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VISION

I.

Primacy of Vision in Man—Beauty as a Sexual Allurement—The Objective Element in Beauty—Ideals of Feminine Beauty in Various Parts of the World—Savage Women sometimes Beautiful from European Point of View—Savages often Admire European Beauty—The Appeal of Beauty to some Extent Common even to Animals and Man.

Vision is the main channel by which man receives his impressions. To a large extent it has slowly superseded all the other senses. Its range is practically infinite; it brings before us remote worlds, it enables us to understand the minute details of our own structure. While apt for the most abstract or the most intimate uses, its intermediate range is of universal service. It furnishes the basis on which a number of arts make their appeal to us, and, while thus the most æsthetic of the senses, it is the sense on which we chiefly rely in exercising the animal function of nutrition. It is not surprising, therefore, that from the point of view of sexual selection vision should be the supreme sense, and that the love-thoughts of men have always been a perpetual meditation of beauty.

It would be out of place here to discuss comparatively the origins of our ideas of beauty. That is a question which belongs to æsthetics, not to sexual psychology, and it is a question on which æstheticians are not altogether in agreement. We need not even be concerned to make any definite assertion on the question whether our ideas of sexual beauty have developed under the influence of more general and fundamental laws, or whether sexual ideals themselves underlie our more general conceptions of beauty. Practically, so far as man and his immediate ancestors are concerned, the sexual and the extra-sexual factors of beauty have been interwoven from the first. The sexually beautiful object must have appealed to fundamental physiological aptitudes of reaction; the generally beautiful object must have shared in the thrill which the specifically sexual object imparted. There has been an inevitable action and reaction throughout. Just as we found that the sexual and the non-sexual influences of agreeable odors throughout nature are inextricably mingled, so it is with the motives that make an object beautiful to our eyes.[131]

The sexual element in the constitution of beauty is well recognized even by those writers who concern themselves exclusively with the æsthetic conception of beauty or with its relation to culture. It is enough to quote two or three testimonies on this point. "The whole sentimental side of our æsthetic sensibility," remarks Santayana, "—without which it would be perceptive and mathematical rather than æsthetic,—is due to our sexual organization remotely stirred.... If anyone were desirous to produce a being with a great susceptibility to beauty, he could not invent an instrument better designed for that object than sex. Individuals that need not unite for the birth and rearing of each generation might retain a savage independence. For them it would not be necessary that any vision should fascinate, or that any languor should soften, the prying cruelty of the eye. But sex endows the individual with a dumb and powerful instinct, which carries his body and soul continually toward another; makes it one of the dearest enjoyments of his life to select and pursue a companion, and joins to possession the keenest pleasure, to rivalry the fiercest rage, and to solitude an eternal melancholy. What more could be needed to suffuse the world with the deepest meaning and beauty? The attention is fixed upon a well-defined object, and all the effects it produces in the mind are easily regarded as powers or qualities of that object.... To a certain extent this kind of interest will center in the proper object of sexual passion, and in the special characteristics of the opposite sex^[131]; and we find, accordingly, that woman is the most lovely object to man, and man, if female modesty would confess it, the most interesting to woman. But the effects of so fundamental and primitive a reaction are much more general. Sex is not the only object of sexual passion. When love lacks its specific object, when it does not yet understand itself, or has been sacrificed to some other interest, we see the stifled fire bursting out in various directions.... Passion then overflows and visibly floods those neighboring regions which it had always secretly watered. For the same nervous organization which sex involves, with its necessarily wide branchings and associations in the brain, must be partially stimulated by other objects than its specific or ultimate one; especially in man, who, unlike some of the lower animals, has not his instincts clearly distinct and intermittent, but always partially active, and never active in isolation. We may say, then, that for man all nature is a secondary object of sexual passion, and that to this fact the beauty of nature is largely due." (G. Santayana, The Sense of Beauty, pp. 59-62.)

Not only is the general fact of sexual attraction an essential element of æsthetic contemplation, as Santayana remarks, but we have to recognize also that specific sexual emotion properly comes within the æsthetic field. It is quite erroneous, as Groos well points out, to assert that sexual emotion has no æsthetic value. On the contrary, it has quite as much value as the emotion of terror or of pity. Such emotion, must, however, be duly subordinated to the total æsthetic effect. (K. Groos, Der Æsthetische Genuss, p. 151.)

"The idea of beauty," Remy de Gourmont says, "is not an unmixed idea; it is intimately united with the idea of carnal pleasure. Stendhal obscurely perceived this when he defined beauty as 'a promise of happiness.' Beauty is a woman, and women themselves have carried docility to men so far as to accept this aphorism which they can only understand in extreme sexual perversion.... Beauty is so sexual that the only uncontested works of art are those that simply show the human body in its nudity. By its perseverance in remaining purely sexual Greek statuary has placed itself forever above all discussion. It is beautiful because it is a beautiful human body, such a one as every man or every woman would desire to unite with in the perpetuation of the race.... That which inclines to love seems beautiful; that which seems beautiful inclines to love. This intimate union of art and of love is, indeed, the only explanation of art. Without this genital echo art would never have been born and never have been perpetuated. There is nothing useless in these deep human depths; everything which has endured is necessary. Art is the accomplice of love. When love is taken away there is no art; when art is taken away love is nothing but a physiological need." (Remy de Gourmont, Culture des Idées, 1900, p. 103, and Mercure de France, August, 1901, pp. 298 et seq.)

Beauty as incarnated in the feminine body has to some extent become the symbol of love even for women. Colin Scott finds that it is common among women who are not inverted for female beauty whether on the stage or in art to arouse sexual emotion to a greater extent than male beauty, and this is confirmed by some of the histories I have recorded in the Appendix to the third volume of these Studies. Scott considers that female beauty has come to be regarded as typical of ideal beauty, and thus tends to produce an emotional effect on both sexes alike. It is certainly rare to find any æsthetic admiration of men among women, except in the case of women who have had some training in art. In this matter it would seem that woman passively accepts the ideals of man. "Objects which excite a man's desire," Colin Scott remarks, "are often, if not generally, the same as those affecting woman. The female body has a sexually stimulating effect upon both sexes. Statues of female forms are more liable than those of male form to have a stimulating effect upon women as well as men. The evidence of numerous literary expressions seems to show that under the influence of sexual excitement a woman regards her body as made for man's gratification, and that it is this complex emotion which forms the initial stage, at least, of her own pleasure. Her body is the symbol for her partner, and indirectly for her, through his admiration of it, of their mutual joy and satisfaction." (Colin Scott, "Sex and Art," American Journal of Psychology, vol. vii, No. 2, p. 206; also private letter.)

At the same time it must be remembered that beauty and the conception of beauty have developed on a wider basis than that of the sexual impulse only, and also that our conceptions of the beautiful, even as concerns the human form, are to some extent objective, and may thus be in part reduced to law. Stratz, in his books on feminine beauty, and notably in Die Schönheit des Weiblichen Körpers, insists on the objective element in beauty. Papillault, again, when discussing the laws of growth and the beauty of the face, argues that beauty of line in the face is objective, and not a creation of fancy, since it is associated with the highest human functions, moral and social. He remarks on the contrast between the prehistoric man of Chancelade,—delicately made, with elegant face and high forehead,—who created the great Magdalenian civilization, and his seemingly much more powerful, but less beautiful, predecessor, the man of Spy, with enormous muscles and powerful jaws. (Bulletin de la Société d'Anthropologie, 1899, p. 220.)

The largely objective character of beauty is further indicated by the fact that to a considerable extent beauty is the expression of health. A well and harmoniously developed body, tense muscles, an elastic and finely toned skin, bright eyes, grace and animation of carriage—all these things which are essential to beauty are the conditions of health. It has not been demonstrated that there is any correlation between beauty and longevity, and the proof would not be easy to give, but it is quite probable that such a correlation may exist, and various indications point in this direction. One of the most delightful of Opie's pictures is the portrait of Pleasance Reeve (afterward Lady Smith) at the age of 17. This singularly beautiful and animated brunette lived to the age of 104. Most people are probably acquainted with similar, if less marked, cases of the same tendency.

The extreme sexual importance of beauty, so far, at all events, as conscious experience is concerned is well illustrated by the fact that, although three other senses may and often do play a not inconsiderable part in the constitution of a person's sexual attractiveness,—the tactile element being, indeed, fundamental,—yet in nearly all the most elaborate descriptions of attractive individuals it is the visible elements that are in most cases chiefly emphasized. Whether among the lowest savages or in the highest civilization, the poet and story-teller who seeks to describe an ideally lovely and desirable woman always insists mainly, and often exclusively, on those characters which appeal to the eye. The richly laden word beauty is a synthesis of complex impressions obtained through a single sense, and so simple, comparatively, and vague are the impressions derived from the other senses that none of them can furnish us with any corresponding word.

Before attempting to analyze the conception of beauty, regarded in its sexual appeal to the human mind, it may be well to bring together a few fairly typical descriptions of a beautiful woman as she appears to the men of various nations.

In an Australian folklore story taken down from the lips of a native some sixty years ago by W. Dunlop (but evidently not in the native's exact words) we find this description of an Australian beauty: "A man took as his wife a beautiful girl who had long, glossy hair hanging around her face and down her shoulders, which were plump and round. Her face was adorned with red clay and her person wrapped in a fine large opossum rug fastened by a pin formed from the small bone of the kangaroo's leg, and also by a string attached to a wallet made of rushes neatly plaited of small strips skinned from their outside after they had been for some time exposed to the heat of the fire; which being thrown on her back, the string passing under one arm and across her breast, held the soft rug in a fanciful position of considerable elegance; and she knew well how to show to advantage her queenlike figure when she walked with her polished yam stick held in one of her small hands and her little feet appearing below the edge of the rug" (W. Dunlop, "Australian Folklore Stories," Journal of the Anthropological Institute, August and November, 1898, p. 27).

A Malay description of female beauty is furnished by Skeat. "The brow (of the Malay Helen for whose sake a thousand desperate battles are fought in Malay romances) is like the one-day-old moon; her eyebrows resemble 'pictured clouds,' and are 'arched like the fighting-cock's (artificial) spur'; her cheek resembles the 'sliced-off cheek of a mango'; her nose, 'an opening jasmine bud'; her hair, the 'wavy blossom shoots of the areca-palm'; slender is her neck, 'with a triple row of dimples'; her bosom ripening, her waist 'lissom as the stalk of a flower,' her head; 'of a perfect oval' (literally, bird's-egg shaped), her fingers like the leafy 'spears of lemon-grass' or the 'quills of the porcupine,' her eyes 'like the splendor of the planet Venus,' and her lips 'like the fissure of a pomegranate.'" (W. W. Skeat, Malay Magic, 1900, p. 363.)

In Mitford's Tales of Old Japan (vol. i, p. 215) a "peerlessly beautiful girl of 16" is thus described: "She was neither too fat nor too thin, neither too tall nor too short; her face was oval, like a melon-seed, and her complexion fair and white;; her eyes were narrow and bright, her teeth small and even; her nose was aquiline, and her mouth delicately formed, with lovely red lips; her eyebrows were long and fine; she had a profusion of long black hair; she spoke modestly, with a soft, sweet voice, and when she smiled, two lovely dimples appeared in her cheeks; in all her movements she was gentle and refined." The Japanese belle of ancient times, Dr. Nagayo Sensai remarks (Lancet, February 15, 1890) had a white face, a long, slender throat and neck, a narrow chest, small thighs, and small feet and hands. Bälz, also, has emphasized the ethereal character of the Japanese ideal of feminine beauty, delicate, pale and slender, almost uncanny; and Stratz, in his interesting book, Die Körperformen in Kunst und Leben der Japaner (second edition, 1904), has dealt fully with the subject of Japanese beauty.

The Singalese are great connoisseurs of beauty, and a Kandyan deeply learned in the matter gave Dr. Davy the following enumeration of a woman's points of beauty: "Her hair should be voluminous, like the tail of the peacock, long, reaching to her knees, and terminating in graceful curls; her eyebrows should resemble the rainbow, her eyes, the blue sapphire and the petals of the blue manilla-flower. Her nose should be like the bill of the hawk; her lips should be bright and red, like coral or the young leaf of the iron-tree. Her teeth should be small, regular, and closely set, and like jessamine buds. Her neck should be large and round, resembling the berrigodea. Her chest should be capacious; her breasts, firm and conical, like the yellow cocoa-nut, and her waist small—almost small enough to be clasped by the hand. Her hips should be wide; her limbs tapering; the soles of her feet, without any hollow, and the surface of her body in general soft, delicate, smooth, and rounded, without the asperities of projecting bones and sinews." (J. Davy, An Account of the Interior of Ceylon, 1821, p. 110.)

The "Padmini," or lotus-woman, is described by Hindu writers as the type of most perfect feminine beauty. "She in whom the following signs and symptoms appear is called a Padmini: Her face is pleasing as the full moon; her body, well clothed with flesh, is as soft as the Shiras or mustard flower; her skin is fine, tender, and fair as the yellow lotus, never dark colored. Her eyes are bright and beautiful as the orbs of the fawn, well cut, and with reddish corners. Her bosom is hard, full, and high; she; has a good neck; her nose is straight and lovely; and three folds or wrinkles cross her middle—about the umbilical region. Her yoni [vulva] resembles the opening lotus bud, and her love-seed is perfumed like the lily that has newly burst. She walks with swanlike [more exactly, flamingolike] gait, and her voice is low and musical as the note of the Kokila bird [the Indian cuckoo]; she delights in white raiment, in fine jewels, and in rich dresses. She eats little, sleeps lightly, and being as respectful and religious as she is clever and courteous, she is ever anxious to worship the gods and to enjoy the conversation of Brahmans. Such, then, is the Padmini, or lotus-woman." (The Kama Sutra of Vatsyayana, 1883, p. 11.)

