Ascending the steps which lead from the gallery I paused once more, standing close against the wall, for other figures interfere with a distant view, and even at that distance (eighty yards or more) the same beauty was recognisable. Yet there is no extended arm, no attitude to force attention--nothing but the torso is visible; there is no artificial background (as with the Venus of Milo) to throw it into relief; the figure crouches, and the love expressed in the action is conveyed by the marvel of the work as far as it can be seen. Returning next morning I took the passage on the left (not as before on the right), and so came at once to the top of the steps, and to a spot whence a view can with little trouble be obtained. Perhaps it is more than eighty yards away, but the effect is the same despite the distance. The very best place to view the statue is exactly in front of it, two or three yards away, or as close as you like, but precisely in front. It requires no careful choice of position so as to give a limb more prominence, or render the light more effective (the light just there is bad, though it is near a window). The sculptor did not rely upon 'artistic' and selected attitudes--something made up for the occasion. No meretricious aid whatever has been called in--no trick, no illusion of the eye, nothing theatrical. He relied solely and simply upon a true representation of the human body--the torso, the body itself--as he really saw it in life. When we consider that the lines of the body seen in front are gentle, and in no way prominent, it is apparent how beautiful the original must have been, and how wonderfully the form has been rendered in marble for this to be the best position to view it. Three large folds, marked by deep lines, cross the lower part of the torso, and it is these creases that give the work its life. They are but just made in stooping, and will disappear as she rises from that position. These three grooves cross the entire front of the torso; the centre one is forked at its extremity near the right hip, and the fork of this groove encloses a smaller crease. Immediately under the right breast there is a short separate groove caused by the body leaning to the right; this is a fold of the side, not of the front. Under these folds there must be breath, there must be blood; they indicate a glowing life. The immense vitality of the form appears in them, and even as an athlete's muscles are exhibited in relief at his exercises, so exceeding strength of life is evident in these grooves. A heart throbbing steadily and strong, veins full of rich, pure blood, a warm touch, an eager wish to be affectionate, and self lost in the desire to love--this is the expression of the folds. Full of the energy of exceptional vitality, she gladly gives that energy for the delight of the little one.