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ghostly Female Figure (Blueprint), on the same sid of the box, brings to mind images of the Santissima Sindone in Turin. At the least, these associations confirm what Alloway described as the "unstoppable connectivity of images and objects" in Rauschenberg's work (Robert Rauschenberg, 1977 [note 1], p.7). In this context, it is also important to remember that Rauschenberg's family was active in the Church of Christ on Port Arthur (ibid., p.25). 20 Originally the piece stood on a simple wooden base, as can be seen in figure 2. 21 Ibid., cat. no. 180. 22 The exhibition was intended to bring up to date the Medici collection of artists' self-portraits. 23 Ibid., p.3. Alloway is certainly correct in stating that the painting remembered by Rauschenberg was the Adoration of the Magi, rather than the Annunciation that he actually mentioned. 24 On the Four Rivers Fountain and the Elephant and Obelisk, see I. Lavin, Drawings by Gianlorenzo Bernini from the Museum der Bildenden Kunste Leipzig, German Democratic Republic, Princeton 1981, pp. 108-119 and 282-287. 25 R. Lightbown, Botticelli, II, Berkeley and Los Angeles 1981, cat. no. B41. 26 In his famous discussion of Bronzino's Allegory, Erwin Panofsky described the pillow als "a common symbol of idleness and lechery" ("Father Time", in Studies in Iconology, New York 1939, p. 88). Since Rauschenberg studied the history of art at Kansas City Art Institute between 1947 and 1948 (Robert Rauschenberg, 1977 [note 1], p. 27), it is quite likely that he read Panofsky's classic article, or heard it paraphrased in a lecture. 27 J. Pope Hennessy, Italian Renaissance Sculpture, London 1971, pp. 264-265, and idem, Italian High Renaissance and Baroque Sculpture, London 1970, p. 371. The Judith and Holofernes is now in the Sala dell'Udienza in the Palazzo Vecchio. 28 On the symbolism of the Judith and Holofernes, see E. Wind, Donatello's Judith: A Symbol of, Journal of the Warburg Institute, I, 1937-1938, pp. 62-63. 382