The San Francisco call., 1904-08-21

because she suddenly realized
their great Importance. In fact, so
great IS the tyranny Of the pink and
white dimpled back that the woman
who is fortunate enough to possess one
often has more power OF fascination
than her sister whose face IS divinely
fair, but whose shoulders are-alack
and alas-despairingly scrawny-
dimpled back may not be the last word
OF beauty. but Il has a magic-there is
no other expression for it-of its own.
There is in its soft roundness, in its
curves at once rhythmical and placid,
? a note Of mystery and romance. II
most certainly appeals TO the senses
truly, for when one sees a beautiful
back one is not anxious 10 behold the
face Of its possessOr, for it holds the
attention independently. Even after
the face has been seen and little found
there, another glance at the dimpled
back renews the Independent attrac-
ton.
Every one. it matters but little who
q chances to ra 1lways adnires a
pretty woman. l a measure. it is
the analyst Of lty for beauty's
sake who is able 60 51Gge Independently
on this fascinatins part Of the femi-
nine form. He must have the har-
.noajc instinct well developed before
he realizes 10 the fun its charms upon
him, and then he must be either a poet
or z bold man 10 express Il. for the
world would be more quickly scan
dalized by a compliment paid TO a
womans back than TO her face. For
the latter there is apt TO be precedent;
for the former there would have 10 be
reason.
The woman IN the ballroom is ad-
'mired on all hands and men are willing
10 run and tear their hair for her, but
after al It is TO the painters that one
must go for the truest appreciation
Scuptors have too many things on
she.r minds, too many points Of view to
consider, and so cannot concentrate
talent on the soft back and shoulders
IS they would like. while the painters
need only 10 consult their own tastes
before turning a models face away
and painting what attracts them
Fashion-poor old souli-in her vain
attempts at originality frequently wells
the form Of d woman 10 the throat;
ino6ish art rarely follows her lead too
closely, but lets fan fold Of drapery
80 expose a beautifully modelled shoul-
!. Ger and in so doing frequently offends
more sensibiLties than she is at first
aware o.
but there is a danger line and the
R.se woman does not go one-eighUh OF
a. inch below It. The world over there
80 prudish men and women who must
oe wOn over TO the broad-minded ad
, rirati0n. but 10 do this no more OF
s4le back should be shown than the line
5rst. below the shoulder blades. To go
further is 10 verge on the improper, or,
II any rate, the vulgar
There are extremists and, unIortu-
ueIely, 10 the crack Of doom there VIII
be- II it Is the style 10 wear low
. f-ocks milady's is just a trite lower
than her neighbOr's. But, on the other
3land, Il high collars are the vogue, she
must possess one q half inch higher
than IS comfortable or pretty. And 50
? here IS apt 10 be danger IN this fad
- to-day The N-shaped waist that
is cut 10 the waist line certainly Is not
I attractive and the square neck that
: Shows The shoulder blades is too low
for beauty
.Delacro.x is credited with having
2: said. There is nothing inexpensive in
any part OF humanity; every portion
shguld breathe and tell its meaning.
50 perhaps that Il why the back with
rs innate significance and sentiment
f.. sas called forth the utmost suDtety
and strength from many Of the great
: est There are at least two men great
in art who have constituted themselves
iie pOets-in-paint Of the feminine
back with the face partly or entirely
turned away. It is needless 10 say
that Henner IS one OF lnein- hils rec
ord Of the Magdalen, her aspects and
qualities, rarely deals with the face;
IL usually places emphasis on the
shoulders and the back
He has been wise, and perhaps not
for The reason that renders his name
IL =
lace Of the Magd8len would oe TOO SEN
tfmental in feeling and effect; ner back
. gives lust the required touch Of the
BIaEdiOse-
81 hiding the repentant woman's
face and concentrating his attention
elsewhere his results are sometimes
marked by real sOlenlnity OF emotion
(. md propriety Of utter2nce.
II is strangely enough, among the
. French roma ntic school and among ar
lists whose training has been pracu-
caUv French. that this view Of the
feminine figure has received its most
delicate and charming handling. The
s-Isssicig.s rarely realize the beauty Of
IT, but with the romantic movement
came many painters, few OF them the
Frce,test who added pleasure 20 the
world by their subtle appreciation OF
the beauty of these lines. In fact, the
strength Of the indirect may be said 10
have been discovered then-at the be-
ginning Of rorlanticisn, with GrOs and
his contemporaries In painting, Spon-
tins and Lesueur in music and Cha
teaubriand and Nine. Ge Stael in liter
atUrc.
Al these potent influences had found
that z subject had more than one an
gle. and that the direct, the face 10
face view, was far from being the
principal one in life and art. The
obIiquc in literature and painting be-
gcn 10 play "a part not much inferior.
The effect Of this was salutary for
the writer could now study almost a
new creature and the painter actually
found a model who had not grown stale
ID the studios. All the great men al
once became not mere artists of the
fat. but painters in the figure Their
ability 10 make their figure painting
living when the eyes We're cast down
or TUNED away or not even seen was q
great victory for art. because it point