It seems probable, as has recently been
set forth with great force and clearness by Professor Furtwangler,
[Footnote: "Masterpieces of Greek Sculpture," pages 384 ff.] that
the figure is an adaptation from an Aphrodite of the fourth
century, who rests her left foot upon a helmet and, holding a
shield on her left thigh, looks at her own reflection. On this
view the difficulty of explaining the attitude of the Aphrodite of
Melos arises from the fact that the motive was created for an
entirely different purpose and is not altogether appropriate to
the present one, whatever precisely that may be.
It has seemed necessary, in the case of a statue of so much
importance, to touch upon these learned perplexities; but let them
not greatly trouble the reader or turn him aside from enjoying the
superb qualities of the work. One of the Aphrodites of Scopas or
Praxiteles, if we had it in the original, would perhaps reveal to
us a still diviner beauty. As it is, this is the worthiest
existing embodiment of the goddess of Love.
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