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on the inner knee (DFL) are lower than the tissues on
the outer knee (LL). Contrast this with the core support
found in any of these examples, even the asymmetrical
and unathletic Venus.
a left rotation to the rib cage relative to the pelvis. The
shortness in the right FFL further contributes to all of
these and also to her modesty, as the adductor longus
on the left side, the lower track of the right FFL, adducts
the left hip across the body.
Additional shortening in the right Lateral Line is nec-
essary to bring sufficient weight back onto the right leg.
Even so, we are left with the impression of impending
movement, in that she seems not quite securely bal-
anced on her right leg. Some have surmised that in the
original she was holding the baby Eros in her right arm,
which would help counterbalance her weight, or
perhaps she is about to take a step into the pool that will
once again render her virginal.
Aphrodite de Melos (Fig. 10.3)
We are, of course, unable to comment on Venus's Arm
Lines, but the charm of her seductive pose is surely
enhanced by a shortness in the left Spiral Line and the
right Front Functional Line. Someone standing straight
is not nearly as inviting (compare this pose to most of
the statues of Athena - i.e. 'Justice' or the Statue of
Liberty - who generally stands foursquare, inviting
respect but not familiarity). The straight pose calls for
maximum stability in the cardinal lines: front, back,
sides, and core (Deep Front) lines. Any sinuous pose
such as seen here or in the fashion magazines will
involve the helical lines: the Lateral, Spiral, and Func-
tional Lines.
Notice how the shortening of the left SPL shifts her
head to the right, protracts the right shoulder, and gives
Bronze Zeus (Fig. 10.4)
This sculpture shows the body beautifully poised for
martial action. Though it is probably blasphemous to
reduce Zeus to a lines analysis, we will risk the thun-
derbolt he looks ready to hurl to note how he stabilizes
his body for maximum effect. The improbably long left
arm is held out along the line of his sight, suspended by
the Superficial Back Arm Line, counterbalancing the
weight of the right arm. The right arm grips the bolt or
spear with both thumb and fingers, engaging both the
Superficial and Deep Front Arm Lines, thus linking into
both the pectoralis major and minor across the front of
Fig. 10.3 Aphrodite de Melos (Venus de Milo). Any seductive pose
will involve asymmetrical shortening of the helical lines
(Reproduced with kind permission from Hirmer Fotoarkiv.)
Fig. 10.4 Zeus. Most martial or sportive actions involve
connecting the arm to the opposite leg to increase leverage.
(Reproduced with kind permission from Hirmer Fotoarkiv.)
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