and trimly: her feet
delicately sandaled, her gown spotted with little stars, her hair
brushed exquisitely smooth at the top of her head, trickling in minute
waves down her forehead; and though, because there is such a quantity of
it, she can't possibly help having a chignon, look how tightly she has
fastened it in with her broad fillet. Of course she is married, so she
must wear a cap with pretty minute pendent jewels at the border; and a
very small necklace, all that her husband can properly afford, just
enough to go closely round her neck, and no more. On the contrary, the
Aphrodite of the Italian, being universal love, is pure-naked; and her
long hair is thrown wild to the wind and sea.

These primal differences in the symbolism, observe, are only because the
artists are thinking of separate powers: they do not necessarily involve
any national distinction in feeling. But the differences I have next to
indicate are essential, and characterize the two opposed national modes
of mind.

187. First, and chiefly. The Greek Aphrodite is a very pretty person,
and the Italian a decidedly plain one. That is because a Greek thought
no one could possibly love any but pretty people; but an Italian thought
that love could give dignity to the meanest form that it inhabited, and
light to the poorest that it looked upon. So his Aphrodite will not
condescend to be pretty.

188. Secondly. In the Greek Venus the breasts are broad and full, though
perfectly severe in their almost conical profile;--(you are allowed on
purpose to see the outline of the right breast, under the chiton;)--also
the right arm is left bare, and you can just see the contour of the
front of the right limb and knee; both arm and limb pure and firm, but
lovely. The plant she holds in her hand is a branching and flowering
one, the seed-vessel prominent. These signs all mean that her essential
function is child-bearing.

On the contrary, in the Italian Venus the breasts are so small as to be
scarcely traceable; the body strong, and almost masculine in its angles;
the arms meager and unattractive, and she lays a decorative garland of
flowers on the earth. These signs mean that the Italian thought of love
as the strength of an eternal spirit, forever helpful; and forever
crowned with flowers, that neither know seedtime nor harvest; and bloom
where there is neither death nor birth.

189. Thirdly. The Greek Aphrodite is entirely calm, and looks straight
forward. Not