Singer.
In the 19th century many authors rejected the authenticity of this and other sexually oriented prints simply on the assumption that Rembrandt would not be involved in such obscene sceneries.

All authors list one state only.

H 224, BB 46-2, G 179, M 282, Mz 272, RA 522, Cl 184, W 184, Bl 152, Du 184, CD 327, S 75.
Rembrandt’s Women 2001, p. 1193; Hinterding 2008, p. 332-334;