NATURE IN THE LOUVRE. 261 



must have been, and how wonderfully the form has 

 been rendered in marble for this to be the best 

 position to view it. 



Three large folds, marked by deep lines, cross the 

 lower part of the torso, and it is these creases that give 

 the work its life. They are but just made in stooping, 

 and will disappear as she rises from that position. 

 These three grooves cross the entire front of the torso ; 

 the centre one is forked at its extremity near the right 

 hip, and the fork of this groove encloses a smaller crease. 

 Immediately under the right breast there is a short 

 separate groove caused by the body leaning to the right ; 

 this is a fold of the side, not of the front. Under these 

 folds there must be breath, there must be blood ; they 

 indicate a glowing life. The immense vitality of the 

 form appears in them, and even as an athlete's muscles 

 are exhibited in relief at his exercises, so exceeding 

 strength of life is evident in these grooves. A heart 

 throbbing steadily and strong, veins full of rich, pure 

 blood, a warm touch, an eager wish to be affectionate, 

 and self lost in the desire to love — this is the expression 

 of the folds. Full of the energy of exceptional vitality, 

 she gladly gives that energy for the delight of the little 

 one. 



There are no grooves on the torso of the Venus de 

 Medici or of the Venus of Cnidus ; they are sculptured 

 in attitudes chosen to allow of the body and the limbs 

 presenting an unbroken smoothness. They have the 

 roundness of the polished column. They are ideals, but 

 do not live. Here the deep grooves and the large folds 

 are life. 



As we move slowly around the statue from left to 

 right, after observing it in front, the right breast gra- 

 dually advances, and its outline appears. The act of 



