The Jersey City news. (Jersey City [N.J.]) 1889-1906, 1891-02-12
BEAUTY OF FORM.
Effect of Physical Culture On Wo-
men-Perfect Figures.

Beauty of the human form is today
exactly what it was in ancient Greece;
it is the same through all the cen
turtles, however blind We are TO its
characteristics through Ignorance.
The consensus OF ages is a true YER
dict, and classic forms become safe
models. Greek sculpture was wrought
when the body received its highest
cultivation, and vas so beautiful as
to be called divine.
This sculpture should be carefully
and continuously studied, as well as
pictures OF good nude figures. They
are to be made familiar hat n may
learn why they are good. why they
deserve admiration. Most people
fancy they admire these classic mod
els, but it must be in imagination
only. else why should they allow
themselves TO exempliiy false stand
ards of form, and positively distort
their own God-given bodies?
Searching for the highest standards
of human form. we whatsoever that manly
beauty and womanly beauty differ
essentially. 1t is agreed that the type
of manly proportion includes a III
paratively large head, wide shoulders
rather square. a torso tapering to a
contracted pelvis; while the whole
may be seven and a half heads in
height, or an additional half head
added to the length of the legs, giving
a particularly elegant figure.
On the other hand, fine proportions
for a woman are a small head, shout
ders rather sloping and narrow, the
torso full and widest at the hips; while
the front line from 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 initiate 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 in
ward curve below the bust, and the
side lines to form an awkard angle, in
the hollow of which voluminous skirts
are hung.
One should study sculpture with the
new knowledge of these proportions
most thoughtfully. till the rhythm of
the lines has fastened itself upon the
memory. Studying the pictures of
the best artists of every age, we shall
find these principles everywhere de-
moDstrated.
The charm of womanly proportion
is in the long curve from armpit to
ankle, which is so different from the
beauty of a manly figure. The depres-
sion 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.
1t is to be understood that the long
curves are made up of shorter con-
tours, n gently melting into an
other. A form made up of graceful
sweeps alone would be q weak, nerve
less, insipid thing.
These proportions should be so I'M
derstood, and so thoroughly appreci-
ated, as to be always in minds, else a
beautiful human form will not be rec
ognized. Use physical exercises to at
tain the perfection of these curves.
Hang pictures showing them where
they may grow into your thoughts
h.. L. s. adams In HdTpeF'S BazaT.