We regret now the destruction of the Greek idols as a barbaric warfare waged upon art. We have begun to sympathize with the vanquished gods, and archeologists are trying to restore what early Christianity ruthlessly destroyed or mutilated. [Illustration: VENUS WITH MIRROR.] Those restorers of the Venus of Milo who reject the genuineness of the right hand holding an apple enjoy the greatest liberty in their work of reconstruction, and we find some of them representing our Venus as holding a shield on her knee and writing upon it. Others assume that her right hand holds a mirror, while still others who claim that there is no necessity of interpreting the statue to be a Venus, believe her to be a Victory or Niké, and put wreaths in her hands. [Illustration: VENUS AS VICTORY. Probably by T. Bell.] [Illustration: DRAWING BY HASSE AND HENKE.] Hasse and Henke have treated the problem of restoration from the standpoint of anatomy, and plausibly claim that the left hand should be raised higher than other restorers have proposed. [Illustration: RESTORATION BY FURTWAENGLER.] The restoration of Furtwängler, according to which the goddess rests her left arm on a column and holds an apple in her hand, has for a long time [Illustration: SALOMAN’S LATEST RESTORATION.] been considered the most probable, and yet even this can scarcely be regarded as satisfactory. [Illustration: RESTORATION BY SALOMAN.] Mr. Geskel Saloman, a Swedish archeologist, also places a column at her left side and uses it for her elbow to rest on. In consideration of some ancient descriptions of a dramatic ceremony performed [Illustration: VENUS SENDING OUT THE DOVE. Vase picture after Creuzer, _Deutsche Schriften_, 1846, I, II, p. 238. Reproduced from the Erbach Collection.] at Corinth he places a dove on her right hand. The idea is that having received the apple as the prize of beauty she sends out the dove to her worshipers to announce her triumph and inform them that they may celebrate the victory. Veit Valentin attempts to construct his restoration out of the data furnished by the marble itself and seems to come nearest to the truth. He assumes that the goddess, when in the act of undressing for a bath, finds herself surprised by an intruder. There is no fear or alarm in her attitude, but she raises her hand in protest with a self-poised assurance and grasps with her right hand the falling garment which she attempts to support by a hurried motion of her left knee. We regret that we have not seen either a picture or a statue of this restoration, but we are deeply impressed that this idea is most probably correct. The latest restoration comes from Francisca Paloma Del Mar (Frank Paloma) who places a child on the left arm of the goddess, and this conception is defended in a special pamphlet by Alexander Del Mar.[6]