Presumably not long after his arrival in Rome, Raphael drew a figure of Lucretia (Figure 7.1).1 The drawing is a telling example of the transformation of her reception. After 1500, the Roman heroine of freedom and chastity became a pin-up model.2 Raphael skillfully anticipates the requirements of the genre. Her torn attire follows the curves of her body, and a dysfunctional fold underscores her genitalia. Her hair is tied but slightly disheveled. The theatrical gesture of the left arm conveniently reveals her bare breast. The dagger in her right-hand changes into an overt phallic reference from a mortal instrument. Lucretia has just been raped and her suicide is imminent, yet the painter opts for a voyeuristic presentation of her body. The narrative context and physical signs of violence are retained inasmuch as they support this sanitized scenario.