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4 of its specific beauties; or, in the event of any deviation, to its restora­tion, by gentle and gradual means, to the true ideal form which nature originally stamped upon it; or at least to the attainment of as near an approximation to it as possible. Were we to relate the numerous instances in which success, little short of miraculous, has attended our efforts, we should be accused of egotism, and perhaps even of exaggera­tion; but we profess nothing that we cannot perform, and we most solemnly assert, that we have never had a case in which our system has been fairly tried, and the use of our adaptations persevered in, without the desired end being attained in a greater or less degree. As the incarnation of all that is beautiful in woman, the Venus de Medicis is universally acknowledged the most perfect specimen of female love­liness and grace, and we have accordingly taken it as our model. Any description of this chef-d'œuvre of art would be superfluous, as the figure itself is to be found among the decorations of the palace and the cottage; and this fact alone is sufficient to prove its approximation to the ideal of beauty which is inherent in the human mind, and which pervades all classes of society. When we say that this figure is taken as our starting-point, it must be understood that we take it as if it were in an erect position—the proportions, not the attitude, being what we require. We mention this, because it has been remarked that the majority of the ancient statues are represented in a stooping posture, and that it is in reality the most graceful; consequently, that ladies should imitate this if they desire to possess equal elegance.

Now, grant that, for a momentary attitude, the slight bend of the body is exquisitely beautiful; but if we could suppose the Venus unable to alter that posture, and to be thus rigidly fixed in life, surely we should be justified in calling this a deformity As well might we con­sider the attitude of Diana (which, if my memory serves me rightly, is almost the only ancient erect figure,) to be perfectly natural, and not to be departed from. It will be recollected that she is represented with the right arm extended, and the head turned over the right shoulder, the left hand grasping the horns of a goat, and the weight of the body thrown on the left leg. This, however, is but a momentary position, and in contemplating this beautiful work of art the mind instinctively pictures the figure in a state of erect and majestic repose. So also