The Jersey City news. (Jersey City [N.J.]) 1889-1906, 1891-12-04
BEAUTIFUL WOMEN.
Opinions Of Artists ON Famous
Ones of loday-D.fferent
Types.

Somebody or other very wise said
somewhere or other, "a beauty is 6
woman who knows her bad points
and knows how to conceal them.
That sounds very interesting, and
there's just grain of truth in it.
Some OF the most famous beauties the
world has ever known were not beau.
ties at all. They made people think
they were, though. So it amounted
to the same thing. There's limit to
this sort Of hypnotizing power, how
ever. Nothing in the world could
make woman with projecting teeth
and retreating chin look pretty, even
to her most devoted admirers.
A woman like that has to be ami
able. Strange as it seems, she solne-
times has devoted admirers.
Standards of beauty are so different
that it, a puzzling thing TO talk
| about, when you come to consider it
in the abstract.
But there are standards, however,
and rules. Strict ironbound rules
| that the Greeks knew all about. They
made their artists follow those rules,
| too, and that's why one Grecian
maiden looks exactly like every other
Grecian maiden. There was only one
type of them.
| Artists today are not so hide-bound.
They have dozen different types
| from which TO choose. Tney may in
| vent types of their own for that mat
ter, and nobody grumbles There is
one singular thing about artists; they
| .,>lr ,In,. = %l,,s
are pretty things.
| They usually are not. For exam
| pie, woman who sets the town to
get an hours sitting if she applied at
studio door as model.
Why not2
The artists do not admire her. They
say she is too coarse, or too angular
or there's lack OF that true proper
tion which makes beauty. Try to
| find out what the true proportion is,
| and every artist will give you differ
| ent examples.
Emil Carlsen says, for instance,
Beautiful wonan! There's but one
beautiful woman! There she is over
| in the corner of my studio. See her
| beautiful long eyes, her exquisite, in
| comprehensive smile. There's a
woman to go mad over. A woman to
| dream of. A woman to die for. She's
the Venetian type, you see. Glorious
red hair, the only hair q woman
should ever possess. And what hands
she must have had, slim. graceful,
rosy, aristocratic. All, she's my only
| love. shall never die content until l
see her living prototype"
| Now, the object OF all this adora-
| ton is a bust. which is called The
Unknown Woman of the Louvre y
| No one knows the sculptor, and no
one knows her. But artists go mad
over her with charming unanimity.
To the vulgar eye she is jnst treach-
erous, thin faced woman with an
ugly cap. That's at first sight.
There's wondrous fascination about
her, though, when she's studied
She's so inscrutable, SO battling.
You could live in the house with a
woman like that for years and never
know thing that held possession of
her heart or her mind. She has the
physiognomy of a poisoner. You
could imagine her mixing baletui
draught for some enemy with just
that strange evanescent smile.
Yet, if size were to awake from her
marble sleep and walk down Kearny
street, today she had been awake for
a week we should begin to hear
stories of strange infatuations, of
jealousies and mad heartDurnings all
for the sake of this slim woman
whose name no one Knows. At least,
that's what the artists say about her.
The most beautiful woman alive
today" says Mr.. Carlson, lis Sarah
Bernhardt. Her back, her shoulders,
her graceful loins, her splendid hair,
her slow, delicious smile, her Sphinx
like eyes-ah, they all mean some
thing. She is beautiful. Every at
titude she takes Is picture, every
give twenty doll-iaced milkmaids lor
one such face as Bernhardt's. The
Greek face is too dull for my taste,
Venetian type--the feline type, the
type that has something behind it,"
Amandee Joullin is not such an en-
thusiast as Mr. Garrison, but he, too,
speaks of the Unknown Woman as
his ideal.
Though l must confess l have q
leaning to the classic style,n he says,
II like the straight, regular features
and the perfect forms. | do not adj
mire buxon women-Mrs. Langtry,
for example. never look at her
without thinking what a spIendidly
healthful, wholesome, well-cared-for
body she has She looks so sleek and
we'll grooned. She's fine example
of her type, but do not admire the
type. Shes too heavy, too runin-
alive, too solid. Now, I'll tell you
who was magnificent woman, Ade-
laide Nelson. She had the most
glorious eyes / ever saw--long, mar
row, brilliant. speaking eyes, that
would make p ain face beautiful.
Those long eyes are a sure sign of
beauty to my mind. ] never saw a
commonplace woman who had them.
the most beautiful living wonan2
That is hard TO say. Mary Anderson?
Not at ALL Too thin, too lank, too
cold. Mrs. Potter? A charming face.
full of color and arch vlvacity Lillian
Russell?
milk and roses. lovely to look at,
but trifie heavy. CarIuencita?
Chock full OF that subtle something
the French call beaute du dia6te.
Very charming. very piquant-bnt-
well--we cannot find al Unknown
Woman OF the Venetian type every
dav."
Charles Rollo Peters declares that
he bows to no particular type. There
is the element of beauty in them all, !"