exes alike. It is certainly
rare to find any aesthetic admiration of men among women, except
in the case of women who have had some training in art. In this
matter it would seem that woman passively accepts the ideals of
man. "Objects which excite a man's desire," Colin Scott remarks,
"are often, if not generally, the same as those affecting woman.
The female body has a sexually stimulating effect upon both
sexes. Statues of female forms are more liable than those of male
form to have a stimulating effect upon women as well as men. The
evidence of numerous literary expressions seems to show that
under the influence of sexual excitement a woman regards her body
as made for man's gratification, and that it is this complex
emotion which forms the initial stage, at least, of her own
pleasure. Her body is the symbol for her partner, and indirectly
for her, through his admiration of it, of their mutual joy and
satisfaction." (Colin Scott, "Sex and Art," _American Journal of
Psychology_, vol. vii, No. 2, p. 206; also private letter.)

At the same time it must be remembered that beauty and the
conception of beauty have developed on a wider basis than that of
the sexual impulse only, and also that our conceptions of the
beautiful, even as concerns the human form, are to some extent
objective, and may thus be in part reduced to law. Stratz, in his
books on feminine beauty, and notably in _Die Schoenheit des
Weiblichen Koerpers_, insists on the objective element in beauty.
Papillault, again, when discussing the laws of growth and the
beauty of the face, argues that beauty of line in the face is
objective, and not a creation of fancy, since it is associated
with the highest human functions, moral and social. He remarks on
the contrast between the prehistoric man of
Chancelade,--delicately made, with elegant face and high
forehead,--who created the great Magdalenian civilization, and
his seemingly much more powerful, but less beautiful,
predecessor, the man of Spy, with enormous muscles and powerful
jaws. (_Bulletin de la Societe d'Anthropologie_, 1899, p. 220.)

The largely objective character of beauty is further indicated by
the fact that to a considerable extent beauty is the expression
of health. A well and harmoniously developed body, tense muscles,
an elastic and finely toned sk