This chapter examines the shifting paradigms of female bodily depiction in Spanish Golden Age poetry, tracing a trajectory from the idealized beauty of the Petrarchan tradition to its eventual subversion in burlesque and Baroque verse. Beginning with rhetorical treatments of facial chromaticism and gesture—particularly the interplay of red and white tones in the portraits of beauty—the chapter explores the codification of the lyric body through the parts privileged in these depictions: eyes, hands, hair, and skin. These are the building blocks of the Helen-like icon, whose representation relied on classical proportions, Neoplatonic sublimation, and Petrarchan restraint. The study then shifts to consider popular and anonymous sonnets from the Jardín de Venus, which discard these rhetorical veils in favor of a deliberately dysphemistic and often pornographic code. In these texts, the genitals become the gravitational center of description, challenging not only the decorum of Petrarchism but also the euphemistic strategies of wanton rhetoric. The inability of lyric language to adequately represent this body part—placed by this burlesque poetic current at the very center—becomes, paradoxically, a recurrent theme in these more explicit poems, marking a point of rupture and crisis in the tradition of the effictio. The chapter culminates in a close reading of Quevedo’s sonnet “Quiere que la hermosura consista en el movimiento,” interpreted as a Baroque manifesto against the fixation of beauty in static, ideal forms. Quevedo privileges kinetic perception over ideal proportions, rejecting symmetry,  geometric balance, and the classical lexicon in favor of a fleeting, motion-driven aesthetic that anticipates modern  conceptions of beauty as kinetic . In so doing, the chapter argues, Quevedo stages the  crisis of the Helen-like paradigm,not as a simple rejection of ideal beauty, but as a recalibration of its lyric codes, grounding them in motion and indefinition; and  opening the way for later reconfigurations of the lyric body in the proto-feminist interventions of writers like Sor Juana Inés de la Cruz.