This chapter traces the consolidation of the Helen-like model of female beauty within the Petrarchan tradition, examining how Renaissance and Baroque poets elaborated increasingly refined strategies for representing the female body as an iconic presence. Beginning with the Brantôme model, where ideal beauty is grounded in a mathematically calibrated arrangement of parts, the analysis moves through Petrarchan lyric developed within a Neoplatonic framework, particularly in the sonnets of Garcilaso de la Vega and Fernando de Herrera. These poets reimagine the act of portraiture as a dynamic interplay of gazes and inscriptions, in which the beloved’s body imprints itself—visually, thermally, spiritually—on the soul of the admirer. In this mode, iconicity is not rendered through direct physical description but emerges from the animated interaction between inner perception and fleeting visual impressions: hair disturbed by wind, blushes that stain a pale face, or gestures suspended in time. The image of the beloved becomes less a static figure than a moving presence sustained by gradients of color, motion, and affect. In contrast, Baroque poets such as Quevedo, Lope de Vega, and Góngora recalibrate this tradition through a more material poetics shaped by the mercantile culture of early modern Europe. Their representations of the Helen-like figure retain the same canon of iconic features—blonde hair, rosy-white skin, luminous eyes, graceful hands—but reframe them within a rhetoric of precious objects, commodities, and visual detail. Ivory combs, golden curls, and jewel-toned lips become sites of aesthetic and symbolic concentration, often filtered through domestic or bourgeois scenes that introduce irony, wit, and perspectival shifts. These portraits do not abandon the iconic structure of the Helen-like ideal but rather showcase its resilience across stylistic registers, from Neoplatonic sublimation to Baroque sensuality. Interwoven with comparisons to contemporaneous visual art, the chapter argues that early modern poets developed a language of bodily iconicity that is both ideologically codified and stylistically plural, capable of sustaining the authority of the beautiful image while refracting it through the evolving poetics of their time.