The Hebrew ideal of feminine beauty is set forth in various passages of the Song of Songs. The poem is familiar, and it will suffice to quote one passage:—

And the man is thus described in the same poem:—

"The maiden whose loveliness inspires the most impassioned expressions in Arabic poetry," Lane states, "is celebrated for her slender figure: She is like the cane among plants, and is elegant as a twig of the oriental willow. Her face is like the full moon, presenting the strongest contrast to the color of her hair, which is of the deepest hue of night, and falls to the middle of her back (Arab ladies are extremely fond of full and long hair). A rosy blush overspreads the center of each cheek; and a mole is considered an additional charm. The Arabs, indeed, are particularly extravagant in their admiration of this natural beauty spot, which, according to its place, is compared to a drop of ambergris upon a dish of alabaster or upon the surface of a ruby. The eyes of the Arab beauty are intensely black,^[132] large, and long, of the form of an almond: they are full of brilliancy; but this is softened by long silken lashes, giving a tender and languid expression that is full of enchantment and scarcely to be improved by the adventitious aid of the black border of kohl; for this the lovely maiden adds rather for the sake of fashion than necessity, having what the Arabs term natural kohl. The eyebrows are thin and arched; the forehead is wide and fair as ivory; the nose straight; the mouth, small; the lips of a brilliant red; and the teeth, like pearls set in coral. The forms of the bosom are compared to two pomegranates; the waist is slender; the hips are wide and large; the feet and hands, small; the fingers, tapering, and their extremities dyed with the deep orange tint imparted by the leaves of the henna."

Lane adds a more minute analysis from an unknown author quoted by El-Ishákee: "Four things in a woman should be black—the hair of the head, the eyebrows, the eyelashes, and the dark part of the eyes; four white—the complexion of the skin, the white of the eyes, the teeth, and the legs; four red—the tongue, the lips, the middle of the cheeks, and the gums; four round—the head, the neck, the forearms, and the ankles; four long—the back, the fingers, the arms, and the legs; four wide—the forehead, the eyes, the bosom, and the hips; four fine—the eyebrows, the nose, the lips, and the fingers; four thick—the lower part of the back, the thighs, the calves of the legs, and the knees; four small—the ears, the breasts, the hands, and the feet." (E. W. Lane, Arabian Society in the Middle Ages, 1883, pp. 214-216.)

A Persian treatise on the figurative terms relating to beauty shows that the hair should be black, abundant, and wavy, the eyebrows dark and arched. The eyelashes also must be dark, and like arrows from the bow of the eyebrows. There is, however, no insistence on the blackness of the eyes. We hear of four varieties of eye: the dark-gray eye (or narcissus eye); the narrow, elongated eye of Turkish beauties; the languishing, or love-intoxicated, eye; and the wine-colored eye. Much stress is laid on the quality of brilliancy. The face is sometimes described as brown, but more especially as white and rosy. There are many references to the down on the lips, which is described as greenish (sometimes bluish) and compared to herbage. This down and that on the cheeks and the stray hairs near the ears were regarded as very great beauties. A beauty spot on the chin, cheek, or elsewhere was also greatly admired, and evoked many poetic comparisons. The mouth must be very small. In stature a beautiful woman must be tall and erect, like the cypress or the maritime pine. While the Arabs admired the rosiness of the legs and thighs, the Persians insisted on white legs and compared them to silver and crystal. (Anis El-Ochchâq, by Shereef-Eddin Romi, translated by Huart, Bibliothèque de l'Ecole des Hautes Etudes, Paris, fasc. 25, 1875.)

In the story of Kamaralzaman in the Arabian Nights El-Sett Budur is thus described: "Her hair is so brown that it is blacker than the separation of friends. And when it is arrayed in three tresses that reach to her feet I seem to see three nights at once.

"Her face is as white as the day on which friends meet again. If I look on it at the time of the full moon I see two moons at once.

"Her cheeks are formed of an anemone divided into two corollas; they have the purple tinge of wine, and her nose is straighter and more delicate than the finest sword-blade.

"Her lips are colored agate and coral; her tongue secretes eloquence; her saliva is more desirable than the juice of grapes.

"But her bosom, blessed be the Creator, is a living seduction. It bears twin breasts of the purest ivory, rounded, and that may be held within the five fingers of one hand.

"Her belly has dimples full of shade and arranged with the harmony of the Arabic characters on the seal of a Coptic scribe in Egypt. And the belly gives origin to her finely modeled and elastic waist.

"At the thought of her flanks I shudder, for thence depends a mass so weighty that it obliges its owner to sit down when she has risen and to rise when she lies.

"Such are her flanks, and from them descend, like white marble, her glorious thighs, solid and straight, united above beneath their crown. Then come the legs and the slender feet, so small that I am astounded they can bear so great a weight."

An Egyptian stela in the Louvre sings the praise of a beautiful woman, a queen who died about 700 B.C., as follows: "The beloved before all women, the king's daughter who is sweet in love, the fairest among women, a maid whose like none has seen. Blacker is her hair than the darkness of night, blacker than the berries of the blackberry bush (?). Harder are her teeth (?) than the flints on the sickle. A wreath of flowers is each of her breasts, close nestling on her arms." Wiedemann, who quotes this, adds: "During the whole classic period of Egyptian history with few exceptions (such, for example, as the reign of that great innovator, Amenophis IV) the ideal alike for the male and the female body was a slender and but slightly developed form. Under the Ethiopian rule and during the Ptolemaic period in Egypt itself we find, for the first time, that the goddesses are represented with plump and well-developed outlines. Examination of the mummies shows that the earlier ideal was based upon actual facts, and that in ancient Egypt slender, sinewy forms distinguished both men and women. Intermarriage with other races and harem life may have combined in later times to alter the physical type, and with it to change also the ideal of beauty." (A. Wiedemann, Popular Literature in Ancient Egypt, p. 7.)

Commenting on Plato's ideas of beauty in the Banquet Eméric-David gives references from Greek literature showing that the typical Greek beautiful woman must be tall, her body supple, her fingers long, her foot small and light, the eyes clear and moderately large, the eyebrows slightly arched and almost meeting, the nose straight and firm, nearly—but not quite—aquiline, the breath sweet as honey. (Eméric-David, Recherches sur l'Art Statuaire, new edition, 1863, p. 42.)

At the end of classic antiquity, probably in the fifth century, Aristænetus in his first Epistle thus described his mistress Lais: "Her cheeks are white, but mixed in imitation of the splendor of the rose; her lips are thin, by a narrow space separated from the cheeks, but more red; her eyebrows are black and divided in the middle; the nose straight and proportioned to the thin lips; the eyes large and bright, with very black pupils, surrounded by the clearest white, each color more brilliant by contrast. Her hair is naturally curled, and, as Homer's saying is, like the hyacinth. The neck is white and proportioned to the face, and though unadorned more conspicuous by its delicacy; but a necklace of gems encircles it, on which her name is written in jewels. She is tall and elegantly dressed in garments fitted to her body and limbs. When dressed her appearance is beautiful; when undressed she is all beauty. Her walk is composed and slow; she looks like a cypress or a palm stirred by the wind. I cannot describe how the swelling, symmetrical breasts raise the constraining vest, nor how delicate and supple her limbs are. And when she speaks, what sweetness in her discourse!"

Renier has studied the feminine ideal of the Provençal poets, the troubadours who used the "langue d'oc." "They avoid any description of the feminine type. The indications refer in great part to the slender, erect, fresh appearance of the body, and to the white and rosy coloring. After the person generally, the eyes receive most praise; they are sweet, amorous, clear, smiling, and bright. The color is never mentioned. The mouth is laughing, and vermilion, and, smiling sweetly, it reveals the white teeth and calls for the delights of the kiss. The face is clear and fresh, the hand white and the hair constantly blonde. The troubadours seldom speak of the rest of the body. Peire Vidal is an exception, and his reference to the well-raised breasts may be placed beside a reference by Bertran de Born. The general impression conveyed by the love lyrics of the langue d'oc is one of great convention. There seemed to be no salvation outside certain phrases and epithets. The woman of Provence, sung by hundreds of poets, seems to have been composed all of milk and roses, a blonde Nuremburg doll." (R. Renier, Il Tipo Estetico della Donna nel Mediœvo, 1885, pp. 1-24.)

The conventional ideal of the troubadours is, again, thus described: "She is a lady whose skin is white as milk, whiter than the driven snow, of peculiar purity in whiteness. Her cheeks, on which vermilion hues alone appear, are like the rosebud in spring, when it has not yet opened to the full. Her hair, which is nearly always bedecked and adorned with flowers, is invariably of the color of flax, as soft as silk, and shimmering with a sheen of the finest gold." (J. F. Rowbotham, The Troubadours and Courts of Love, p. 228.)

In the most ancient Spanish romances, Renier remarks, the definite indications of physical beauty are slight. The hair is "of pure gold," or simply fair (rudios, which is equal to blondos, a word of later introduction), the face white and rosy, the hand soft, white, and fragrant; in one place we find a reference to the uncovered breasts, whiter than crystal. But usually the ancient Castilian romances do not deal with these details. The poet contents himself with the statement that a lady is the sweetest woman in the world, "la mas linda mujer del mundo." (R. Renier, Il Tipo Estetico della Donna nel Mediœvo, pp. 68 et seq.)

In a detailed and well-documented thesis, Alwin Schultz describes the characteristics of the beautiful woman as she appealed to the German authors of the twelfth and thirteenth centuries. She must be of medium height and slender. Her hair must be fair, like gold; long, bright, and curly; a man's must only reach to his shoulders. Dark hair is seldom mentioned and was not admired. The parting of the hair must be white, but not too broad. The forehead must be white and bright and rounded, without wrinkles. The eyebrows must be darker than the hair, arched, and not too broad, as though drawn with a pencil, the space between them not too broad. The eyes must be bright, clear, and sparkling, not too large or too small; nothing definite was said of the color, but they were evidently usually blue. The nose must be of medium size, straight, and not curved. The cheeks must be white, tinged with red; if the red was absent by nature women used rouge. The mouth must be small; the lips full and red. The teeth must be small, white, and even. The chin must be white, rounded, lovable, dimpled; the ears small and beautiful; the neck of medium size, soft, white, and spotless; the arm small; the hands and fingers long; the joints small, the nails white and bright and well cared for. The bosom must be white and large; the breasts high and rounded, like apples or pears, small and soft. The body generally must be slender and active. The lower parts of the body are very seldom mentioned, and many poets are even too modest to mention the breasts. The buttocks must be rounded, one poet, indeed, mentions, and the thighs soft and white, the meinel (mons) brown. The legs must be straight and narrow, the calves full, the feet small and narrow, with high instep. The color of the skin generally must be clear and of a tempered rosiness. (A. Schultz, Quid de Perfecta Corporis Humani Pulchritudine Germani Sœculi XII et XIII Senserint, 1866.) A somewhat similar, but shorter, account is given by K. Weinhold (Die Deutschen Frauen im Mittelalter, 1882, bd. 1, pp. 219 et seq.). Weinhold considers that, like the French, the Germans admired the mixed eye, vair or gray.

Adam de la Halle, the Artois trouvère of the thirteenth century, in a piece ("Li Jus Adan ou de la feuillie") in which he brings himself forward, thus describes his mistress: "Her hair had the brilliance of gold, and was twisted into rebellious curls. Her forehead was very regular, white, and smooth; her eyebrows, delicate and even, were two brown arches, which seemed traced with a brush. Her eyes, bright and well cut, seemed to me vairs and full of caresses; they were large beneath, and their lids like little sickles, adorned by twin folds, veiled or revealed at her will her loving gaze. Between her eyes descended the pipe of her nose, straight and beautiful, mobile when she was gay; on either side were her rounded, white cheeks, on which laughter impressed two dimples, and which one could see blushing beneath her veil. Beneath the nose opened a mouth with blossoming lips; this mouth, fresh and vermilion as a rose, revealed the white teeth, in regular array; beneath the chin sprang the white neck, descending full and round to the shoulder. The powerful nape, white and without any little wandering hairs, protruded a little over the dress. To her sloping shoulders were attached long arms, large or slender where they so should be. What shall I say of her white hands, with their long fingers, and knuckles without knots, delicately ending in rosy nails attached to the flesh by a clear and single line? I come to her bosom with its firm breasts, but short and high pointed, revealing the valley of love between them, to her round belly, her arched flanks. Her hips were flat, her legs round, her calf large; she had a slender ankle, a lean and arched foot. Such she was as I saw her, and that which her chemise hid was not of less worth." (Houdoy, La Beauté des Femmes, p. 125, who quotes the original of this passage, considers it the ideal model of the mediæval woman.)

In the twelfth century story of Aucassin et Nicolette, "Nicolette had fair hair, delicate and curling; her eyes were gray (vairs) and smiling; her face admirably modeled. Her nose was high and well placed; her lips small and more vermilion than the cherry or the rose in summer; her teeth were small and white; her firm little breasts raised her dress as would two walnuts. Her figure was so slender that you could inclose it with your two hands, and the flowers of the marguerite, which her toes broke as she walked with naked feet, seemed black in comparison with her feet and legs, so white was she."

"Her hair was divided into a double tress," says Alain of Lille in the twelfth century, "which was long enough to kiss the ground; the parting, white as the lily and obliquely traced, separated the hair, and this want of symmetry, far from hurting her face, was one of the elements of her beauty. A golden comb maintained that abundant hair whose brilliance rivaled it, so that the fascinated eye could scarce distinguish the gold of the hair from the gold of the comb. The expanded forehead had the whiteness of milk, and rivaled the lily; her bright eyebrows shone like gold, not standing up in a brush, and, without being too scanty, orderly arranged. The eyes, serene and brilliant in their friendly light, seemed twin stars, her nostrils embalsamed with the odor of honey, neither too depressed in shape nor too prominent, were of distinguished form; the nard of her mouth offered to the smell a treat of sweet odors, and her half-open lips invited a kiss. The teeth seemed cut in ivory; her cheeks, like the carnation of the rose, gently illuminated her face and were tempered by the transparent whiteness of her veil. Her chin, more polished than crystal, showed silver reflections, and her slender neck fitly separated her head from the shoulders. The firm rotundity of her breasts attested the full expansion of youth; her charming arms, advancing toward you, seemed to call for caresses; the regular curve of her flanks, justly proportioned, completed her beauty. All the visible traits of her face and form thus sufficiently told what those charms must be that the bed alone knew." (The Latin text is given by Houdoy, La Beauté des Femmes du XIIe au XVIe Siècle, p. 119. Robert de Flagy's portrait of Blanchefleur in Sarin-le-Loherain, written in same century, reveals very similar traits.)

