Baby, Your beloved -me- is so deep, I mean seriously re read the venus de milo analogy... MeSoDeep...LOL.
I love you.
This is Sophia's illuminating revelation:
No cast or copy conveys any idea of it to the eye of one who has not seen it. Life, emotion, instant thought, vary it every moment, - a movement in perpetual rest. The soul of the artist must have been of kindred delicacy, or he could not have so clothed it with maidenly modesty. This modesty becomes a complete veil, and it is an evidence that the inward sentiment is all that is essential, and no outwards condition whatever, to show the character; - character - that mysterious entity that no covering can hide and no nudity expose, for it is a presence that nothing can modify. Now I have seen the most beautiful Apollo, the most beautiful Minerva, and the most beautiful Venus in the word. I have heard that the Venus de Milo is thought more noble. But in the Venus we want Beauty - not Nobleness - to predominate. Pure nobleness is for Minerva. The Goddess of Beauty certainly should win and enchant, not strike with awe, except that there must always be a degree of awfulness in such purity as this expresses. But I have seen the Venus of Milo in the Louvre, and she looks proud and not quite amiable.
There is grandeur in her mien and a noble beauty in her form; but she has not an attractive, irresistable fascination. I looked at it for hours, and having heard that the motive of the design had not yet been discovered, I set about trying to find it out. I tried so vehemently, that for a long time I was wholly at a loss; but suddently glancing at it without purpose, I though I plainly saw what the action was. As both arms are gone, it was at first difficult to perceive, but I am sure she is taking the apple from Paris.
There is disdain in her air and curled lips, that any questions would have arisen concerning the pre-eminence of her claim; and an assurance, also, that Paris would not hesitate. Easy, haughty triumph is in the attitude and look - almost a scornful smile, which must have been highly exasperating to the irascible Juno. The moment I saw it all, I wondered that there could ever have been a doubt about the intention of the artist, and now I wish I could know, undeniably, whether I am right or wrong. She seems to be drawing back a little, while she extends her hand for the prize, as if she inwardly despised to accept the proof of so self-evident a thing as her superior beauty. The Venus de Medici has more winning sweetness and unconscious charm, I think.