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THAN THE
FAPIOIIS
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MERE were no -women In the classic, days of
Greece, or In the golden age of France, who
wound not compare unfavorably with the mod
ern beauty of today. . ,
Probata there Isn't any girl with a pre
tension to a (rood profile but that knn in h
J secret heart that she wouldn't exchange nose
wain tne venus de MJIo and who would not. If
he were already possessed of the exact counterpart of the
MHo's straight line of forehead and none, consider herself
afflicted.
It Is certain thnt her waist measure la a thing: which, no
matter how highly she had been educated In art Ideals, nor
how open she Is to the conviction as to Its artistic propor
tions, no modern beauty would stand for.
There are many reasons lately advanced for her way of
thinking. That the modern beauty is at least superior to the
first contemporaries of the Venus, and that she even excels
the famous belles of more recent days, there Is growing evi
dence and conviction. Take, for Instance, the women of the
court of Louis XIV., who are famed a the most perfect
galaxy of beauties that the world has known. It is evident
that both the portraits ind the pen picture of that day have
surrounded them with a halo by which tne modern girl has
unjustly suffered In comparison.
What beauty of today, for Instance, no matter how regnl
her charms, would ever hope to hear herself described In
such word as these: " Never was there a face so splrltunl,
so touching, so speaking; never a freshnca.4 like hers; never
so many graces or more intelligence; never so much gayety
and liveliness; never a creature more bewitching." Or, " She
had an angelic face which later had a darkling luster. Her
beauty consisted In Incomparable tones of the complexion.
Her eyes, less large than soft and brilliant, were of the blue
of turquoise. WKh this, silvery blond .hair, and the name
less something which Is called 'air,' there was elegance In
her whole person, and at every point a supreme style."
These are the descriptions of Mme. de Caylua and of Mme
de Longuevllle, and were written by one of their own sex
at that.
Flattery Created Models of Beauty.
Flattery, exaggerated, extravagant, and shorn of all it
subtle quality, was the coin of conversational exchange. The
" Chevalier " wrote of Henriette, the duchesse of Orleans:
" As to the features of her face, we never see anything
so complete. Her eyes were keen without being rude, the
mouth admirable, the nose perfect. Her skin was white be
yond expression, her figure refined. Her mind as well as her
soul animated her body, she had it even In her feet, and
danced -better than any other woman in the world. Whoso
approached her remained convinced that no one so perfect
could be seen."
Of the many eulogies of Ninon de Lenclos one reads: " She
had a beautiful figure and hair of the finest chestnut ever
seen. Her fnce is round, her complexion bright, the mouth
agreeable, the Hps rosy, a little dimple in her chin, her eyes
black and brilliant, full of Are, smiling, and the countenance
refined, gay, and Intelligent."
Of a pair of eyes It was written: " She had eyes so fine,
so lovely, so loving, so full of lntelllgei.ee, that one can
neither sustain their brilliancy or detach one's own eyes
from them."
Today a man says that the object of his admiration Is
"all right." If he Is exuberant he will say: "Have you
seen so and so? By Jove, she's a peach."
He expresses his moit artlstlo perceptions of the charms
of a goddess by saying: " I walked home with a pretty girl
today." Or, " I went In to dinner tonight with a 'stunner.' "
His compliments are either pleasantly Ironical or artis
tically subtle. If they were not, the modern girl would open
ly ridicule him. He never lets himself go. In his love let
ters he is businesslike and cuts out all sentiment that Isn't
expressed in " devotedly yours." If he writes of a new fem
inine discovery he confines his description to " Tou must
see her."
Moderns Fail to Laude Heroine's Beauty. '
It is the same way In novels. The modern novelist only
describes the beauties of Ms heroine by suggestion. He says
that she has charm, attractiveness, character, and Individ
uality, but there are no descriptions which set down with ex
actitude the charms of the modern beauty, which can take
the place of the letters and literature In which the rhap
sodies of the French beauties are preserved. All this de
tracts from the reputation of Ideal beauty of the modern
woman, even if It adds to that which she already possesses
for Intelligence, charm, and popularity.