"The young woman appeared with twenty brightly polished daggers and swords," we read in the Irish Tain Bo Cuailgne of the Badhbh or Banshee who appeared to Meidhbh, "together with seven braids for the dead, of bright gold, in her right hand; a speckled garment of green ground, fastened by a bodkin at the breast under her fair, ruddy countenance, enveloped her form; her teeth were so new and bright that they appeared like pearls artistically set in her gums; like the ripe berry of the mountain ash were her lips; sweeter was her voice than the notes of the gentle harp-strings when touched by the most skillful fingers, and emitting the most enchanting melody; whiter than the snow of one night was her skin, and beautiful to behold were her garments, which reached to her well molded, bright-nailed feet; copious tresses of her tendriled, glossy, golden hair hung before, while others dangled behind and reached the calf of her leg." (Ossianio Transactions, vol. ii, p. 107.)

An ancient Irish hero is thus described: "They saw a great hero approaching them; fairest of the heroes of the world; larger and taller than any man; bluer than ice his eye; redder than the fresh rowan berries his lips; whiter than showers of pearl his teeth; fairer than the snow of one night his skin; a protecting shield with a golden border was upon him, two battle-lances in his hands; a sword with knobs of ivory [teeth of the sea-horse], and ornamented with gold, at his side; he had no other accoutrements of a hero besides these; he had golden hair on his head, and had a fair, ruddy countenance." (The Banquet of Dun na n-gedh, translated by O'Donovan, Irish Archæological Society, 1842.)

The feminine ideal of the Italian poets closely resembles that of those north of the Alps. Petrarch's Laura, as described in the Canzoniere, is white as snow; her eyes, indeed, are black, but the fairness of her hair is constantly emphasized; her lips are rosy; her teeth white; her cheeks rosy; her breast youthful; her hands white and slender. Other poets insist on the tall, white, delicate body; the golden or blonde hair; the bright or starry eyes (without mention of color), the brown or black arched eyebrows, the straight nose, the small mouth, the thin vermilion lips, the small and firm breasts. (Renier, Il Tipo Estetico, pp. 87 et seq.)

Marie de France, a French mediæval writer of the twelfth century, who spent a large part of her life in England, in the Lai of Lanval thus described a beautiful woman: "Her body was beautiful, her hips low, the neck whiter than snow, the eyes gray (vairs), the face white, the mouth beautiful, the nose well placed, the eyebrows brown, the forehead beautiful, the head curly and blonde; the gleam of gold thread was less bright than her hair beneath the sun."

The traits of Boccaccio's ideal of feminine beauty, a voluptuous ideal as compared with the ascetic mediæval ideal which had previously prevailed, together with the characteristics of the very beautiful and almost classic garments in which he arrayed women, have been brought together by Hortis (Studi sulle opere Latine del Boccaccio, 1879, pp. 70 et seq.). Boccaccio admired fair and abundant wavy hair, dark and delicate eyebrows, and brown or even black eyes. It was not until some centuries later, as Hortis remarks, that Boccaccio's ideal woman was embodied by the painter in the canvases of Titian.

The first precise description of a famous beautiful woman was written by Niphus in the sixteenth century in his De Pulchro et Amore, which is regarded as the first modern treatise on æsthetics. The lady described is Joan of Aragon, the greatest beauty of her time, whose portrait by Raphael (or more probably Giulio Romano) is in the Louvre. Niphus, who was the philosopher of the pontifical court and the friend of Leo X, thus describes this princess, whom, as a physician, he had opportunities of observing accurately: "She is of medium stature, straight, and elegant, and possesses the grace which can only be imparted by an assemblage of characteristics which are individually faultless. She is neither fat nor bony, but succulent; her complexion is not pale, but white tinged with rose; her long hair is golden; her ears are small and in proportion with the size of her mouth. Her brown eyebrows are semicircular, not too bushy, and the individual hairs short. Her eyes are blue (oæsius), brighter than stars, radiant with grace and gaiety beneath the dark-brown eyelashes, which are well spaced and not too long. The nose, symmetrical and of medium size, descends perpendicularly from between the eyebrows. The little valley separating the nose from the upper lip is divinely proportioned. The mouth, inclined to be rather small, is always stirred by a sweet smile; the rather thick lips are made of honey and coral. The teeth are small, polished as ivory, and symmetrically ranged, and the breath has the odor of the sweetest perfumes. Her voice is that of a goddess. The chin is divided by a dimple; the whole face approximates to a virile rotundity. The straight long neck, white and full, rises gracefully from the shoulders. On the ample bosom, revealing no indication of the bones, arise the rounded breasts, of equal and fitting size, and exhaling the perfume of the peaches they resemble. The rather plump hands, on the back like snow, on the palm like ivory, are exactly the length of the face; the full and rounded fingers are long and terminating in round, curved nails of soft color. The chest as a whole has the form of a pear, reversed, but a little compressed, and the base attached to the neck in a delightfully well-proportioned manner. The belly, the flanks, and the secret parts are worthy of the chest; the hips are large and rounded; the thighs, the legs, and the arms are in just proportion. The breadth of the shoulders is also in the most perfect relation to the dimensions of the other parts of the body; the feet, of medium length, terminate in beautifully arranged toes." (Houdoy reproduces this passage in La Beauté des Femmes; cf. also Stratz, Die Schönheit des Weiblichen Körpers, Chapter III.)

Gabriel de Minut, who published in 1587 a treatise of no very great importance, De la Beauté, also wrote under the title of La Paulegraphie a very elaborate description, covering sixty pages, of Paule de Viguier, a Gascon lady of good family and virtuous life living at Toulouse. Minut was her devoted admirer and addressed an affectionate poem to her just before his death. She was seventy years of age when he wrote the elaborate account of her beauty. She had blue eyes and fair hair, though belonging to one of the darkest parts of France.

Ploss and Bartels (Das Weib, bd. 1, sec. 3) have independently brought together a number of passages from the writers of many countries describing their ideals of beauty. On this collection I have not drawn.

When we survey broadly the ideals of feminine beauty set down by the peoples of many lands, it is interesting to note that they all contain many features which appeal to the æsthetic taste of the modern European, and many of them, indeed, contain no features which obviously clash with his canons of taste. It may even be said that the ideals of some savages affect us more sympathetically than some of the ideals of our own mediæval ancestors. As a matter of fact, European travelers in all parts of the world have met with women who were gracious and pleasant to look on, and not seldom even in the strict sense beautiful, from the standpoint of European standards. Such individuals have been found even among those races with the greatest notoriety for ugliness.

Even among so primitive and remote a people as the Australians beauty in the European sense is sometimes found. "I have on two occasions," Lumholtz states, "seen what might be called beauties among the women of western Queensland. Their hands were small, their feet neat and well shaped, with so high an instep that one asked oneself involuntarily where in the world they had acquired this aristocratic mark of beauty. Their figure was above criticism, and their skin, as is usually the case among the young women, was as soft as velvet. When these black daughters of Eve smiled and showed their beautiful white teeth, and when their eyes peeped coquettishly from beneath the curly hair which hung in quite the modern fashion down their foreheads," Lumholtz realized that even here women could exert the influence ascribed by Goethe to women generally. (C. Lumholtz, Among Cannibals, p. 132.) Much has, again, been written about the beauty of the American Indians. See, e.g., an article by Dr. Shufeldt, "Beauty from an Indian's Point of View," Cosmopolitan Magazine, April, 1895. Among the Seminole Indians, especially, it is said that types of handsome and comely women are not uncommon. (Clay MacCauley, "Seminole Indians of Florida," Fifth Annual Report of the Bureau of Ethnology, 1883-1884, pp. 493 et seq.)

There is much even in the negress which appeals to the European as beautiful. "I have met many negresses," remarks Castellani (Les Femmes au Congo, p. 2), "who could say proudly in the words of the Song of Songs, 'I am black, but comely.' Many of our peasant women have neither the same grace nor the same delicate skin as some natives of Cassai or Songha. As to color, I have seen on the African continent creatures of pale gold or even red copper whose fine and satiny skin rivals the most delicate white skins; one may, indeed, find beauties among women of the darkest ebony." He adds that, on the whole, there is no comparison with white women, and that the negress soon becomes hideous.

The very numerous quotations from travelers concerning the women of all lands quoted by Ploss and Bartels (Das Weib, seventh edition, bd. i, pp. 88-106) amply suffice to show how frequently some degree of beauty is found even among the lowest human races. Cf., also, Mantegazza's survey of the women of different races from this point of view, Fisiologia della Donna, Cap. IV.

The fact that the modern European, whose culture may be supposed to have made him especially sensitive to æsthetic beauty, is yet able to find beauty among even the women of savage races serves to illustrate the statement already made that, whatever modifying influences may have to be admitted, beauty is to a large extent an objective matter. The existence of this objective element in beauty is confirmed by the fact that it is sometimes found that the men of the lower races admire European women more than women of their own race. There is reason to believe that it is among the more intelligent men of lower race—that is to say those whose æsthetic feelings are more developed—that the admiration for white women is most likely to be found.

"Mr. Winwood Reade," stated Darwin, "who has had ample opportunities for observation, not only with the negroes of the West Coast of Africa, but with those of the interior who have never associated with Europeans, is convinced that their ideas of beauty are, on the whole, the same as ours; and Dr. Rohlfs writes to me to the same effect with respect to Bornu and the countries inhabited by the Pullo tribes. Mr. Reade found that he agreed with the negroes in their estimation of the beauty of the native girls; and that their appreciation of the beauty of European women corresponded with ours.... The Fuegians, as I have been informed by a missionary who long resided with them, considered European women as extremely beautiful ... I should add that a most experienced observer, Captain [Sir R.] Burton, believes that a woman whom we consider beautiful is admired throughout the world." (Darwin, Descent of Man, Chapter XIX.)

Mantegazza quotes a conversation between a South American chief and an Argentine who had asked him which he preferred, the women of his own people or Christian women; the chief replied that he admired Christian women most, and when asked the reason said that they were whiter and taller, had finer hair and smoother skin. (Mantegazza, Fisiologia della Donna, Appendix to Cap. VIII.)

Nordenskjöld, as quoted by Ploss and Bartels, states that the Eskimo regard their own type as more ugly than that produced by crossing with white persons, and, according to Kropf, the Nosa Kaffers admire and seek the fairer half-castes in preference to their own women of pure race (Ploss and Bartels, Das Weib, seventh edition, bd. 1, p. 78). There is a widespread admiration for fairness, it may be added, among dark peoples. Fair men are admired by the Papuans at Torres Straits (Reports of the Cambridge Anthropological Expedition, vol. v, p. 327). The common use of powder among the women of dark-skinned peoples bears witness to the existence of the same ideal.

Stratz, in his books Die Schönheit des Weiblichen Körpers and Die Rassenschönheit des Weibes, argues that the ideal of beauty is fundamentally the same throughout the world, and that the finest persons among the lower races admire and struggle to attain the type which is found commonly and in perfection among the white peoples of Europe. When in Japan he found that among the numerous photographs of Japanese beauties everywhere to be seen, his dragoman, a Japanese of low birth, selected as the most beautiful those which displayed markedly the Japanese type with narrow-slitted eyes and broad nose. When he sought the opinion of a Japanese photographer, who called himself an artist and had some claim to be so considered, the latter selected as most beautiful three Japanese girls who in Europe also would have been considered pretty. In Java, also, when selecting from a large number of Javanese girls a few suitable for photographing, Stratz was surprised to find that a Javanese doctor pointed out as most beautiful those which most closely corresponded to the European type. (Stratz, Die Rassenschönheit des Weibes, fourth edition, 1903, p. 3; id., Die Körperformen der Japaner, 1904, p. 78.)

Stratz reproduces (Rassenschönheit, pp. 36 et seq.) a representation of Kwan-yin, the Chinese goddess of divine love, and quotes some remarks of Borel's concerning the wide deviation of the representations of the goddess, a type of gracious beauty, from the Chinese racial type. Stratz further reproduces the figure of a Buddhistic goddess from Java (now in the Archæological Museum of Leyden) which represents a type of loveliness corresponding to the most refined and classic European ideal.

Not only is there a fundamentally objective element in beauty throughout the human species, but it is probably a significant fact that we may find a similar element throughout the whole animated world. The things that to man are most beautiful throughout Nature are those that are intimately associated with, or dependent upon, the sexual process and the sexual instinct. This is the case in the plant world. It is so throughout most of the animal world, and, as Professor Poulton, in referring to this often unexplained and indeed unnoticed fact, remarks, "the song or plume which excites the mating impulse in the hen is also in a high proportion of cases most pleasing to man himself. And not only this, but in their past history, so far as it has been traced (e.g., in the development of the characteristic markings of the male peacock and argus pheasant), such features have gradually become more and more pleasing to us as they have acted as stronger and stronger stimuli to the hen."^[133]

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II.

Beauty to Some Extent Consists Primitively in an Exaggeration of the Sexual Characters—The Sexual Organs—Mutilations, Adornments, and Garments—Sexual Allurement the Original Object of Such Devices—The Religious Element—Unæsthetic Character of the Sexual Organs—Importance of the Secondary Sexual Characters—The Pelvis and Hips—Steatopygia—Obesity—Gait—The Pregnant Woman as a Mediæval Type of Beauty—The Ideals of the Renaissance—The Breasts—The Corset—Its Object—Its History—Hair—The Beard—The Element of National or Racial Type in Beauty—The Relative Beauty of Blondes and Brunettes—The General European Admiration for Blondes—The Individual Factors in the Constitution of the Idea of Beauty—The Love of the Exotic.

