and jest, for the very novelty makes it a delight, but would their interest be so great if there were no masculine spectators in the hut? Of all the modes of self-exhibition, there is none so important to a woman as the display of her physical charms, and the difference between the sexes is plainly shown here as elsewhere. Man in his wooing makes straight for the goal; woman’s efforts are veiled, but not hidden, under a show of modesty. The man says, “Look, I am thus and so”; the woman, “I, too, am thus and so, but don’t look.” The alluring glance which turns away if it is noticed, but not unless it is, is a purely feminine love play, and so is the smile which is not visibly directed toward the man for whom it is intended; with them, too, attention to the hair is conspicuous. It is amazing to see what importance even a three-year-old girl will attach to it, and with what jealous interest the hair of other children is observed. A doll with real hair is their chief desire. But an enumeration of woman’s peculiarities in this respect is summed up in their toilet for full dress; the _décolleté_ gown tells the whole story. Klopstock has the idea when he speaks in his ode (Die Brant) “of the quickening breast which so softly swells, not wishing to be seen, but sure of being seen.” It would be impossible for men to carry off such an exhibition as women do. They would either not do it at all, or else openly recognise the object of it. Women, on the contrary, would, if asked, indignantly protest against such an implication. As a rule, however, they show little disposition to exhibit their charms for one another’s benefit. This principle extends, too, to the display of their mental graces. When the talk between a man and a woman becomes a love play, she usually tries to conceal her discovery of their congeniality with defensive trifling. She leads him on with mocking words, makes a direct attack, then pretends to discourage him, or intrenches herself in incredulity. 2. _Love Play in Art_