figures might represent the martyrs Saint Felicissimus and Saint Agapitus who are commemorated in the missal on the feast of the Transfiguration. The upper register of the painting includes, from left to right, James, Peter and John, traditionally read as symbols of faith, hope and love; hence the symbolic colours of blue-yellow, green and red for their robes. In the lower register, Raphael depicts the Apostles attempting to free the possessed boy of his demonic possession. They are unable to cure the sick child until the arrival of the recently transfigured Christ, who performs a miracle. The youth is no longer prostrate from his seizure but is standing on his feet, and his mouth is open, which signals the departure of the demonic spirit. As his last work before this death, Raphael (which in Hebrew רָפָאֵל [Rafa'el] means "God has healed"), joins the two scenes together as his final testament to the healing power of the transfigured Christ. According to Goethe: "The two are one: below suffering, need, above, effective power, succour. Each bearing on the other, both interacting with one another." The man at lower left is the apostle-evangelist Matthew (some would say St. Andrew), depicted at eye-level and serving as interlocutor with the viewer. The function of figures like those at the bottom left was best described by Leon Battista Alberti almost a century earlier in 1435. Matthew (or Andrew) gestures to the viewer to wait, his gaze focused on a kneeling woman in the lower foreground. She is ostensibly a part of the family group, but on closer examination is set apart from either group. She is a mirror image of a comparable figure in Raphael's The Expulsion of Heliodorus from the Temple (1512). Giorgio Vasari, Raphael's biographer, describes the woman as "the principal figure in that panel". She kneels in a contrapposto pose, forming a compositional bridge between the family group on the right and the nine apostles on the left. Raphael also renders her in cooler tones and drapes her in sunlit pink, while he renders the other participants, apart from Matthew, oblivious to her presence. The woman's contrapposto pose is more specifically called a figura serpentinata or serpent's pose, in which the shoulders and the hips move in opposition; one of the earliest examples being Leonardo da Vinci's Leda (), which Raphael had copied while in Florence. In the centre are four apostles of