The pose and complete nudity of this figure finds its closest parallels with the "Capitoline Venus" in Rome, no. 84 in Haskell and Penny, Taste and the Antique. The Capitoline Venus and others like her have been interpreted as depicting the goddess being surprised at her bath, hence her attempt to cover her breasts and pubes. However, this interpretation is now recognized as a 19th century conceit (see Ridgway, Fourth-Century Styles in Greek Sculpture, p. 263), since there is no mythological basis to support it. According to Ridgway (op. cit., p. 263) the goddess of love "is depicted as an epiphany, not in an unexpected glimpse, and in 'heroic nudity' as unconscious and glorious-as attributive-as that of the male gods. The gesture of her right hand is meant to point to, not to hide, her womb, emphasizing her fertility and complementing the action of her left hand."