value for the artist, in the choice of his models, and for the critic, in his review of Art-work.
Artistic perception and a knowledge of anatomy are not sufficiënt for the former, as I have already shown by a few examples, which might be multiplied by numerous others.
A fixed standard is yet more important for the critic, if he takes his calling seriously, since he lias to judge both the model and what the artist has made of it.
Before we treat further of these special purposes, we shall first test the practical value of the results so far obtained, by examples.
It has been believed, that it never happens that all bodily excellences occur together in one woman. Through my profession I was several times able to convince myself of the incorrectness of the idea, and to rebut it objectively. As, however, it was some time before I fully worked out the basis for an objective judgment, my first memoranda are not all so complete that I can turn them to account. Besides, I was not, as will readily be conceived, always in a position to undertake all the desirable measurements with the required care and precision.
Women are prevented, by more or less justifiable prejudices, from exposing their person before a man more than is necessary. Such prejudices are certainly rarer in beautiful women than in those who have defects to hide.
At any rate, it is the duty of the doctor to spare their feelings as much as possible, and it is seldom he meets with women who are so unconstrained and so little narrow-minded, that they are not ashamed of their body,
I have accurate data about 8 women, which make it possible to attest their beauty in words. Twelve others, about whom I have memoranda, possess many excellences and only a few, trifling defects.
The whole 20 belonged to old families of the better class, and they had all grown up in very favourable external circumstances.
I take for an example one of the last 12.