The morning times., 1896-01-19

| types, or no paralielograninlatic fisureE
| as IN the prurieut types OF the ultra modern
| impossibilties. II can now be said tnat
one OF the Washington women referred
10 is "built' like Venus or Melos and the
| other like the V Venus OF the Capitol. How
| many other are there IKE them III Washing
ton?
Nearly all readers of sensational news
papers have noticed that III the representa-
tons of women, whose limbs are exposed
partly or wholly The drift is to follow
the new school, which by the way is only
an ldealistic school. Legs are displayed
the calves or which when put together are
at least as wide as the hips. The artists
who conceive such notions, or chincras,
are artists for revenue only, not for nature
or fame.
1t Will be interesting to know that Mr..
Dunbar, one OF Washington's sculptors, is
soon to appear in print with n cTitique OF
this kind OF work and its effect on the
moral and artistic senses. II Is POSSIBLY
the cause OF more corrupt taste, more de
PRAYED taste, this caricaturc or female
huma nit y than all the works Of Boccaccioor
Rabelais.
DIANA DI GABIA.
1t will PROBABLY amuse those who have
read thus far about women as they ought
to be, and women as they are not, to take
a look at the Diana di Gabia; and most OF
ali will 1t amuse and edify those who go
in for golf and the bicycle.
Diana is the idealizatIon OF the woman
OF exercise. Pausing before this lovely
creation, you can hear the modern female
athlete say: To this complexion must
we come at Iast?" Near this Dia na, who is
in the act OF watching, perhaps. the flight
of one of her arrows as she runs tand you
almost hear the rattle of the arrows in
her quiverD Is he Apollo Belvedere. Diana's
calves are not as big as ApOllo's. Does any
one suppose that a sketch OF Diana would
ever figure in any of the modern ne ewspapers
as the heroine of the latest divorce case?
Perhaps, too. there viii be some comfort
10 a great many, who stand before the
chaSte goddess, when they realize that
nOtwithst andng her scarcely good com
DarisOn with the legs OF the god of the silver
bow, she is still as TennysOn puts il, most
divinely tail and most divincly fair
\ fine example OF modern subServicnce
to the old and Corrcst taste is the "Clytic'
of Rinchart. This will prove TO numbers of
observers how the highest art Is simply
the highest truth. ON the other hand, 1T
is the fashion to rave sometimes lntelli-
gibly, and al other times incohcTrntiy, over
the beauty or defects, as the Imagination
has it, Of Powers Greek Slave one of
the Washington sculptors regards her as
bunglc from the standpoint of the impress
sion she Pre- uhttS. MI butbhl SieN Hh'
simply reminds him of tired woman
She tells him nothing of the story Of the
Greek Slave whom he thinks was princess.
Powers, he says, failed utterly with his
conception.
Turns HAS SAID IT.
The moral OF these reflections on past
art and present women is to be found in
these two lines from Burns, IN which lie is
speaking uf the Almighty.
His prentice hand he tried ON man
And then he made the lassIes o.
IL weuId have been all right II the lasSies
had let themselves alone, but they have
tried the prentice hand on themselves, as
they will all painfully see, If they 90 up
any bright day and compare themselves with
the women who talk in stone to US of the
glory and the grace. the harmony and the
exuu iSite symmetry Of the girls VINO
swan in the IliSsus, or roamcd the woods
in the Vale Of Tempe.
This is why there are not women enough
with classical forms i'll all Washington TO
make model apiece for its sculptors ana
why, when we want to talk about per
fection. we must talk almost like peddnt
about Venus and Minerva, and Clylt. ana
the everlasting sweetness or face ana hnes
or symmetry of the armlcsS woina OF
Melos Goethe might have had in his nilnd
this glorious vision Of heavenly beauty when
he coined the phrase the eterna! wonldniy.
Das ewiCe weiblChes.