The arms of the Venus de Medici, it should be observed, are of modern construction, and unworthy of the figure.
The Venus of Naples is of altogether a different species of beauty.
That figure represents an ample and rather voluptuous matron, in an attitude of scarcely surpassable grace. The character of the face is beautiful, in profile especially, and its expression is grave. The mouth has much of nature about it, resembling greatly in character that feature as seen in Southern Europe; but its expression, though tender, is somewhat serious or fretful.
It presents, however, many faults. The head is monstrous. The neck is equally so, as well as coarse. The forehead, eyes, nose, and cheeks, present none of the finely-calculated details, which surprise and delight us in the Venus de Medici. The mammæ are not true.
After these, the androgynous being, called the Venus of Arles, is scarcely worthy of being mentioned. She derives some grandeur from antique character and symmetry, and some from her masculine features. The head is monstrous; the neck horrid; the nose heavy; the mouth contemptuous.
Upon the whole, neither the graceful matron of Naples, nor the manlike woman of the Louvre, can be brought into competition with the Venus de Medici.