Abstract
THE BODY TALKS -but it does so in mysterious ways. In representation, it appears not as itself but as a sign. The body cannot but represent both itself and a range of metaphorical meanings, which the artist cannot control, but only seeks to limit by the use of context, framing, and style. Under both the monarchy and the Republic in France, the body was the central image for political authority, giving it a redoubled importance and metaphoricity. 1 If, as Habermas suggests, the public sphere itself was structured by representation, it is particularly important to consider the means by which the body was represented in the ancien regime.2 The depiction of the body in the eighteenth century was transformed by the state-sponsored rise of Neo-Classical art. In considering the emergence of the corporal sign of Neo-Classicism, it is
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