The enterprise. [volume] (Wellington, Ohio) 188?-1899, 1891-07-15
eEAurY OF FORM.
The Charm of Proportions In Both Man
and Woman.


The Charm Of Proportions In Both Man
and Woman.
Beauty Of the human form is to-day
exactly what it was in ancient Greece;
Il il the same through all the centuries,
however blind we are to its character
istics through ignorance. The census
Of ages is q true verdict, and classic
forms become safe models. Greek
sculpture was wrought when the body
received its highest cultivation, and
was 50 beautiful as to be called divine,
writes Z. s. L. Adams 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 1t
must be in imagination only, else why
should they allow themselves to exem-
plify 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 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 particularly
elegant figure.
On the other hand, fine proportions
for woman are a small head, shoulders
rather sloping and narrow, the torso
full and widest at the hips; while the
front line from the sternnm over the
abdomen should show first 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 tc
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 thu
: lines has fastened itself upon the mem
ory. Studying the pictures of the bes
artists of every age, we shall find thes'
: principles everywhere demonstrated.
The charm of womanly proportion !
in the long curve from armpit to ankle
which is SO different from the beauty o
manly figure. The depression at tn
G so-called waist line-only the meetinI
l. of two large muscles which in q beauti
full woman should be slight-would bet
v ter be ignored in the clothing, for tn
: sake of the greater beauty Of the Who'll
r sweep.
r Il is to be understood that the Ion
= curves are made up Of shorter contours
= one gently melting into another.
y form made up of graceful sweeps alon
t would be weak, nerveless, insipi
e thing.
e These proportions should be 50 unde
? stood, and so thoroughly appreciated
h as 10 be always in mind, else q beaut
o full human form will not be recognizes
d Use physical exercises TO attain the pc
Is fection of these curves. Hang picture
le showing them whore they may gro
le into your thoughts.