lad
expression. This is produced with exquisite art. To give softness, the
ridges of the eyebrows are rounded. To give sweetness, the under eyelid,
which I would call the expressive one, is slightly raised. To give the
expression of gladness or of pleasure, the opening of the eyelids is
diminished, in order to diminish, or partially to exclude, the excess of
those impressions, which make even pleasure painful. Other exquisite
details about those eyes, confer on them unparallelled beauty. Still,
this look is far from those traits indicative of lasciviousness, with
which some modern artists have thought to characterize their Venuses.

Art still profounder was perhaps shown in the configuration of the nose.
The peculiar connexion of this sense with love was evidently well
understood by the artist. Not only is smell peculiarly associated with
love, in all the higher animals, but it is associated with reproduction
in plants, the majority of which evolve delicious odors only when the
flowers or organs of fructification are displayed. Connected, indeed,
with the capacity of the nose, and the cavities which open into it, is
the projection of the whole middle part of the face.

The mouth is rendered sweet and delicate by the lips being undeveloped
at their angles, and by the upper lip continuing so, for a considerable
portion of its length. It expresses love of pleasure by the central
development of both lips, and active love by the especial development of
the lower lip. By the slight opening of the lips, it expresses desire.

These exquisite details, and the omission of nothing intellectually
expressive that nature presents, have led some to imagine the Venus de
Medici to be a portrait. In doing so, however, they see not the profound
calculation for every feature thus embodied. More strangely still, they
forget the ideal character of the whole: the notion of this ideal head
being too small, is especially opposed to such an opinion.

Withal, the look is amorous and languishing, without being lascivious,
and is as powerfully marked by gay coquetry, as by charming innocence.

The young neck is exquisitely formed. Its beautiful curves show a
thousand capabilities of motion; and its admirably-calculated swell over
the organ of voice, results from, and marks the struggling expression of
still mysterious love.

With regard to the rest of the figure, the admirable form of the mammae,
which, without being too large, occupy the boso