Coins of Cnidos indicate the pose of the statue with sufficient clearness for us to identify a Venus in the Vatican as a copy of the Cnidian Aphrodite.[79] Papal decency has seen fit to encase her legs, beginning just below the hips, with drapery constructed of tin. This would, if anything could, impair the aspect of perfect modesty which shows in every line of her pose and expression. She is not aware of human spectators; there is no self-conscious prudery, as in the abominable Medici Venus, which was an attempt by a later and baser generation to imitate the same type. She has left her robe to hang over the tall water-jar, and is stepping from or towards the bath, not without shrinking, and not in ignorance of her beauty. Even in this imperfect copy we recognise the qualities which made Lucian admire the statue--“the design of the scalp and forehead, the finely pencilled eyebrows, and the look of the eyes, so tender, yet so bright and joyful.” He adds elsewhere that “a proud smile plays over her lips.” A lovely girl’s head in Parian marble, now in the Glyptothek at Munich, appears to me so clearly to resemble a younger sister of the same goddess that it must bear some relation to an original by Praxiteles.[80] The Capitoline Gallery also possesses a copy of the “Young Satyr” of Praxiteles, “called by the Greeks περιβοητός”--that is, world-famed.[81] Readers of Hawthorne will remember his eloquent description of the “Marble Faun,” and though we, better supplied with ancient originals, can recognise that this is only _after_ (and not very near) Praxiteles, yet even as it stands the statue has a peculiar charm and fascination. The sculptor has conveyed the impression of a young creature of the woods, only half human, shy and wild as an animal, and as [Illustration: PLATE LXX. SCULPTURED COLUMN FROM THE TEMPLE OF ARTEMIS AT EPHESUS _Mansell & Co._] careless and happy. His smile is as lazy as his attitude. Yet we notice the reserve with which his animal characteristics are indicated merely in the shape of his pointed ear and the “unclassical” profile of his face. Not only is his weight thrown upon one leg, as in all the statues by Praxiteles, but the other foot is gracefully curled round it. This is the only complete ancient copy of the Satyr, but there is a mutilated torso in the Louvre, so fine in its finish and texture that some critics suppose it to be original. Of the Eros which Phryne dedicated at Thespiæ we have no certain copies. But it is evident that many of the Erotes in our galleries were inspired by that masterpiece, and the prettiest is the Eros of Centocelle, a three-quarters figure of admirable design, though of rather slack execution.[82] I believe also that the bronze head of a youth at Naples might well trace its parentage to an Eros by Praxiteles, though the languishing craft of the eyes and the sensuous fullness of the lips are certainly exaggerated.[83]