In the constitution of our ideals of masculine and feminine beauty it was inevitable that the sexual characters should from a very early period in the history of man form an important element. From a primitive point of view a sexually desirable and attractive person is one whose sexual characters are either naturally prominent or artificially rendered so. The beautiful woman is one endowed, as Chaucer expresses it,

that is to say, she is the woman obviously best fitted to bear children and to suckle them. These two physical characters, indeed, since they represent aptitude for the two essential acts of motherhood, must necessarily tend to be regarded as beautiful among all peoples and in all stages of culture, even in high stages of civilization when more refined and perverse ideals tend to find favor, and at Pompeii as a decoration on the east side of the Purgatorium of the Temple of Isis we find a representation of Perseus rescuing Andromeda, who is shown as a woman with a very small head, small hands and feet, but with a fully developed body, large breasts, and large projecting nates.^[134]

To a certain extent—and, as we shall see, to a certain extent only—the primary sexual characters are objects of admiration among primitive peoples. In the primitive dances of many peoples, often of sexual significance, the display of the sexual organs on the part of both men and women is frequently a prominent feature. Even down to mediæval times in Europe the garments of men sometimes permitted the sexual organs to be visible. In some parts of the world, also, the artificial enlargement of the female sexual organs is practised, and thus enlarged they are considered an important and attractive feature of beauty.

Sir Andrew Smith informed Darwin that the elongated nymphæ (or "Hottentot apron") found among the women of some South African tribes was formerly greatly admired by the men (Descent of Man, Chapter XIX). This formation is probably a natural peculiarity of the women of these races which is very much exaggerated by intentional manipulation due to the admiration it arouses. The missionary Merensky reported the prevalence of the practice of artificial elongation among the Basuto and other peoples, and the anatomical evidence is in favor of its partly artificial character. (The Hottentot apron is fully discussed by Ploss and Bartels, Das Weib, bd. I, sec. vi.)

In the Jaboo country on the Bight of Benin in West Africa, Daniell stated, it was considered ornamental to elongate the labia and the clitoris artificially; small weights were appended to the clitoris and gradually increased. (W. F. Daniell, Topography of Gulf of Guinea, 1849, pp. 24, 53.)

Among the Bawenda of the northern Transvaal, the missionary Wessmann states, it is customary for young girls from the age of 8 to spend a certain amount of time every day in pulling the labia majora in order to elongate them; in selecting a wife the young men attach much importance to this elongation, and the girl whose labia stand out most is most attractive. (Zeitschrift für Ethnologie, 1894, ht. 4, p. 363.)

It may be added that in various parts of the world mutilations of the sexual organs of men and women, or operations upon them, are practiced, for reasons which are imperfectly known, since it usually happens that the people who practice them are unable to give the reason for this practice, or they assign a reason which is manifestly not that which originally prompted the practice. Thus, the excision of the clitoris, practiced in many parts of East Africa and frequently supposed to be for the sake of dulling sexual feeling (J. S. King Journal of the Anthropological Society, Bombay, 1890, p. 2), seems very doubtfully accounted for thus, for the women have it done of their own accord; "all Sobo women [Niger coast] have their clitoris cut off; unless they have this done they are looked down upon, as slave women who do not get cut; as soon, therefore, as a Sobo woman has collected enough money, she goes to an operating woman and pays her to do the cutting." (Journal of the Anthropological Institute, August-November, 1898, p. 117.) The Comte de Cardi investigated this matter in the Niger Delta: "I have questioned both native men and women," he states, "to try and get the natives' reason for this rite, but the almost universal answer to my queries was, 'it is our country's fashion.'" One old man told him it was practiced because favorable to continence, and several old women said that once the women of the land used to suffer from a peculiar kind of madness which this rite reduced. (Journal of the Anthropological Institute, August-November, 1899, p. 59.) In the same way the subincision of the urethra (mika operation of Australia) is frequently supposed to be for the purpose of preventing conception (See, e.g., the description of the operation by J. G. Garson, Medical Press, February 21, 1894), but this is very doubtful, and E. C. Stirling found that subincised natives often had large families. (Intercolonial Quarterly Journal of Medicine and Surgery, 1894.)

A passage in the Mainz Chronicle for 1367 (as quoted by Schultz, Das Höfische Leben, p. 297) shows that at that time the tunics of the men were so made that it was always possible for the sexual organs to be seen in walking or sitting.

This insistence on the naked sexual organs as objects of attraction is, however, comparatively rare, and confined to peoples in a low state of culture. Very much more widespread is the attempt to beautify and call attention to the sexual organs by tattooing,^[135] by adornment and by striking peculiarities of clothing. The tendency for beauty of clothing to be accepted as a substitute for beauty of body appears early in the history of mankind, and, as we know, tends to be absolutely accepted in civilization.^[136] "We exclaim," as Goethe remarks, "'What a beautiful little foot!' when we have merely seen a pretty shoe; we admire the lovely waist when nothing has met out eyes but an elegant girdle." Our realities and our traditional ideals are hopelessly at variance; the Greeks represented their statues without pubic hair because in real life they had adopted the oriental custom of removing the hairs; we compel our sculptors and painters to make similar representations, though they no longer correspond either to realities or to our own ideas of what is beautiful and fitting in real life. Our artists are themselves equally ignorant and confused, and, as Stratz has repeatedly shown, they constantly reproduce in all innocence the deformations and pathological characters of defective models. If we were honest, we should say—like the little boy before a picture of the Judgment of Paris, in answer to his mother's question as to which of the three goddesses he thought most beautiful—"I can't tell, because they haven't their clothes on."

The concealment actually attained was not, however, it would appear, originally sought. Various authors have brought together evidence to show that the main primitive purpose of adornment and clothing among savages is not to conceal the body, but to draw attention to it and to render it more attractive. Westermarck, especially, brings forward numerous examples of savage adornments which serve to attract attention to the sexual regions of man and woman.^[137] He further argues that the primitive object of various savage peoples in practicing circumcision, as other similar mutilations, is really to secure sexual attractiveness, whatever religious significance they may sometimes have developed subsequently. A more recent view represents the magical influence of both adornment and mutilation as primary, as a method of guarding and insulating dangerous bodily functions. Frazer, in The Golden Bough, is the most able and brilliant champion of this view, which undoubtedly embodies a large element of truth, although it must not be accepted to the absolute exclusion of the influence of sexual attractiveness. The two are largely woven in together.^[138]

There is, indeed, a general tendency for the sexual functions to take on a religious character and for the sexual organs to become sacred at a very early period in culture. Generation, the reproductive force in man, animals, and plants, was realized by primitive man to be a fact of the first magnitude, and he symbolized it in the sexual organs of man and woman, which thus attained to a solemnity which was entirely independent of purposes of sexual allurement. Phallus worship may almost be said to be a universal phenomenon; it is found even among races of high culture, among the Romans of the Empire and the Japanese to-day; it has, indeed, been thought by some that one of the origins of the cross is to be found in the phallus.

"Hardly any other object," remarks Dr. Richard Andree, "has been with such great unanimity represented by nearly all peoples as the phallus, the symbol of procreative force in the religions of the East and an object of veneration at public festivals. In the Moabitic Baal Peor, in the cult of Dionysos, everywhere, indeed, except in Persia, we meet with Priapic representations and the veneration accorded to the generative organ. It is needless to refer to the great significance of the Linga puja, the procreative organ of the god Siva, in India, a god to whom more temples were erected than to any other Indian deity. Our museums amply show how common phallic representations are in Africa, East Asia, the Pacific, frequently in connection with religious worship." (R. Andree, "Amerikansche Phallus-Darstellungen," Zeitschrift für Ethnologie, 1895, ht. 6, p. 678.)

Women have no external generative organ like the phallus to play a large part in life as a sacred symbol. There is, however, some reason to believe that the triangle is to some extent such a symbol. Lejeune ("La Representation Sexuelle en Religion, Art, et Pédagogie," Bulletin de la Société d'Anthropologie, Paris, October 3, 1901) brings forward reasons in favor of the view that the triangular hair-covered region of the mons veneris has had considerable significance in this respect, and he presents various primitive figures in illustration.

Apart from the religions and magical properties so widely accorded to the primary sexual characters, there are other reasons why they should not often have gained or long retained any great importance as objects of sexual allurement. They are unnecessary and inconvenient for this purpose. The erect attitude of man gives them here, indeed, an advantage possessed by very few animals, among whom it happens with extreme rarity that the primary sexual characters are rendered attractive to the eye of the opposite sex, though they often are to the sense of smell. The sexual regions constitute a peculiarly vulnerable spot, and remain so even in man, and the need for their protection which thus exists conflicts with the prominent display required for a sexual allurement. This end is far more effectively attained, with greater advantage and less disadvantage, by concentrating the chief ensigns of sexual attractiveness on the upper and more conspicuous parts of the body. This method is well-nigh universal among animals as well as in man.

There is another reason why the sexual organs should be discarded as objects of sexual allurement, a reason which always proves finally decisive as a people advances in culture. They are not æsthetically beautiful. It is fundamentally necessary that the intromittent organ of the male and the receptive canal of the female should retain their primitive characteristics; they cannot, therefore, be greatly modified by sexual or natural selection, and the exceedingly primitive character they are thus compelled to retain, however sexually desirable and attractive they may become to the opposite sex under the influence of emotion, can rarely be regarded as beautiful from the point of view of æsthetic contemplation. Under the influence of art there is a tendency for the sexual organs to be diminished in size, and in no civilized country has the artist ever chosen to give an erect organ to his representations of ideal masculine beauty. It is mainly because the unæsthetic character of a woman's sexual region is almost imperceptible in any ordinary and normal position of the nude body that the feminine form is a more æsthetically beautiful object of contemplation than the masculine. Apart from this character we are probably bound, from a strictly æsthetic point of view, to regard the male form as more æsthetically beautiful.^[139] The female form, moreover, usually overpasses very swiftly the period of the climax of its beauty, often only retaining it during a few weeks.

The following communication from a correspondent well brings out the divergences of feeling in this matter:

"You write that the sex organs, in an excited condition, cannot be called æsthetic. But I believe that they are a source, not only of curiosity and wonder to many persons, but also objects of admiration. I happen to know of one man, extremely intellectual and refined, who delights in lying between his mistress's thighs and gazing long at the dilated vagina. Also another man, married, and not intellectual, who always tenderly gazes at his wife's organs, in a strong light, before intercourse, and kisses her there and upon the abdomen. The wife, though amative, confessed to another woman that she could not understand the attraction. On the other hand, two married men have told me that the sight of their wives' genital parts would disgust them, and that they have never seen them.

"If the sexual parts cannot be called æsthetic, they have still a strong charm for many passionate lovers, of both sexes, though not often, I believe, among the unimaginative and the uneducated, who are apt to ridicule the organs or to be repelled by them. Many women confess that they are revolted by the sight of even a husband's complete nudity, though they have no indifference for sexual embraces. I think that the stupid bungle of Nature in making the generative organs serve as means of relieving the bladder has much to do with this revulsion. But some women of erotic temperament find pleasure in looking at the penis of a husband or lover, in handling it, and kissing it. Prostitutes do this in the way of business; some chaste, passionate wives act thus voluntarily. This is scarcely morbid, as the mammalia of most species smell and lick each others' genitals. Probably primitive man did the same."

Brantôme (Vie des Dames Galantes, Discours II) has some remarks to much the same effect concerning the difference between men, some of whom take no pleasure in seeing the private parts of their wives or mistresses, while others admire them and delight to kiss them.

I must add that, however natural or legitimate the attraction of the sexual parts may be to either sex, the question of their purely æsthetic beauty remains unaffected.

Remy de Gourmont, in a discussion of the æsthetic element in sexual beauty, considers that the invisibility of the sexual organs is the decisive fact in rendering women more beautiful than men. "Sex, which is sometimes an advantage, is always a burden and always a flaw; it exists for the race and not for the individual. In the human male, and precisely because of his erect attitude, sex is the predominantly striking and visible fact, the point of attack in a struggle at close quarters, the point aimed at from a distance, an obstacle for the eye, whether regarded as a rugosity on the surface or as breaking the middle of a line. The harmony of the feminine body is thus geometrically much more perfect, especially when we consider the male and the female at the moment of desire when they present the most intense and natural expression of life. Then the woman, whose movements are all interior, or only visible by the undulation of her curves, preserves her full æsthetic value, while the man, as it were, all at once receding toward the primitive state of animality, seems to throw off all beauty and become reduced to the simple and naked condition of a genital organism." (Remy de Gourmont, Physique de l'Amour, p. 69.) Remy de Gourmont proceeds, however, to point out that man has his revenge after a woman has become pregnant, and that, moreover, the proportions of the masculine body are more beautiful than those of the feminine body.

The primary sexual characters of man and woman have thus never at any time played a very large part in sexual allurement. With the growth of culture, indeed, the very methods which had been adopted to call attention to the sexual organs were by a further development retained for the purpose of concealing them. From the first the secondary sexual characters have been a far more widespread method of sexual allurement than the primary sexual characters, and in the most civilized countries to-day they still constitute the most attractive of such methods to the majority of the population.

The main secondary sexual characters in woman and the type which they present in beautiful and well-developed persons are summarized as follows by Stratz, who in his book on the beauty of the body in woman sets forth the reasons for the characteristics here given:—

• Delicate bony structure.

• Rounded forms and breasts.

• Broad pelvis.

• Long and abundant hair.

• Low and narrow boundary of pubic hair.

• Sparse hair in armpit.

• No hair on body.

• Delicate skin.

• Rounded skull.

• Small face.

• Large orbits.

• High and slender eyebrows.

• Low and small lower jaw.

• Soft transition from cheek to neck.

• Rounded neck.

• Slender wrist.

• Small hand, with long index finger.

• Rounded shoulders.

• Straight, small clavicle.

• Small and long thorax.

• Slender waist.

• Hollow sacrum.

• Prominent and domed nates.

• Sacral dimples.

• Rounded and thick thighs.

