different ages. The blonde youth appears to echo the apostle Philip from The Last Supper. The seated older man is Andrew. Simon is the older man behind Andrew. Judas Thaddeus is looking at Simon and pointing towards the boy. The apostle on the far left is widely considered to be Judas Iscariot He was the subject of one of only six surviving so-called auxiliary cartoons, first described by Oskar Fischel in 1937. Analysis and interpretation The iconography of the picture has been interpreted as a reference to the delivery of the city of Narbonne from the repeated assaults of the Saracens. Pope Calixtus III proclaimed August 6 a feast day on the occasion of the victory of the Christians in 1456. Enlightenment philosopher Montesquieu noted that the healing of the obsessed boy in the foreground takes precedence over the figure of Christ. Modern critics have furthered Montesquieu's criticism by suggesting that the painting should be renamed to "Healing of the Obsessed Youth". J. M. W. Turner had seen The Transfiguration in the Louvre, in 1802. At the conclusion of the version of his first lecture, delivered on 7 January 1811, as Professor of Perspective at the Royal Academy, Turner demonstrated how the upper part of the composition is made up of intersecting triangles, forming a pyramid with Christ at the top. In a 1870 publication, German art historian Car Justi observes that the painting depicts two subsequent episodes in the biblical narrative of Christ: after the transfiguration, Jesus encounters a man who begs mercy for his devil-possessed son. Raphael plays on a tradition equating epilepsy with the aquatic moon (luna, from whence lunatic). This causal link is played on by the watery reflection of the moon in the lower left corner of the painting; the boy is literally moonstruck. In Raphael's time, epilepsy was often equated with the moon (morbus lunaticus), possession by demons (morbus daemonicus), and also, paradoxically, the sacred (morbus sacer). In the 16th century, it was not uncommon for sufferers of epilepsy to be burned at the stake, such was the fear evoked by the condition. The link between the phase of the moon and epilepsy would only be broken scientifically in 1854 by Jacques-Joseph Moreau de Tours. Raphael's Transfiguration can be considered a prefiguration of both Mannerism, as evidenced by the stylised, contorted poses of the figures at the bottom of the picture; and of Baroque