have accordingly taken it as our model. We have already spoken of this chef-d'œuvre of art, and further remarks would be superfluous, as the figure itself is to be found among the decorations of the palace and the cottage; and this fact alone is sufficient to prove its approximation to the ideal of beauty which is inherent in the human mind, and which pervades all classes of society. When we say that this figure is taken as our starting-point, it must be understood that we take it as if it were in an erect position—the proportions, not the attitude, being what we require. We mention this because it has been remarked that the majority of the ancient statues are represented in a stooping posture, and that it is in reality the most graceful; consequently, that ladies should imitate this if they desire to possess equal elegance.
Now, grant that, for a momentary attitude, the slight bend of the body is exquisitely beautiful; but if we could suppose the Venus unable to alter that posture, and to be thus rigidly fixed in life, surely we should be justified in calling this a deformity. As well might we consider the attitude of Diana (which, if my memory serves me rightly, is almost the only ancient erect figure,) to be perfectly natural, and not to be departed from. It