• Low and obtuse pubic arch.

• Soft contour of knee.

• Rounded calves.

• Slender ankle.

• Small toes.

• Long second and short fifth toe.

• Broad middle incisor teeth.

(Stratz, Die Schönheit des Weiblichen Körpers, fourteenth edition, 1903, p. 200. This statement agrees at most points with my own exposition of the secondary sexual characters: Man and Woman, fourth edition, revised and enlarged, 1904.)

Thus we find, among most of the peoples of Europe, Asia, and Africa, the chief continents of the world, that the large hips and buttocks of women are commonly regarded as an important feature of beauty. This secondary sexual character represents the most decided structural deviation of the feminine type from the masculine, a deviation demanded by the reproductive function of women, and in the admiration it arouses sexual selection is thus working in a line with natural selection. It cannot be said that, except in a very moderate degree, it has always been regarded as at the same time in a line with claims of purely æsthetic beauty. The European artist frequently seeks to attenuate rather than accentuate the protuberant lines of the feminine hips, and it is noteworthy that the Japanese also regard small hips as beautiful. Nearly everywhere else large hips and buttocks are regarded as a mark of beauty, and the average man is of this opinion even in the most æsthetic countries. The contrast of this exuberance with the more closely knit male form, the force of association, and the unquestionable fact that such development is the condition needed for healthy motherhood, have served as a basis for an ideal of sexual attractiveness which appeals to nearly all people more strongly than a more narrowly æsthetic ideal, which must inevitably be somewhat hermaphroditic in character.

Broad hips, which involve a large pelvis, are necessarily a characteristic of the highest human races, because the races with the largest heads must be endowed also with the largest pelvis to enable their large heads to enter the world. The white race, according to Bacarisse, has the broadest sacrum, the yellow race coming next, the black race last. The white race is also stated to show the greatest curvature of the sacrum, the yellow race next, while the black race has the flattest sacrum.^[140] The black race thus possesses the least developed pelvis, the narrowest, and the flattest. It is certainly not an accidental coincidence that it is precisely among people of black race that we find a simulation of the large pelvis of the higher races admired and cultivated in the form of steatopygia. This is an enormously exaggerated development of the subcutaneous layer of fat which normally covers the buttocks and upper parts of the thighs in woman, and in this extreme form constitutes a kind of natural fatty tumor. Steatopygia cannot be said to exist, according to Deniker, unless the projection of the buttocks exceeds 4 per cent of the individual's height; it frequently equals 10 per cent. True steatopygia only exists among Bushman and Hottentot women, and among the peoples who are by blood connected with them. An unusual development of the buttocks is, however, found among the Woloffs and many other African peoples.^[141] There can be no doubt that among the black peoples of Africa generally, whether true steatopygia exists among them or not, extreme gluteal development is regarded as a very important, if not the most important, mark of beauty, and Burton stated that a Somali man was supposed to choose his wife by ranging women in a row and selecting her who projected farthest a tergo.^[142] In Europe, it must be added, clothing enables this feature of beauty to be simulated. Even by some African peoples the posterior development has been made to appear still larger by the use of cushions, and in England in the sixteenth century we find the same practice well recognized, and the Elizabethan dramatists refer to the "bum-roll," which in more recent times has become the bustle, devices which bear witness to what Watts, the painter, called "the persistent tendency to suggest that the most beautiful half of humanity is furnished with tails."^[143] In reality, as we see, it is simply a tendency, not to simulate an animal character, but to emphasize the most human and the most feminine of the secondary sexual characters, and therefore, from the sexual point of view, a beautiful feature.^[144]

Sometimes admiration for this characteristic is associated with admiration for marked obesity generally, and it may be noted that a somewhat greater degree of fatness may also be regarded as a feminine secondary sexual character. This admiration is specially marked among several of the black peoples of Africa, and here to become a beauty a woman must, by drinking enormous quantities of milk, seek to become very fat. Sonnini noted that to some extent the same thing might be found among the Mohammedan women of Egypt. After bright eyes and a soft, polished, hairless skin, an Egyptian woman, he stated, most desired to obtain embonpoint; men admired fat women and women sought to become fat. "The idea of a very fat woman," Sonnini adds, "is nearly always accompanied in Europe by that of softness of flesh, effacement of form, and defect of elasticity in the outlines. It would be a mistake thus to represent the women of Turkey in general, where all seek to become fat. It is certain that the women of the East, more favored by Nature, preserve longer than others the firmness of the flesh, and this precious property, joined to the freshness and whiteness of their skin, renders them very agreeable. It must be added that in no part of the world is cleanliness carried so far as by the women of the East."^[145]

The special characteristics of the feminine hips and buttocks become conspicuous in walking and may be further emphasized by the special method of walking or carriage. The women of some southern countries are famous for the beauty of their way of walk; "the goddess is revealed by her walk," as Virgil said. In Spain, especially, among European countries, the walk very notably gives expression to the hips and buttocks. The spine is in Spain very curved, producing what is termed ensellure, or saddle-back—a characteristic which gives great flexibility to the back and prominence to the gluteal regions, sometimes slightly simulating steatopygia. The vibratory movement naturally produced by walking and sometimes artificially heightened thus becomes a trait of sexual beauty. Outside of Europe such vibration of the flanks and buttocks is more frankly displayed and cultivated as a sexual allurement. The Papuans are said to admire this vibratory movement of the buttocks in their women. Young girls are practiced in it by their mothers for hours at a time as soon as they have reached the age of 7 or 8, and the Papuan maiden walks thus whenever she is in the presence of men, subsiding into a simpler gait when no men are present. In some parts of tropical Africa the women walk in this fashion. It is also known to the Egyptians, and by the Arabs is called ghung.^[146] As Mantegazza remarks, the essentially feminine character of this gait makes it a method of sexual allurement. It should be observed that it rests on feminine anatomical characteristics, and that the natural walk of a femininely developed woman is inevitably different from that of a man.

In an elaborate discussion of beauty of movement Stratz summarizes the special characters of the gait in woman as follows: "A woman's walk is chiefly distinguished from a man's by shorter steps, the more marked forward movement of the hips, the greater length of the phase of rest in relation to the phase of motion, and by the fact that the compensatory movements of the upper parts of the body are less powerfully supported by the action of the arms and more by the revolution of the flanks. A man's walk has a more pushing and active character, a woman's a more rolling and passive character; while a man seems to seek to catch his fleeing equilibrium, a woman seems to seek to preserve the equilibrium she has reached.... A woman's walk is beautiful when it shows the definitely feminine and rolling character, with the greatest predominance of the moment of extension over that of flexion." (Stratz, Die Schönheit des Weiblichen Körpers, fourteenth edition, p. 275.)

An occasional development of the idea of sexual beauty as associated with developed hips is found in the tendency to regard the pregnant woman as the most beautiful type. Stratz observes that a woman artist once remarked to him that since motherhood is the final aim of woman, and a woman reaches her full flowering period in pregnancy, she ought to be most beautiful when pregnant. This is so, Stratz replied, if the period of her full physical bloom chances to correspond with the early months of pregnancy, for with the onset of pregnancy metabolism is heightened, the tissues become active, the tone of the skin softer and brighter, the breasts firmer, so that the charm of fullest bloom is increased until the moment when the expansion of the womb begins to destroy the harmony of the form. At one period of European culture, however,—at a moment and among a people not very sensitive to the most exquisite æsthetic sensations,—the ideal of beauty has even involved the character of advanced pregnancy. In northern Europe during the centuries immediately preceding the Renaissance the ideal of beauty, as we may see by the pictures of the time, was a pregnant woman, with protuberant abdomen and body more or less extended backward. This is notably apparent in the work of the Van Eycks: in the Eve in the Brussels Gallery; in the wife of Arnolfini in the highly finished portrait group in the National Gallery; even the virgins in the great masterpiece of the Van Eycks in the Cathedral at Ghent assume the type of the pregnant woman.

"Through all the middle ages down to Dürer and Cranach," quite truly remarks Laura Marholm (as quoted by I. Bloch, Beiträge zur Ætiologie der Psychopathia Sexualis, Teil I, p. 154), "we find a very peculiar type which has falsely been regarded as one of merely ascetic character. It represents quiet, peaceful, and cheerful faces, full of innocence; tall, slender, young figures; the shoulders still scanty; the breasts small, with slender legs beneath their garments; and round the upper part of the body clothing that is tight almost to the point of constriction. The waist comes just under the bosom, and from this point the broad skirts in folds give to the most feminine part of the feminine body full and absolutely unhampered power of movement and expansion. The womanly belly even in saints and virgins is very pronounced in the carriage of the body and clearly protuberant beneath the clothing. It is the maternal function, in sacred and profane figures alike, which marks the whole type—indeed, the whole conception—of woman." For a brief period this fashion reappeared in the eighteenth century, and women wore pads and other devices to increase the size of the abdomen.

With the Renaissance this ideal of beauty disappeared from art. But in real life we still seem to trace its survival in the fashion for that class of garments which involved an immense amount of expansion below the waist and secured such expansion by the use of whalebone hoops and similar devices. The Elizabethan farthingale was such a garment. This was originally a Spanish invention, as indicated by the name (from verdugardo, provided with hoops), and reached England through France. We find the fashion at its most extreme point in the fashionable dress of Spain in the seventeenth century, such as it has been immortalized by Velasquez. In England hoops died out during the reign of George III but were revived for a time, half a century later, in the Victorian crinoline.^[147]

Only second to the pelvis and its integuments as a secondary sexual character in woman we must place the breasts.^[148] Among barbarous and civilized peoples the beauty of the breast is usually highly esteemed. Among Europeans, indeed, the importance of this region is so highly esteemed that the general rule against the exposure of the body is in its favor abrogated, and the breasts are the only portion of the body, in the narrow sense, which a European lady in full dress is allowed more or less to uncover. Moreover, at various periods and notably in the eighteenth century, women naturally deficient in this respect have sometimes worn artificial busts made of wax. Savages, also, sometimes show admiration for this part of the body, and in the Papuan folk-tales, for instance, the sole distinguishing mark of a beautiful woman is breasts that stand up.^[149] On the other hand, various savage peoples even appear to regard the development of the breasts as ugly and adopt devices for flattening this part of the body.^[150] The feeling that prompts this practice is not unknown in modern Europe, for the Bulgarians are said to regard developed breasts as ugly; in mediæval Europe, indeed, the general ideal of feminine slenderness was opposed to developed breasts, and the garments tended to compress them. But in a very high degree of civilization this feeling is unknown, as, indeed, it is unknown to most barbarians, and the beauty of a woman's breasts, and of any natural or artificial object which suggests the gracious curves of the bosom, is a universal source of pleasure.

The casual vision of a girl's breasts may, in the chastest youth, evoke a strange perturbation. (Cf., e.g., a passage in an early chapter of Marcelle Tinayre's La Maison du Péché.) We need not regard this feeling as of purely sexual origin; and in addition even to the æsthetic element it is probably founded to some extent on a reminiscence of the earliest associations of life. This element of early association was very well set forth long ago by Erasmus Darwin:—

"When the babe, soon after it is born into this cold world, is applied to its mother's bosom, its sense of perceiving warmth is first agreeably affected; next its sense of smell is delighted with the odor of her milk; then its taste is gratified by the flavor of it; afterward the appetites of hunger and of thirst afford pleasure by the possession of their object, and by the subsequent digestion of the aliment; and, last, the sense of touch is delighted by the softness and smoothness of the milky fountain, the source of such variety of happiness.

"All these various kinds of pleasure at length become associated with the form of the mother's breast, which the infant embraces with its hands, presses with its lips, and watches with its eyes; and thus acquires more accurate ideas of the form of its mother's bosom than of the odor, flavor, and warmth which it perceives by its other senses. And hence at our maturer years, when any object of vision is presented to us which by its wavy or spiral lines bears any similitude to the form of the female bosom, whether it be found in a landscape with soft gradations of raising and descending surface, or in the forms of some antique vases, or in other works of the pencil or the chisel, we feel a general glow of delight which seems to influence all our senses; and if the object be not too large we experience an attraction to embrace it with our lips as we did in our early infancy the bosom of our mothers." (E. Darwin, Zoönomia, 1800, vol. i, p. 174.)

The general admiration accorded to developed breasts and a developed pelvis is evidenced by a practice which, as embodied in the corset, is all but universal in many European countries, as well as the extra-European countries inhabited by the white race, and in one form or another is by no means unknown to peoples of other than the white race.

The tightening of the waist girth was little known to the Greeks of the best period, but it was practiced by the Greeks of the decadence and by them transmitted to the Romans; there are many references in Latin literature to this practice, and the ancient physician wrote against it in the same sense as modern doctors. So far as Christian Europe is concerned it would appear that the corset arose to gratify an ideal of asceticism rather than of sexual allurement. The bodice in early mediæval days bound and compressed the breasts and thus tended to efface the specifically feminine character of a woman's body. Gradually, however, the bodice was displaced downward, and its effect, ultimately, was to render the breasts more prominent instead of effacing them. Not only does the corset render the breasts more prominent; it has the further effect of displacing the breathing activity of the lungs in an upward direction, the advantage from the point of sexual allurement thus gained being that additional attention is drawn to the bosom from the respiratory movement thus imparted to it. So marked and so constant is this artificial respiratory effect, under the influence of the waist compression habitual among civilized women, that until recent years it was commonly supposed that there is a real and fundamental difference in breathing between men and women, that women's breathing is thoracic and men's abdominal. It is now known that under natural and healthy conditions there is no such difference, but that men and women breathe in a precisely identical manner. The corset may thus be regarded as the chief instrument of sexual allurement which the armory of costume supplies to a woman, for it furnishes her with a method of heightening at once her two chief sexual secondary characters, the bosom above, the hips and buttocks below. We cannot be surprised that all the scientific evidence in the world of the evil of the corset is powerless not merely to cause its abolition, but even to secure the general adoption of its comparatively harmless modifications.

