Mr. Teddy Lloyd, the married man who loves and is loved by Miss Jean Brodie, shares her artistic nature. Not only is he the art teacher at Blaine, but he is also a painter of portraits, and has a studio in his home for this purpose. As suggested in a scene when Mr. Lloyd explains the lines and curves of the women in Botticelli’s painting La primavera to the giggling of his pupils, painting is, for both Mr. Lloyd and Miss Brodie, a medium through which one may touch on the sexual without experiencing bodily excitement oneself, a medium through which one may experience human emotion but with something of a godlike detachment. In line with this idea, the love between Mr. Lloyd and Miss Brodie plays out only on Mr. Lloyd’s canvases, an affair of the spirit, as it were. But this “affair” is so strong that every face Mr. Lloyd paints, be it Rose Stanley or even his own children, seems to resemble Miss Brodie. In this sense, Mr. Lloyd’s portraits symbolize the power of Miss Brodie’s influence on those around her, a power exerted on her lovers and students alike: just as Mr. Lloyd transfigures everyone into a Miss Brodie, so too does Miss Brodie attempt to transfigure her special girls into copies of her.