The DeLamar nugget. [volume] (DeLamar, Idaho) 1891-1900, 1891-05-05
BEAUTY or FORM.


| The Charm OF Proportions In Both Man
| and Woman.
| Beauty of the human form is to-day
exactly what 1t was IN ancient Greece;
| it is the same through all the centuries,
however blind we are TO it's character
isties through ignorance, The census
| of ages is true verdict, and classic
| forms become safe models. Greek
sculpture was wrought when the body
received it's highest cultivation, and
was so beautiful as to be called divine,
writes E. s. L. Adasns in Harper's
Bazaar.
This sculpture should be carefully and
continuously studied, as well as pic
lures 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 exem-
pity false standards of form. and posi-
lively distort their own God-given
bodies?
Searching for the highest standards
of human form, we discover that manly
beauty and womanly beauty differ es-
sentially. 1t is agreed that the type Of
manly proportion includes a compare
lively large head, wide shoulders, rath-
er square, torso tapering to con-
tracted pelvis; while the whole may be
seven and one-haf heads in height, or
an additional haf-head added to the
length of the legs, giving particularly
elegant figure.
On the other hand, fire proportions
for woman are small head, shoulders
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 full outward curve.
The conventional figure of the day
is at variance with this type. Every eff
fort is made to initiate masculine char
acteristics. 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 lines 20
form an awkward angle. in the hollow
of which voluminous skirts are hung.
One should study sculpture with the
new knowledge of these proportions
most thoughtfally, till the rhythm of the
lines has fastened itself upon the mem
ory. Studying the pictures of the best
artists of every age, we shall find these
principles everywhere demonstrated.
The charm of womanly proportion is
in the long curve from armpit to ankle,
which is so different from the beauty of
manly figure. The depression at the
so-called waist line-only the meeting
of two large muscles which in beauti-
full woman should be slight-would bet
ter 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 contours,
one gently melting into another. A
form made up of graceful sweeps alone
would be weak, nerveless, insipid |
thing.
These proportions should be so under
stood, and so thoroughly appreciated
as to be always in mind, else beauti-
full human form will not be recognized.
Use physical exercises to attain the per-
lection of these curves. Hang pictures
showing them where they may grow
into your thoughts.