Raphael never again set so splendid an architectural stage.  To create pictorial space, he relied increasingly on the movement of human figures, rather than perspective vistas.  In the Galatea of 1513, the subject is again classical: the beautiful nymph Galatea, vainly pursued by the giant Polyphemus, belongs to Greek mythology.  Here the cheerful and sensuous aspect of antiquity is celebrated, in contrast to the austere idealism of Raphael's The School of Athens.  Its composition recalls The Birth of Venus, yet their very resemblance emphasizes their profound dissimilarity.  Raphael's full-bodied, dynamic figures take their expansive spiral movement from the vigorous contrapposto of Galatea.  In Boticelli's painting, the movement is not generated by the figures, but imposed on them from without, so that it never detaches itself from the surface of the canvas.