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Although painted earlier than the other in this series of Diana, this work forms the concluding panel in the hunting-lodge decoration. It shows the goddess Diana, having completed her refreshing bath after the hunt, beginning to get dressed with a strand of pearls.
As in the other paintings, the clutter of items that surround the central figures are totally subsidiary. Even the hunting dog in the left is presented in such a fashion that he blends into the background.
But the goddess herself is presented only as a ravishngly pretty, rather demure girl. Like her companion, she is reality idealized, divinely blonde (with not a strand of hair out of place), slender, touched with a voluptuous vacancy on her face, a lack of animation which increases her charm. Her features reveal nothing of the hard-hearted goddess of the hunt, despite the tropies near her. Instead, this is a totally human woman; Boucher's idealizing touches are restricted to the refining of ankles and wrists, perfecting the arc of the eyebrows, tinting a deeper red the lips and nipples. Yet herself so desirable, Diana seems without desires, with an innocence that borders on stupidity.