Marot, or his printer, had used the image to illustrate a story recounted in Le Roman de la Rose but borrowed from the ancients, that of the painter Zeuxis. Charged with the task of painting Helen, Zeuxis found no single model of sufficient beauty to pose for him. He thus worked from multiple models, adapting the best parts of each to assemble an idealized totality. His story is consistently invoked when the tension between body parts and whole bodies is at issue.2 Indeed, Corrozet polemically remotivates it here
to mount an argument "against the blazoners of body parts." He stages his "domestic blazons" (descriptive poems in praise of the parts of a respectable house) as correctives to "anatomical blazons" (descriptive poems in praise of the parts of the female body).