1. The Characters of Jean de La Bruyère , trans. Henry Van Laun (London, 1929), 59-60. [BACK]

2. Thus, when Saint Evremond wished to portray an accomplished individual, he naturally employed the features of a woman because it was "less impossible," he said, "to find a strong and healthy masculine judgment in a woman than it was to find the charm and the natural grace of women in a man." [BACK]

3. The application of this rule extends, of course, to the face. At cosmetic counters and makeup studios, customers are taught that makeup should enhance the features rather than stand out as a separate feature. [BACK]

4. Cornificius, cited by Edgar De Bruynes, Etudes d'esthétique médiévale (Bruges, 1946). [BACK]

5. Cicero De oratore 23.79. [BACK]

6. Dionysius of Halicarnassus 1.415; in Dionysius of Halicarnassus: The Critical Essays in Two Volumes , trans. Stephen Usher (Cambridge, Mass., 1974), 5, 7. [BACK]

7. Quintilian Institutio oratoria , esp. preface, 2.5, 5.12, 8.3 [BACK]

8. Hence the insistence with which the Italian and French colorists distinguished natural from artificial color. In this sense, Dolce, in his Dialogo della pittura , differentiated the colorito of the painting from the color, color , as it emerged from the tube and whose beauty owed nothing to the talent or knowledge of the artist but only to the technique of its fabricators. In the same way, one century later, Roger de Piles distinguished the material color "that makes objects sensible to the sight" from coloris , which is the work of the painter and which includes the knowledge of chiaroscuro. "It is true that the dyers understand something about color, but they don't understand anything about coloris ," he wrote in his Dialogue sur le coloris (Paris, 1673). This distinction between color and coloris is untranslatable in English. [BACK]

9. Roland Fréart de Chambray, Idée de la perfection de la peinture démontrée par les principes de l'art (Le Mans, 1662). [BACK]

10. Noel Coypel, "Sur le rang que le dessin et le coloris doivent tenir entre les partyes de la peinture," Academic lecture of 26 April 1697, in Revue universelle des arts 18 (1863): 188-211. [BACK]

11. Aristotle Poetics 6.50a.38ff.; in Aristotle's Poetics , trans. James Hutton (New York, 1982), 51. break [BACK]

12. Antoine Gombauld, Chevalier de Méré, Des agrémens (Paris, 1677). [BACK]

13. Blaise Pascal, Pensées , trans. W. F. Trotter (New York, 1958), 5.332, p. 93. Pascal means by this that the political chief, for example, who claims to govern not only public acts but private sentiments becomes tyrannical because he exceeds his scope--as when passion tries to govern reason, or vice versa. [BACK]

14. Gabriel Blanchard, the only colorist of the Academy, used the expression le beau fard to characterize Rubens's paintings in a lecture delivered at the Academy on 7 November 1671, "On the Merit of Color," in response to Philippe de Champaigne's lecture of 12 June 1671, on a painting by Titian whose coloring de Champaigne severely criticized. [BACK]

15. Roger de Piles, Cours de peinture par principes (Paris, 1708), 10. [BACK]

16. Jean Racine, Britannicus , 2.1; in Five Plays , trans. Kenneth Muir (New York, 1960), 78-79. [BACK]

17. Antonio Possevino, Biblioteca selecta (Rome, 1593). The two examples of Father Garasse and Father Possevino, like those of Father de Cressoles and Father Louis Carbone, are taken from Marc Fumaroli, L'Age de l'eloquence: Rhétorique et 'res literaria' de la Renaissance au seuil de l'époque classique (Paris, 1980), an inexhaustible mine on this subject. [BACK]

18. Fumaroli, L'Age de l'eloquence , 181, note. [BACK]

19. Louis de Cressoles, Theatrum veterum rhetorum (Paris, 1620); cited in Fumaroli, L'Age de l'eloquence , 310. [BACK]

20. Louis Carbone, Divinus orator vel de rhetorica divina libri septem (Venice, 1595); cited in Fumaroli, L'Age de l'eloquence , 184. [BACK]

21. Fumaroli, L'Age de l'eloquence , 184, note. break

My thinking on the issue of rape and its relationship to symbolic structures has been, at every stage, challenged and refined by my discussions with Walter Benn Michaels, who has read and commented on various drafts of this essay. I am also grateful to Carol Clover and Lynn Hunt for their scrupulous readings of the penultimate version. [BACK]