This chapter is about the physical and psychological limitations of the human body. The artists explore the themes of disease, death, physical disorders, aging and pain, and the effects of the human body. The body eventually comes to a point of death, if not injury and disease. My favorite example in this chapter is the Raft of Medusa. Théodore Géricault, 1791-1824, was a pioneer of the French Romantic school of painting and had a major influence on the development of both Romantic and Realist painting. Born in Rouen, he studied under Carle Verne and Pierre-Narcisse Grimm, but soon left the classroom to study the works of the great masters in the Louvre on his own. Upon his return to France in 1821, he painted five portraits of paranoid men, the subjects of which are rare in the history of painting and were influential in the emergence of the late realist school. He died in Paris in 1824 after a long and painful illness due to an accidental fall from a horse and a chronic tuberculosis infection. The Raft of the Medusa is one of the most iconic works by Guéricault, a masterpiece in which the figures are taller than life. The work commemorates the French frigate Medusa, which was wrecked off the coast of Mauritania on July 2, 1816. The captain was an inexperienced, government-appointed officer whose incompetence eventually caused the frigate to run aground, but at the critical moment the captain abandoned the ship with his entourage and fled. In order to survive the 147 sailors on board formed a simple raft from the wreckage of the frigate, and after 13 days at sea, and possibly even some degree of brutal cannibalism, only 15 sailors survived. Finally, the Argus found the raft and rescued the survivors. This horrific event became a major political bombshell immediately after it was made public, causing a huge social backlash. In this work, Tirico chose to present the moment when the survivors used their last breath to wave a flag to the Argus, far out on the horizon, not knowing if the crew of the Argus could see their raft. In an attempt to accurately capture the emotions of fear and panic brought on by this tragedy, Cadrico borrows the visual impact of the grand scenes of the neoclassical historical subject matter paintings. To better study the bodies of the dying and the dead, he visited hospitals and morgues, interviewed survivors of the event, and set up a model of a raft in his studio. The still-muscular, starving and dying people in the painting are clearly a remnant of the neoclassical style, but Nerico abandoned the neoclassical principles of composition to present a chaotic and twisted pile of limbs. The work is terrifyingly powerful, for we know that Filippo is not depicting superficial tragedy, but rather protesting against human cruelty and ignorance, painfully mourning this state of powerlessness.