human eve: nobody knows it better than women themselves, who instinctively know hovv to lieighten their charms and conceal their blemishes by a proper choice of colours. It is still more difficult to analyse the beauty of movements, most of which are hidden to us by dress.
But we must make yet a further limitation. Even the small amount of the female body, that can be seen daily, is not looked at with sufficiënt attention, because the eyes of the spectators are not practised. Let anybody try to picture to himself the features, the hair, the eyes and the hands of persons whom he meets every day. In the great majority of cases he vvill not be able to remember the colour of the hair and eyes, and the shape of the nose and mouth, unless they have left a deep impression on him on account of unusual development.
Even the ears, which contribute a good deal to facial expression, are generally very superficially observed; whilst Mantegazza (1) tells us, with respect to the shape of the hands, that even painters did not know whether or not their second finger was longer than their fourth.
A quite superficial notice is, in fact, generally taken even of the head, face, and hand. although we are every day able to observe them in considerable numbers; about the remaining parts of the body only a practised observer can draw certain inferences from gait and carriage; but most people are content with indefinite ideas that are derived from a usually superficial contemplation of works of art.
In order then properly to understand this element in the modern standpoint, it is our duty to analyse the presentation of female beauty in sculpture and painting.
(1) Physiologie des W e i b e s. German translation by Teuscher, 1894, p. 52.