Waterbury evening Democrat., 1891-03-17
BEAUTY OF FORM.
The Charm of Proportions In Both Man
and Woman.

Th0 NhaEm OF HEOpuEUhOnh Iu 16OEn MmM
and Woman.
Beauty of the human form is to-day
exactly what it was in ancient Greece;
it is the same through all the centuries,
however blind we are to its character
istics 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, and
was so beautiful as to be called divine,
writes E. S. L. Adams in Harper's
Bazaar.
This sculpture should be carefully ana
continuously studied, as well as pic
lures of good nude figures. They arc
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 1t
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
lluu1l IToDOTIlOh ii
lively large head, wide shoulders, rath-
er square, a torso tapering to a con-
tracted pelvis; while the whole may be
seven and one-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 small head, shoulders
81 4l,sN
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 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 to
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 thoughtfully, till the rhythm of the
! lines mas 1dSIcneu 1USel1 upon the mem
DRY. 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
a 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 a weak, nerveless, insipid
thing.
These proportions should be so under.
stood, and SO thoroughly appreciated,
as to be always in mind, else a beauti
full human form will not be recognized
Use physical exercises to attain the per
fiction of these curves. Hang pictures
showing them where they may grow
into your thoughts.