Several books have been written on the history of the corset. Léoty (Le Corset à travers les Ages, 1893) accepts Bouvier's division of the phases through which the corset has passed: (1) the bands, or fasciæ, of Greek and Roman ladies; (2) period of transition during greater part of middle ages, classic traditions still subsisting; (3) end of middle ages and beginning of Renaissance, when tight bodices were worn; (4) the period of whalebone bodices, from middle of sixteenth to end of eighteenth centuries; (5) the period of the modern corset. We hear of embroidered girdles in Homer. Even in Rome, however, the fasciæ were not in general use, and were chiefly employed either to support the breasts or to compress their excessive development, and then called mamillare. The zona was a girdle, worn usually round the hips, especially by young girls. The modern corset is a combination of the fascia and the zona. It was at the end of the fourteenth century that Isabeau of Bavaria introduced the custom of showing the breasts uncovered, and the word "corset" was then used for the first time.

Stratz, in his Frauenkleidung (pp. 366 et seq.), and in his Schönheit des Weiblichen Körpers, Chapters VIII, X, and XVI, also deals with the corset, and illustrates the results of compression on the body. For a summary of the evidence concerning the difference of respiration in man and woman, its causes and results, see Havelock Ellis, Man and Woman, fourth edition, 1904, pp. 228-244. With reference to the probable influence of the corset and unsuitable clothing generally during early life in impeding the development of the mammary glands, causing inability to suckle properly, and thus increasing infant mortality, see especially a paper by Professor Bollinger (Correspondenz-blatt Deutsch. Gesell. Anthropologie, October, 1899).

The compression caused by the corset, it must be added, is not usually realized or known by those who wear it. Thus, Rushton Parker and Hugh Smith found, in two independent series of measurements, that the waist measurement was, on the average, two inches less over the corset than round the naked waist; "the great majority seemed quite unaware of the fact." In one case the difference was as much as five inches. (British Medical Journal, September 15 and 22, 1900.)

The breasts and the developed hips are characteristics of women and are indications of functional effectiveness as well as sexual allurement. Another prominent sexual character which belongs to man, and is not obviously an index of function, is furnished by the hair on the face. The beard may be regarded as purely a sexual adornment, and thus comparable to the somewhat similar growth on the heads of many male animals. From this point of view its history is interesting, for it illustrates the tendency with increase of civilization not merely to dispense with sexual allurement in the primary sexual organs, but even to disregard those growths which would appear to have been developed solely to act as sexual allurements. The cultivation of the beard belongs peculiarly to barbarous races. Among these races it is frequently regarded as the most sacred and beautiful part of the person, as an object to swear by, an object to which the slightest insult must be treated as deadly. Holding such a position, it must doubtless act as a sexual allurement. "Allah has specially created an angel in Heaven," it is said in the Arabian Nights, "who has no other occupation than to sing the praises of the Creator for giving a beard to men and long hair to women." The sexual character of the beard and the other hirsute appendage is significantly indicated by the fact that the ascetic spirit in Christianity has always sought to minimize or to hide the hair. Altogether apart, however, from this religious influence, civilization tends to be opposed to the growth of hair on the masculine face and especially to the beard. It is part of the well-marked tendency with civilization to the abolition of sexual differences. We find this general tendency among the Greeks and Romans, and, on the whole, with certain variations and fluctuations of fashion, in modern Europe also. Schopenhauer frequently referred to this disappearance of the beard as a mark of civilization, "a barometer of culture."^[151] The absence of facial hair heightens æsthetic beauty of form, and is not felt to remove any substantial sexual attraction.

That even the Egyptians regarded the beard as a mark of beauty and an object of veneration is shown by the fact that the priests wore it long and cut it off in grief (Herodotus, Euterpe, Chapter XXXVI). The respect with which the beard was regarded among the ancient Hebrews is indicated in the narrative (II Samuel, Chapter X) which tells how, when David sent his servants to King Hanun the latter shaved off half their beards; they were too ashamed to return in this condition, and remained at Jericho until their beards had grown again. A passage in Ordericus Vitalis (Ecclesiastical History, Book VIII, Chapter X) is interesting both as regards the fashions of the twelfth century in England and Normandy and the feeling that prompted Ordericus. Speaking of the men of his time, he wrote: "The forepart of their head is bare after the manner of thieves, while at the back they nourish long hair like harlots. In former times penitents, captives and pilgrims usually went unshaved and wore long beards, as an outward mark of their penance or captivity or pilgrimage. Now almost all the world wear crisped hair and beards, carrying on their faces the token of their filthy lust like stinking goats. Their locks are curled with hot irons, and instead of wearing caps they bind their heads with fillets. A knight seldom appears in public with his head uncovered, and properly shaved, according to the apostolic precept (I Corinthians, Chapter XI, verses 7 and 14)."

We have seen that there is good reason for assuming a certain fundamental tendency whereby the most various peoples of the world, at all events in the person of their most intelligent members, recognize and accept a common ideal of feminine beauty, so that to a certain extent beauty may be said to have an objectively æsthetic basis. We have further found that this æsthetic human ideal is modified, and very variously modified in different countries and even in the same country at different periods, by a tendency, prompted by a sexual impulse which is not necessarily in harmony with æsthetic cannons, to emphasize, or even to repress, one or other of the prominent secondary sexual characters of the body. We now come to another tendency which is apt to an even greater extent to limit the cultivation of the purely æsthetic ideal of beauty: the influences of national or racial type.

To the average man of every race the woman who most completely embodies the type of his race is usually the most beautiful, and even mutilations and deformities often have their origin, as Humboldt long since pointed out, in the effort to accentuate the racial type.^[152] Eastern women possess by nature large and conspicuous eyes, and this characteristic they seek still further to heighten by art. The Ainu are the hairiest of races, and there is nothing which they consider so beautiful as hair. It is difficult to be sexually attracted to persons who are fundamentally unlike ourselves in racial constitution.^[153]

It frequently happens that this admiration for racial characteristics leads to the idealization of features which are far removed from æsthetic beauty. The firm and rounded breast is certainly a feature of beauty, but among many of the black peoples of Africa the breasts fall at a very early period, and here we sometimes find that the hanging breast is admired as beautiful.

The African Baganda, the Rev. J. Roscoe states (Journal of the Anthropological Institute, January-June, 1902, p. 72), admire hanging breasts to such an extent that their young women tie them down in order to hasten the arrival of this condition.

"The most remarkable trait of beauty in the East," wrote Sonnini, "is to have large black eyes, and nature has made this a characteristic sign of the women of these countries. But, not content with this, the women of Egypt wish their eyes to be still larger and blacker. To attain this Mussulmans, Jewesses, and Christians, rich and poor, all tint their eyelids with galena. They also blacken the lashes (as Juvenal tells us the Roman ladies did) and mark the angles of the eye so that the fissure appears larger." (Sonnini, Voyage dans la Haute et Basse Egypte, 1799, vol. i, p. 290.) Kohl is thus only used by the women who have what the Arabs call "natural kohl." As Flinders Petrie has found, the women of the so-called "New Race," between the sixth and tenth dynasties of ancient Egypt, used galena and malachite for painting their faces. Jewish women in the days of the prophets painted their eyes with kohl, as do some Hindu women to-day.

"The Ainu have a great affection for their beards. They regard them as a sign of manhood and strength and consider them as especially handsome. They look upon them, indeed, as a great and highly prized treasure." (J. Batchelor, The Ainu and their Folklore, p. 162.)

A great many theories have been put forward to explain the Chinese fashion of compressing and deforming the foot. The Chinese are great admirers of the feminine foot, and show extreme sexual sensitiveness in regard to it. Chinese women naturally possess very small feet, and the main reason for binding them is probably to be found in the desire to make them still smaller. (See, e.g., Stratz, Die Frauenkleidung, 1904, p. 101.)

An interesting question, which in part finds its explanation here and is of considerable significance from the point of view of sexual selection, concerns the relative admiration bestowed on blondes and brunettes. The question is not, indeed, one which is entirely settled by racial characteristics. There is something to be said on the matter from the objective standpoint of æsthetic considerations. Stratz, in a chapter on beauty of coloring in woman, points out that fair hair is more beautiful because it harmonizes better with the soft outlines of woman, and, one may add, it is more brilliantly conspicuous; a golden object looks larger than a black object. The hair of the armpit, also, Stratz considers should be light. On the other hand, the pubic hair should be dark in order to emphasize the breadth of the pelvis and the obtusity of the angle between the mons veneris and the thighs. The eyebrows and eyelashes should also be dark in order to increase the apparent size of the orbits. Stratz adds that among many thousand women he has only seen one who, together with an otherwise perfect form, has also possessed these excellencies in the highest measure. With an equable and matt complexion she had blonde, very long, smooth hair, with sparse, blonde, and curly axillary hair; but, although her eyes were blue, the eyebrows and eyelashes were black, as also was the not overdeveloped pubic hair.^[154]

We may accept it as fairly certain that, so far as any objective standard of æsthetic beauty is recognizable, that standard involves the supremacy of the fair type of woman. Such supremacy in beauty has doubtless been further supported by the fact that in most European countries the ruling caste, the aristocratic class, whose superior energy has brought it to the top, is somewhat blonder than the average population.

The main cause, however, in determining the relative amount of admiration accorded in Europe to blondes and to brunettes is the fact that the population of Europe must be regarded as predominantly fair, and that our conception of beauty in feminine coloring is influenced by an instinctive desire to seek this type in its finest forms. In the north of Europe there can, of course, be no question concerning the predominant fairness of the population, but in portions of the centre and especially in the south it may be considered a question. It must, however, be remembered that the white population occupying all the shores of the Mediterranean have the black peoples of Africa immediately to the south of them. They have been liable to come in contact with the black peoples and in contrast with them they have tended not only to be more impressed with their own whiteness, but to appraise still more highly its blondest manifestations as representing a type the farthest removed from the negro. It must be added that the northerner who comes into the south is apt to overestimate the darkness of the southerner because of the extreme fairness of his own people. The differences are, however, less extreme than we are apt to suppose; there are more dark people in the north than we commonly assume, and more fair people in the south. Thus, if we take Italy, we find in its fairest part, Venetia, according to Raseri, that there are 8 per cent. communes in which fair hair predominates, 81 per cent. in which brown predominates, and only 11 per cent. in which black predominates; as we go farther south black hair becomes more prevalent, but there are in most provinces a few communes in which fair hair is not only frequent, but even predominant. It is somewhat the same with light eyes, which are also most abundant in Venetia and decrease to a slighter extent as we go south. It is possible that in former days the blondes prevailed to a greater degree than to-day in the south of Europe. Among the Berbers of the Atlas Mountains, who are probably allied to the South Europeans, there appears to be a fairly considerable proportion of blondes,^[155] while on the other hand there is some reason to believe that blondes die out under the influence of civilization as well as of a hot climate.

However this may be, the European admiration for blondes dates back to early classic times. Gods and men in Homer would appear to be frequently described as fair.^[156] Venus is nearly always blonde, as was Milton's Eve. Lucian refers to women who dye their hair. The Greek sculptors gilded the hair of their statues, and the figurines in many cases show very fair hair.^[157] The Roman custom of dyeing the hair light, as Renier has shown, was not due to the desire to be like the fair Germans, and when Rome fell it would appear that the custom of dyeing the hair persisted, and never died out; it is mentioned by Anselm, who died at the beginning of the twelfth century.^[158]

In the poetry of the people in Italy brunettes, as we should expect, receive much commendation, though even here the blondes are preferred. When we turn to the painters and poets of Italy, and the æsthetic writers on beauty from the Renaissance onward, the admiration for fair hair is unqualified, though there is no correspondingly unanimous admiration for blue eyes. Angelico and most of the pre-Raphaelite artists usually painted their women with flaxen and light-golden hair, which often became brown with the artists of the Renaissance period. Firenzuola, in his admirable dialogue on feminine beauty, says that a woman's hair should be like gold or honey or the rays of the sun. Luigini also, in his Libro della bella Donna, says that hair must be golden. So also thought Petrarch and Ariosto. There is, however, no corresponding predilection among these writers for blue eyes. Firenzuola said that the eyes must be dark, though not black. Luigini said that they must be bright and black. Niphus had previously said that the eyes should be "black like those of Venus" and the skin ivory, even a little brown. He mentions that Avicenna had praised the mixed, or gray eye.

In France and other northern countries the admiration for very fair hair is just as marked as in Italy, and dates back to the earliest ages of which we have a record. "Even before the thirteenth century," remarks Houdoy, in his very interesting study of feminine beauty in northern France during mediæval times, "and for men as well as for women, fair hair was an essential condition of beauty; gold is the term of comparison almost exclusively used."^[159] He mentions that in the Acta Sanctorum it is stated that Saint Godelive of Bruges, though otherwise beautiful, had black hair and eyebrows and was hence contemptuously called a crow. In the Chanson de Roland and all the French mediæval poems the eyes are invariably vairs. This epithet is somewhat vague. It comes from varius, and signifies mixed, which Houdoy regards as showing various irradiations, the same quality which later gave rise to the term iris to describe the pupillary membrane.^[160] Vair would thus describe not so much the color of the eye as its brilliant and sparkling quality. While Houdoy may have been correct, it still seems probable that the eye described as vair was usually assumed to be "various" in color also, of the kind we commonly call gray, which is usually applied to blue eyes encircled with a ring of faintly sprinkled brown pigment. Such eyes are fairly typical of northern France and frequently beautiful. That this was the case seems to be clearly indicated by the fact that, as Houdoy himself points out, a few centuries later the vair eye was regarded as vert, and green eyes were celebrated as the most beautiful.^[161] The etymology was false, but a false etymology will hardly suffice to change an ideal. At the Renaissance Jehan Lemaire, when describing Venus as the type of beauty, speaks of her green eyes, and Ronsard, a little later, sang:

Early in the sixteenth century Brantôme quotes some lines current in France, Spain, and Italy according to which a woman should have a white skin, but black eyes and eyebrows, and adds that personally he agrees with the Spaniard that "a brunette is sometimes equal to a blonde,"^[162] but there is also a marked admiration for green eyes in Spanish literature; not only in the typical description of a Spanish beauty in the Celestina (Act. I) are the eyes green, but Cervantes, for example, when referring to the beautiful eyes of a woman, frequently speaks of them as green.

