The Renaissance is home to the painter and sculptor of dance-like states, of the artist who cannot help but breathe the essence of dance into his figures.  Italian art of the fifteenth and sixteenth centuries is, at almost every turn, populated with figures whose veins course with the lifeblood of this ephemeral art; figures who sway, leap, crouch, bend, bow, twirl, gesture, and interact like performers plucked from Balanchine’s corps. Indeed, the moving body in Renaissance art is infused with the spirit of dance. This concept, which I believe to be absolutely fundamental to any deeper understanding of the Renaissance body in motion, is the central premise of this paper.  I propose to explore this idea by focusing specifically on Luca Signorelli’s Flagellation in the Pinacoteca di Brera in Milan, inviting my audience to consider the artist as not only the famed painter of dynamic nudes, but as an artist of dance-like states—a painter-choreographer who orchestrates his figures into a powerful image of aestheticized violence.  To what extent can we understand the corporeal eloquence of this image, unravel its choreography, and comprehend the precise intentions of its figural interactions?  And, are choreography and the language of dance satisfactory ways of describing such physical complexities?  In addressing these problems we directly engage with the experience of reading the figures themselves—a most basic act for anyone interested in approaching a phenomenology of the Renaissance body in motion.  It is this kind of meditation on the figure—scrutinizing the subtle nuances of poses, gestures, and interactions—that leads to an inevitable engagement with dance and the expressive possibilities of this most kinetic art.  This paper provides just this type of meditative experience, ultimately uncovering a rich interpretation of a subject for which biblical accounts are lean and theatrical performances virtually nonexistent.