Raphael's authorship in the 'Expulsion of Heliodorus.' - interpretation of court painter Raphael's mural

57. See Andree Hayum, Giovanni Antonio Bazzi - "Il Sodoma," New York, 1976, 101.

58. A.-M. Lecoq, "'Donner a voir,'" in P. Georgel and A.-M. Lecoq, La peinture dans la peinture, exh. cat., Musee des Beaux-Arts, Dijon, 1983, 179, my translation.

59. Alberti, 1966, 78; idem, 1980, 72.

60. On the eyes of the Madonna, cf. N. Bryson, Vision and Painting: The Logic of the Gaze, New Haven, 1983, 110.

61. On figural models of piety in painting, see F. O. Buttner, Imitatio Pietatis: Motive der christlichen Ikonographie als Modelle zur Verahnlichung, Berlin, 1983.

62. For discussions of the saint as model in the shaping of social collectives (albeit in 12th-century practices), see C. W. Bynum, Jesus as Mother: Studies in the Spirituality of the High Middle Ages, Berkeley, Calif., 1982, 95-106.

63. Alberti, 1966, 77; idem, 1980, 70.

64. According to the biblical text of the story, the priests congregated around the altar, whereas the women and people took to the streets (2 Macc. 3:15-20). Cf. Shearman, 1986, 80, who states that according to medieval exegeses of the tale, "women and girls entered even the inner court of the Temple in supplication" and, furthermore, that "the High Priest [in the painting] is the product of [extra-biblical] research."

65. On the theme of the beatific vision in Raphael's images, see Arasse. Bodily comportments were often engendered in Renaissance images, for which see S. Fermor, "Movement and Gender in Sixteenth-Century Italian Painting," in The Body Imaged: The Human Form and Visual Culture since the Renaissance, ed. K. Adler and M. Pointon, Cambridge, 1993, 129-45. See also E. Cropper, "On Beautiful Women, Parmigianino, Petrachismo, and the Vernacular Style," Art Bulletin, LVIII, no. 3, Sept. 1976, 374-94. It remains unclear to me, however, whether or not the serpentinata was an engendered pose in Renaissance images.

66. On Galatea's pose, see C. Thoenes, "Galatea: Tentativi di avvicinamento," in Raffaello a Roma: Il convegno del 1983, ed. C. L. Frommel and M. Winner, Rome, 1986, 67.

67. The theme of the body as expressive of the state of the soul - a commonplace in Renaissance figurative thought - is discussed by Alberti, 1966, 77ff.; idem, 1980, 72ff. But on these same pages Alberti admonishes against serpentinelike poses, which he considers to offer impossibly juxtaposed views of the body. Perhaps he was referring to figures like the one with back to us in the scene of Saint Francis Mourned by the Poor Clares in the Saint Francis cycle at Assisi. On shifting senses of the serpentine conceit, see J. Shearman, Mannerism, Harmondsworth, Eng., 1973, 81-91; D. Summers, "Maniera and Movement: The Figura Serpentinata," Art Quarterly, XXXV, no. 3, Autumn 1972, 269-301; and D. Rosand, "Art History and Art Criticism: The Past as Present," New Literary History, v, 1974, 439-41.

68. On Saint Cecilia's pose in relation to the other figures, see H. Wolfflin, Classic Art: An Introduction to the Italian Renaissance, trans. P. and L. Murray, Ithaca, N.Y., 1980, 259, and Arasse, 418ff. For an analysis of the posture of the Magdalene, which draws on Vasari's use of the dance term leggiadria, see Fermor (as in n. 65), 138ff.