In the seventeenth century flattery of speech and letters
was supplemented by a flattery of art far greater than to
day. Mlgnard, who was the official painter to the court of
Louis XIV. from the time of the queen mother, was noted
for his flattering touch. With him truth gave place to a
tender grace and elegance. From his hand were portraits of
Mme. de Malntenon, Mme. de Bevlgne, Mnit. de Montespan,
Mile, de VUUere, Ninon de Lenclos, the duchesse de Orleans,
and Marie Mandril. He treated all his royal subjects with
Imagination and unblushingly made the beauty of shoulder,
bust, and limbs rival the outlines of Dltina.
On the other hand!, Rlgand," his contemporary, always
painted truth, letting it dominate his desire to please and,
although he was a popul vr man's artist, princesses, queens,
courtesans, and marquises gave a cold shoulder lo his studio.
," If I make them look natural they dp not And themselves
beautiful enough; If I flatter them the likeness Is not good."
walled .this artist.
The extreme freshness pf the faces of some of the por
traits of this period la also due to the rouge, which was
applied In proportion to the rank, and which was faithfully
reproduced In the fanciful coloring which Is seen In some of
;Nattlar's women.
Creek Women Not Up to Ideal.
Of the Greek art It tc generally conceded that there were
no women of Greece who compared to the classic Ideal.
The Venus of Mllo Is a composite Ideal whose counterpart
never exUted. There has recently been thrown a new light
upon the strange line of the Venus' left side, which declares
that she was planned to stand in a niche, and that her right
side only was the one Intended for view. The modern front
view, as has been pointed out. " exhibits the beauty of
Aphrodite's right side and at the same time shows an un
pleasantly straight line and an impossible hip on her' left."
This justifies the modern woman's openly expressed hostility
to the Venus waist line.
ia spite of the criticism which Is turned upon her. there
re artists Innumerable who declare that the figure lately
attained by the modern woman, when It Is aot exaggerated,
has given her the best of lines. The curve at the buck of
the hips, when slight, and the almost straight line in front
ppruucfic niurv newny iu mv ueii meat man anytning sne
The Ideal of Greek art which runs through the early oert-
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straight,, and well formed nose, and the richly curved mouth
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which is the Greek symbol. Is brought to a perfection in
Gladys Deacon which It can hardly be believed existed In the
days when art was Imagined rather than copied.
- The Princess Henry of Pleas outrivals any of the French
beauties in regularity of features combined with vivacity,
attractiveness, and charm. Lillian RussaU'b beauty surely
cannot be equaled In Its unfading quality even by that of
the perennial French beauties. Maxlne, Elliotts regular pro
file and rare coloring might be described In the glowing words
which are written of Ninon and yet but half express and
far less exaggerate.
Modern Beauty Arts Unknown of Old.
The moden beauty has also a thousand urts at her finger
ends which were not known even at the Krtnch court. In
the flrat place, she makes a fetich of health. The most sim
ple and nourishing fool, the. most peaceful and regular
beauty sleep, the deepest of breathing, the purest of air, a
life out of doors, the most regular of baths, and the benefits
of regular massage are all arts to which she resorts fre
quently and often practices regularly. She has every art
known to science to help her beauty and every precept for
a healthful and beautiful body Is constantly being put under
her eye. She has the aid of magical lotions and waters which
outrival the perfumed baths of the orient. She has skin
foods which are all powerful In comparison with the baths
of milk indulged In by the women of Franre.
There ia nothing In the way of mechanical art which Is not
Offered to correct her slightest defect. The most wonderful
of all la that aha has the supreme taste to know Just where
to let the touch of science supplement that of nature. Her
eye for color and line has been so educated that each beau
tiful woman Is an artist in her way and seldom makes a mis
take in any detail of her appearance. Her coiffure la always
perfect, her hands exquisite, her skin Is beautifully groomed
and soft as velvet. . i
Her variety Is superior to' that of any period. 8he con
forms to -no type, but is Infinite In her individuality. She
studies her own style and develops It to perfection. In all
this she answers to an Ideal which is Infinitely higher than
that of any other age. Rhe fulfills a demand for variety,
Individuality, and versatility which has not' been dreamed
of In previous periods.
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