It would thus appear that in Continental Europe generally, from south to north, there is a fair uniformity of opinion as regards the pigmentary type of feminine beauty. Such variation as exists seemingly involves a somewhat greater degree of darkness for the southern beauty in harmony with the greater racial darkness of the southerner, but the variations fluctuate within a narrow range; the extremely dark type is always excluded, and so it would seem probable is the extremely fair type, for blue eyes have not, on the whole, been considered to form part of the admired type.

If we turn to England no serious modification of this conclusion is called for. Beauty is still fair. Indeed, the very word "fair" in England itself means beautiful. That in the seventeenth century it was generally held essential that beauty should be blonde is indicated by a passage in the Anatomy of Melancholy, where Burton argues that "golden hair was ever in great account," and quotes many examples from classic and more modern literature.^[163] That this remains the case is sufficiently evidenced by the fact that the ballet and chorus on the English stage wear yellow wigs, and the heroine of the stage is blonde, while the female villain of melodrama is a brunette.

While, however, this admiration of fairness as a mark of beauty unquestionably prevails in England, I do not think it can be said—as it probably can be said of the neighboring and closely allied country of France—that the most beautiful women belong to the fairest group of the community. In most parts of Europe the coarse and unbeautiful plebeian type tends to be very dark; in England it tends to be very fair. England is, however, somewhat fairer generally than most parts of Europe; so that, while it may be said that a very beautiful woman in France or in Spain may belong to the blondest section of the community, a very beautiful woman in England, even though of the same degree of blondness as her Continental sister, will not belong to the extremely blonde section of the English community. It thus comes about that when we are in northern France we find that gray eyes, a very fair but yet unfreckled complexion, brown hair, finely molded features, and highly sensitive facial expression combine to constitute a type which is more beautiful than any other we meet in France, and it belongs to the fairest section of the French population. When we cross over to England, however, unless we go to a so-called "Celtic" district, it is hopeless to seek among the blondest section of the community for any such beautiful and refined type. The English beautiful woman, though she may still be fair, is by no means very fair, and from the English standpoint she may even sometimes appear somewhat dark:^[164] In determining what I call the index of pigmentation—or degree of darkness of the eyes and hair—of different groups in the National Portrait Gallery I found that the "famous beauties" (my own personal criterion of beauty not being taken into account) was somewhat nearer to the dark than to the light end of the scale.^[165] If we consider, at random, individual instances of famous English beauties they are not extremely fair. Lady Venetia Stanley, in the early seventeenth century, who became the wife of Sir Kenelm Digby, was somewhat dark, with brown hair and eyebrows. Mrs. Overall, a little later in the same century, a Lancashire woman, the wife of the Dean of St. Paul's, was, says Aubrey, "the greatest beauty in her time in England," though very wanton, with "the loveliest eyes that were ever seen"; if we may trust a ballad given by Aubrey she was dark with black hair. The Gunnings, the famous beauties of the eighteenth century, were not extremely fair, and Lady Hamilton, the most characteristic type of English beauty, had blue, brown-flecked eyes and dark chestnut hair. Coloration is only one of the elements of beauty, though an important one. Other things being equal, the most blonde is most beautiful; but it so happens that among the races of Great Britain the other things are very frequently not equal, and that, notwithstanding a conviction ingrained in the language, with us the fairest of women is not always the "fairest." So magical, however, is the effect of brilliant coloring that it serves to keep alive in popular opinion an unqualified belief in the universal European creed of the beauty of blondness.

We have seen that underlying the conception of beauty, more especially as it manifests itself in woman to man, are to be found at least three fundamental elements: First there is the general beauty of the species as it tends to culminate in the white peoples of European origin; then there is the beauty due to the full development or even exaggeration of the sexual and more especially the secondary sexual characters; and last there is the beauty due to the complete embodiment of the particular racial or national type. To make the analysis fairly complete must be added at least one other factor: the influence of individual taste. Every individual, at all events in civilization, within certain narrow limits, builds up a feminine ideal of his own, in part on the basis of his own special organization and its demands, in part on the actual accidental attractions he has experienced. It is unnecessary to emphasize the existence of this factor, which has always to be taken into account in every consideration of sexual selection in civilized man. But its variations are numerous and in impassioned lovers it may even lead to the idealization of features which are in reality the reverse of beautiful. It may be said of many a man, as d'Annunzio says of the hero of his Trionfo della Morte in relation to the woman he loved, that "he felt himself bound to her by the real qualities of her body, and not only by those which were most beautiful, but specially by those which were least beautiful" (the novelist italicizes these words), so that his attention was fixed upon her defects, and emphasized them, thus arousing within himself an impetuous state of desire. Without invoking defects, however, there are endless personal variations which may all be said to come within the limits of possible beauty or charm. "There are no two women," as Stratz remarks, "who in exactly the same way stroke back a rebellious lock from their brows, no two who hold the hand in greeting in exactly the same way, no two who gather up their skirts as they walk with exactly the same movement."^[166] Among the multitude of minute differences—which yet can be seen and felt—the beholder is variously attracted or repelled according to his own individual idiosyncrasy, and the operations of sexual selection are effected accordingly.

Another factor in the constitution of the ideal of beauty, but one perhaps exclusively found under civilized conditions, is the love of the unusual, the remote, the exotic. It is commonly stated that rarity is admired in beauty. This is not strictly true, except as regards combinations and characters which vary only in a very slight degree from the generally admired type. "Jucundum nihil est quod non reficit variatas," according to the saying of Publilius Syrus. The greater nervous restlessness and sensibility of civilization heightens this tendency, which is not infrequently found also among men of artistic genius. One may refer, for instance, to Baudelaire's profound admiration for the mulatto type of beauty.^[167] In every great centre of civilization the national ideal of beauty tends to be somewhat modified in exotic directions, and foreign ideals, as well as foreign fashions, become preferred to those that are native. It is significant of this tendency that when, a few years since, an enterprising Parisian journal hung in its salle the portraits of one hundred and thirty-one actresses, etc., and invited the votes of the public by ballot as to the most beautiful of them, not one of the three women who came out at the head of the poll was French. A dancer of Belgian origin (Cléo de Merode) was by far at the head with over 3000 votes, followed by an American from San Francisco (Sybil Sanderson), and then a Polish woman.

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III.

Beauty not the Sole Element in the Sexual Appeal of Vision—Movement—The Mirror—Narcissism—Pygmalionism—Mixoscopy—The Indifference of Women to Male Beauty—The Significance of Woman's Admiration of Strength—The Spectacle of Strength is a Tactile Quality made Visible.

Our discussion of the sensory element of vision in human sexual selection has been mainly an attempt to disentangle the chief elements of beauty in so far as beauty is a stimulus to the sexual instinct. Beauty by no means comprehends the whole of the influences which make for sexual allurement through vision, but it is the point at which all the most powerful and subtle of these are focussed; it represents a fairly definite complexus, appealing at once to the sexual and to the æsthetic impulses, to which no other sense can furnish anything in any degree analogous. It is because this conception of beauty has arisen upon it that vision properly occupies the supreme position in man from the point of view which we here occupy.

Beauty is thus the chief, but it is not the sole, element in the sexual appeal of vision. In all parts of the world this has always been well understood, and in courtship, in the effort to arouse tumescence, the appeals to vision have been multiplied and at the same time aided by appeals to the other senses. Movement, especially in the form of dancing, is the most important of the secondary appeals to vision. This is so well recognized that it is scarcely necessary to insist upon it here; it may suffice to refer to a single typical example. The most decent of Polynesian dances, according to William Ellis, was the hura, which was danced by the daughters of chiefs in the presence of young men of rank with the hope of gaining a future husband. "The daughters of the chiefs, who were the dancers on these occasions, at times amounted to five or six, though occasionally only one exhibited her symmetry of figure and gracefulness of action. Their dress was singular, but elegant. The head was ornamented with a fine and beautiful braid of human hair, wound round the head in the form of a turban. A triple wreath of scarlet, white, and yellow flowers adorned the head-dress. A loose vest of spotted cloth covered the lower part of the bosom. The tihi, of fine white stiffened cloth frequently edged with a scarlet border, gathered like a large frill, passed under the arms and reached below the waist; while a handsome fine cloth, fastened round the waist with a band or sash, covered the feet. The breasts were ornamented with rainbow-colored mother-of-pearl shells, and a covering of curiously wrought network and feathers. The music of the hura was the large and small drum and occasionally the flute. The movements were generally slow, but always easy and natural, and no exertion on the part of the performers was wanting to render them graceful and attractive."^[168] We see here, in this very typical example, how the extraneous visual aids of movement, color, and brilliancy are invoked in conjunction with music to make the appeal of beauty more convincing in the process of sexual selection.

It may be in place here to mention, in passing, the considerable place which vision occupies in normal and abnormal methods of heightening tumescence under circumstances which exclude definite selection by beauty. The action of mirrors belongs to this group of phenomena. Mirrors are present in profusion in high-class brothels—on the walls and also above the beds. Innocent youths and girls are also often impelled to contemplate themselves in mirrors and sometimes thus, produce the first traces of sexual excitement. I have referred to the developed forms of this kind of self-contemplation in the Study of Auto-erotism, and in this connection have alluded to the fable of Narcissus, whence Näcke has since devised the term Narcissism for this group of phenomena. It is only necessary to mention the enormous production of photographs, representing normal and abnormal sexual actions, specially prepared for the purpose of exciting or of gratifying sexual appetites, and the frequency with which even normal photographs of the nude appeal to the same lust of the eyes.

Pygmalionism, or falling in love with statues, is a rare form of erotomania founded on the sense of vision and closely related to the allurement of beauty. (I here use "pygmalionism" as a general term for the sexual love of statues; it is sometimes restricted to cases in which a man requires of a prostitute that she shall assume the part of a statue which gradually comes to life, and finds sexual gratification in this performance alone; Eulenburg quotes examples, Sexuale Neuropathie, p. 107.) An emotional interest in statues is by no means uncommon among young men during adolescence. Heine, in Florentine Nights, records the experiences of a boy who conceived a sentimental love for a statue, and, as this book appears to be largely autobiographical, the incident may have been founded on fact. Youths have sometimes masturbated before statues, and even before the image of the Virgin; such cases are known to priests and mentioned in manuals for confessors. Pygmalionism appears to have been not uncommon among the ancient Greeks, and this has been ascribed to their æsthetic sense; but the manifestation is due rather to the absence than to the presence of æsthetic feeling, and we may observe among ourselves that it is the ignorant and uncultured who feel the indecency of statues and thus betray their sense of the sexual appeal of such objects. We have to remember that in Greece statues played a very prominent part in life, and also that they were tinted, and thus more lifelike than with us. Lucian, Athenæus, Ælian, and others refer to cases of men who fell in love with statues. Tarnowsky (Sexual Instinct, English edition, p. 85) mentions the case of a young man who was arrested in St. Petersburg for paying moonlight visits to the statue of a nymph on the terrace of a country house, and Krafft-Ebing quotes from a French newspaper the case which occurred in Paris during the spring of 1877 of a gardener who fell in love with a Venus in one of the parks. (I. Bloch, Beiträge zur Ætiologie der Psychopathia Sexualis, Teil II, pp. 297-305, brings together various facts bearing on this group of manifestations.)

Necrophily, or a sexual attraction for corpses, is sometimes regarded as related to pygmalionism. It is, however, a more profoundly morbid manifestation, and may perhaps he regarded as a kind of perverted sadism.

Founded on the sense of vision also we find a phenomenon, bordering on the abnormal, which is by Moll termed mixoscopy. This means the sexual pleasure derived from the spectacle of other persons engaged in natural or perverse sexual actions. (Moll, Konträre Sexualempfindung, third edition, p. 308. Moll considers that in some cases mixoscopy is related to masochism. There is, however, no necessary connection between the two phenomena.) Brothels are prepared to accommodate visitors who merely desire to look on, and for their convenience carefully contrived peepholes are provided; such visitors are in Paris termed "voyeurs." It is said by Coffignon that persons hide at night in the bushes in the Champs Elysées in the hope of witnessing such scenes between servant girls and their lovers. In England during a country walk I have come across an elderly man carefully ensconced behind a bush and intently watching through his field-glass a couple of lovers reclining on a bank, though the actions of the latter were not apparently marked by any excess of indecorum. Such impulses are only slightly abnormal, whatever may be said of them from the point of view of good taste. They are not very far removed from the legitimate curiosity of the young woman who, believing herself unobserved, turns her glass on to a group of young men bathing naked. They only become truly perverse when the gratification thus derived is sought in preference to natural sexual gratification. They are also not normal when they involve, for instance, a man desiring to witness his wife in the act of coitus with another man. I have been told of the case of a scientific man who encouraged his wife to promote the advances of a young friend of his own, in his own drawing-room, he himself remaining present and apparently taking no notice; the younger man was astonished, but accepted the situation. In such a case, when the motives that led up to the episode are obscure, we must not too hastily assume that masochism or even mixoscopy is involved. For information on some of the points mentioned above see, e.g., I. Bloch, Beiträge zur Ætiologie der Psychopathia Sexualis, Teil I, pp. 200 et seq.; Teil II, pp. 195 et seq.

Wide, however, as is the appeal of beauty in sexual selection, it cannot be said to cover by any means the whole of the visual field in its sexual relationship. Beauty in the human species is, above all, a feminine attribute, making its appeal to men. Even for women, as has already been noted, beauty is still a feminine quality, which they usually admire, and in cases of inversion worship with an ardor which equals, if it does not surpass, that experienced by normal men. But the normal woman experiences no corresponding cult for the beauty of man. The perfection of the body of man is not behind that of woman in beauty, but the study of it only appeals to the artist or the æsthetician; it arouses sexual enthusiasm almost exclusively in the male sexual invert. Whatever may be the case among animals or even among savages, in civilization the man is most successful with women is not the most handsome man, and may be the reverse of handsome.^[169] The maiden, according to the old saying, who has to choose between Adonis and Hercules, will turn to Hercules.

