Beauty Of Form

Beauty of the human form is to-day exactly what it was in ancient Greeoe; it is the same through all the centuries, however blind we are to its characteristies through ignorance. The census of ages is a true verdict, and classic forms become safe models. Greek sculpture was wrought when the body received its highest cultivation, anc was so beautiful as to be called divine, writes E. S. L. Adams in IIarper"s Cazar. This sculpture should be caref ully anc eontinuously studied, as well as pictures of good nude figures. They are to be made familiar, that one may learn why they are good, why they deserve admiration. Most people fancy they admire these classic models, but it must be in imagination only, else why should they allow themselves to exemplify false standards of form, and positively distort their own God-given bodies? Searching for the highest standards of human form, we discover that manly beauty and womanly beauty differ essentially. It is agreed that the type of manly proportion includes a comparatively large head, wide houlders, rather square, a torso tapering to a contracted pelvis; whila the whole may be Beven and one-half heads in height, or an additional half-head addad to the length of the lega, giving a partleularly elegant figure. On the other hand, fine proportions for a woman are a amall head, shoulders rather sloping and narrow, the torso full and widest at the hips; while the front line f rom the sternum over the abdomen should show first a gentle, and then a full outward curve. The conventional figure of the day Is at variance with this type. Every effort is made to imitate masculine characteristics. The shoulders are thrust up high and square, or made to appear so, the torso is made to taper in, and everything under heaven is done to make the waist look small. The front line is forced to take an inward curve below the bust, and the side Unes to form an awkward angle, in the hollow of which voluminous skirts are hung. One should study sculpture with the new knowledpfe of these proportions most thoug-htfully, till the rhy thm of the lines has fastened itself upon the memory. Studying the pictures of the best artists of every age, we shall flnd these principies everywhere demonstrated. The charm of womanly proportion is in the curve from armpit to ankle, which is so different from the beauty of a manly figure. The depression at the so-called waist line- only the meeting of two large muscles which in a beautiful woman should be slight - would better be ignored in the clothing, for the sake of the greater beauty of the whole sweep. It is to be understood that the long curves are made up of shorter contours, one gently melting into another. A form made up of graceful sweeps alone would be a weak, nerveless, insipid thing. These proportions should be so understood, and so thoroughly appreciated, as to be always in mind, else a beautiful human form will not be recognized. Use physical exercises to attain the perfection of these curves. Ilang pictures showing them where they may grow into your thoughts.