A correspondent writes: "Men are generally attracted in the first instance by a woman's beauty, either of face or figure. Frequently this is the highest form of love they are capable of. Personally, my own love is always prompted by this. In the case of my wife there was certainly a leaven of friendship and moral sympathies but these alone would never have been translated into love had she not been young and good-looking. Moreover, I have felt intense passion for other women, in my relations with whom the elements of moral or mental sympathy have not entered. And always, as youth and beauty went, I believe I should transfer my love to some one else.

"Now, in woman I fancy this element of beauty and youth does not enter so much. I have questioned a large number of women—some married, some unmarried, young and old ladies, shopgirls, servants, prostitutes, women whom I have known only as friends, others with whom I have had sexual relations—and I cannot recollect one instance when a woman said she had fallen in love with a man for his looks. The nearest approach to any sign of this was in the instance of one, who noticed a handsome man sitting near us in a hotel, and said to me: 'I should like him to kiss me.'

"I have also noticed that women do not like looking at my body, when naked, as I like looking at theirs. My wife has, on a few occasions, put her hand over my body, and expressed pleasure at the feeling of my skin. (I have very fair, soft skin.) But I have never seen women exhibit the excitement that is caused in me by the sight of their bodies, which I love to look at, to stroke, to kiss all over."

It is interesting to point out, in this connection, that the admiration of strength is not confined to the human female. It is by the spectacle of his force that the male among many of the lower animals sexually affects the female. Darwin duly allows for this fact, while some evolutionists, and notably Wallace, consider that it covers the whole field of sexual selection. When choice exists, Wallace states, "all the facts appear to be consistent with the choice depending on a variety of male characteristics, with some of which color is often correlated. Thus, it is the opinion of some of the best observers that vigor and liveliness are most attractive, and these are, no doubt, usually associated with some intensity of color, ... There is reason to believe that it is his [the male bird's] persistency and energy rather than his beauty which wins the day." (A. R. Wallace, Tropical Nature, 1898, p. 199.) In his later book, Darwinism (p. 295), Wallace reaffirms his position that sexual selection means that in the rivalry of males for the female the most vigorous secures the advantage; "ornament," he adds, "is the natural product and direct outcome of superabundant health and vigor." As regards woman's love of strength, see Westermarck, History of Marriage, p. 255.

Women admire a man's strength rather than his beauty. This statement is commonly made, and with truth, but, so far as I am aware, its meaning is never analyzed. When we look into it, I think, we shall find that it leads us into a special division of the visual sphere of sexual allurement. The spectacle of force, while it remains strictly within the field of vision, really brings to us, although unconsciously, impressions that are correlated with another sense—that of touch. We instinctively and unconsciously translate visible energy into energy of pressure. In admiring strength we are really admiring a tactile quality which has been made visible. It may therefore be said that, while through vision men are sexually affected mainly by the more purely visual quality of beauty, women are more strongly affected by visual impressions which express qualities belonging to the more fundamentally sexual sense of touch.

The distinction between the man's view and the woman's view, here pointed out, is not, it must be added, absolute. Even for a man, beauty, with all these components which we have already analyzed in it, is not the sole sexual allurement of vision. A woman is not necessarily sexually attractive in the ratio of her beauty, and with even a high degree of beauty may have a low degree of attraction. The addition of vivacity or the addition of languor may each furnish a sexual allurement, and each of these is a translated tactile quality which possesses an obscure potency from vague sexual implications.^[170] But while in the man the demand for these translated pressure qualities in the visible attractiveness of a woman are not usually quite clearly realized, in a woman the corresponding craving for the visual expression of pressure energy is much more pronounced and predominant. It is not difficult to see why this should be so, even without falling back on the usual explanation that natural selection implies that the female shall choose the male who will be the most likely father of strong children and the best protector of his family. The more energetic part in physical love belongs to the man, the more passive part to the woman; so that, while energy in a woman is no index to effectiveness in love, energy in a man furnishes a seeming index to the existence of the primary quality of sexual energy which a woman demands of a man in the sexual embrace. It may be a fallacious index, for muscular strength is not necessarily correlated with sexual vigor, and in its extreme degrees appears to be more correlated with its absence. But it furnishes, in Stendhal's phrase, a probability of passion, and in any case it still remains a symbol which cannot be without its effect. We must not, of course, suppose that these considerations are always or often present to the consciousness of the maiden who "blushingly turns from Adonis to Hercules," but the emotional attitude is rooted in more or less unerring instincts. In this way it happens that even in the field of visual attraction sexual selection influences women on the underlying basis of the more primitive sense of touch, the fundamentally sexual sense.

Women are very sensitive to the quality of a man's touch, and appear to seek and enjoy contact and pressure to a greater extent than do men, although in early adolescence this impulse seems to be marked in both sexes. "There is something strangely winning to most women," remarks George Eliot, in The Mill on the Floss, "in that offer of the firm arm; the help is not wanted physically at that moment, but the sense of help—the presence of strength that is outside them and yet theirs—meets a continual want of the imagination."

Women are often very critical concerning a man's touch and his method of shaking hands. Stanley Hall (Adolescence, vol. ii, p. 8) quotes a gifted lady as remarking: "I used to say that, however much I liked a man, I could never marry him if I did not like the touch of his hand, and I feel so yet."

Among the elements of sexual attractiveness which make a special appeal to women, extreme personal cleanliness would appear to take higher rank than it takes in the eyes of a man, some men, indeed, seeming to make surprisingly small demands of a woman in this respect. If this is so we may connect it with the fact that beauty in a woman's eye is to a much greater extent than in a man's a picture of energy, in other words, a translation of pressure contracts, with which the question of physical purity is necessarily more intimately associated than it is with the picture of purely visual beauty. It is noteworthy that Ovid (Ars Amandi, lib. I) urges men who desire to please women to leave the arts of adornment and effeminacy to those whose loves are homosexual, and to practice a scrupulous attention to extreme neatness and cleanliness of body and garments in every detail, a sun-browned skin, and the absence of all odor. Some two thousand years later Brummell in an age when extravagance and effeminacy often marked the fashions of men, introduced a new ideal of unobtrusive simplicity, extreme cleanliness (with avoidance of perfumes), and exquisite good taste; he abhorred all eccentricity, and may be said to have constituted a tradition which Englishmen have ever since sought, more or less successfully to follow; he was idolized by women.

It may be added that the attentiveness of women to tactile contacts is indicated by the frequency with which in them it takes on morbid forms, as the délire du contact, the horror of contamination, the exaggerated fear of touching dirt. (See, e.g., Raymond and Janet, Les Obsessions et la Psychasthénie.)

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IV.

The Alleged Charm of Disparity in Sexual Attraction—The Admiration for High Stature—The Admiration for Dark Pigmentation—The Charm of Parity—Conjugal Mating—The Statistical Results of Observation as Regards General Appearance, Stature, and Pigmentation of Married Couples—Preferential Mating and Assortative Mating—The Nature of the Advantage Attained by the Fair in Sexual Selection—The Abhorrence of Incest and the Theories of its Cause—The Explanation in Reality Simple—The Abhorrence of Incest in Relation to Sexual Selection—The Limits to the Charm of Parity in Conjugal Mating—The Charm of Disparity in Secondary Sexual Characters.

When we are dealing with the senses of touch, smell, and hearing it is impossible at present, and must always remain somewhat difficult, to investigate precisely the degree and direction of their influence in sexual selection. We can marshal in order—as has here been attempted—the main facts and considerations which clearly indicate that there is and must be such an influence, but we cannot even attempt to estimate its definite direction and still less to measure it precisely. With regard to vision, we are in a somewhat better position. It is possible to estimate the direction of the influence which certain visible characters exert on sexual selection, and it is even possible to attempt their actual measurement, although there must frequently be doubt as to the interpretation of such measurements.

Two facts render it thus possible to deal more exactly with the influence of vision on sexual selection than with the influence of the other senses. In the first place, men and women consciously seek for certain visible characters in the persons to whom they are attracted; in other words, their "ideals" of a fitting mate are visual rather than tactile, olfactory, or auditory. In the second place, whether such "ideals" are potent in actual mating, or whether they are modified or even inhibited by more potent psychological or general biological influences, it is in either case possible to measure and compare the visible characters of mated persons.

The two visible characters which are at once most frequently sought in a mate and most easily measurable are degree of stature and degree of pigmentation. Every youth or maiden pictures the person he or she would like for a lover as tall or short, fair or dark, and such characters are measurable and have on a large scale been measured. It is of interest in illustration of the problem of sexual selection in man to consider briefly what results are at present obtainable regarding the influence of these two characters.

It has long been a widespread belief that short people are sexually attracted to tall people, and tall people to short; that in the matter of stature men and women are affected by what Bain called the "charm of disparity." It has not always prevailed. Many centuries ago Leonardo da Vinci, whose insight at so many points anticipated our most modern discoveries, affirmed clearly and repeatedly the charm of parity. After remarking that painters tend to delineate the figures that resemble themselves he adds that men also fall in love with and marry those who resemble themselves; "chi s'innamora voluntieri s'innamorano de cose a loro simiglianti," he elsewhere puts it.^[171] But from that day to this, it would seem Leonardo's statements have remained unknown or unnoticed. Bernardin de Saint-Pierre said that "love is the result of contrasts," and Schopenhauer affirmed the same point very decisively; various scientific and unscientific writers have repeated this statement.^[172]

So far as stature is concerned, there appears to be very little reason to suppose that this "charm of disparity" plays any notable part in constituting the sexual ideals of either men or women. Indeed, it may probably be affirmed that both men and women seek tallness in the person to whom they are sexually attracted. Darwin quotes the opinion of Mayhew that among dogs the females are strongly attracted to males of large size.^[173] I believe this is true, and it is probably merely a particular instance of a general psychological tendency.

It is noteworthy as an indication of the direction of the sexual ideal in this matter that the heroines of male novelists are rarely short and the heroes of female novelists almost invariably tall. A reviewer of novels addressing to lady novelists in the Speaker (July 26, 1890) "A Plea for Shorter Heroes," publishes statistics on this point. "Heroes," he states, "are longer this year than ever. Of the 192 of whom I have had my word to say since October of last year, 27 were merely tall, and 11 were only slightly above the middle height. No less than 85 stood exactly six feet in their stocking soles, and the remainder were considerably over the two yards. I take the average to be six feet three."

As a slight test alike of the supposed "charm of disparity" as well as of the general degree in which tall and short persons are sought as mates by those of the opposite sex I have examined a series of entries in the Round-About, a publication issued by a club, of which the president is Mr. W. T. Stead, having for its object the purpose of promoting correspondence, friendship, and marriage between its members. There are two classes, of entries, one inserted with a view to "intellectual friendship," the other with a view to marriage. I have not thought it necessary to recognize this distinction here; if a man describes his own physical characteristics and those of the lady he would like as a friend, I assume that, from the point of view of the present inquiry, he is much on the same footing as the man who seeks a wife. In the series of entries which I have examined 35 men and women state approximately the height of the man or woman they seek to know; 30 state in addition their own height. The results are expressed in the table on the following page.

Although the cases are few, the results are, in two main respects, sufficiently clear without multiplication of data. In the first place, those who seek parity, whether men or women, are in a majority over those who seek disparity. In the second place, the existence of any disparity at all is due only to the universal desire to find a tall person. Not one man or woman sets down shortness as his or her ideal. The very fact that no man in these initial announcements ventures to set himself down as short (although a considerable proportion describe themselves as tall) indicates a consciousness that shortness is undesirable, as also does the fact that the women very frequently describe themselves as tall.

The same charm of disparity which has been supposed to rule in selective attraction as regards stature has also been assumed as regards pigmentation. The fair, it is said, are attracted to the dark, the dark to the fair. Again, it must be said that this common assumption is not confirmed either by introspection or by any attempt to put the matter on a statistical basis.^[174]

                    WOMEN.                        MEN.          TOTALS.

        Tall women seek tall men.. 8  Tall men seek tall women.. 6  14
        Short women seek short men 0  Short men seek short women 0   0
        Medium-sized women seek       Medium-sized men seek
          medium-sized men ....... 0    medium-sized women ....  3   3

            Seek parity........... 8      Seek parity........... 9  17

        Tall women seek short men. 0  Tall men seek short women. 0   0
        Short women seek tall men. 4  Short men seek tall women. 0   4
        Medium-sized woman seeks      Medium-sized men seek tall
          tall man................ 1    women .................. 8   9

            Seek disparity........ 5      Seek disparity........ 8  13

                                      Men of unknown height seek
                                        tall women.............. 5   5

Most people who will carefully introspect their own feelings and ideals in this matter will find that they are not attracted to persons of the opposite sex who are strikingly unlike themselves in pigmentary characters. Even when the abstract ideal of a sexually desirable person is endowed with certain pigmentary characters, such as blue eyes or darkness,—either of which is liable to make a vaguely romantic appeal to the imagination,—it is usually found, on testing the feeling for particular persons, that the variation from the personal type of the subject is usually only agreeable within narrow limits, and that there is a very common tendency for persons of totally opposed pigmentary types, even though they may sometimes be considered to possess a certain æsthetic beauty, to be regarded as sexually unattractive or even repulsive. With this feeling may perhaps be associated the feeling, certainly very widely felt, that one would not like to marry a person of foreign, even though closely allied, race.

From the same number of the Round-About from which I have extracted the data on stature, I have obtained corresponding data on pigmentation, and have embodied them in the following table. They are likewise very scanty, but they probably furnish as good a general indication of the drift of ideals in this matter as we should obtain from more extensive data of the same character.

                             WOMEN.                       MEN.        TOTALS.

                 Fair women seek fair men. 2  Fair men seek fair women 2   4
                 Dark woman seeks dark man 1  Dark men seek dark women 7   8

                     Seek parity.......... 3      Seek parity......... 9  12

                 Fair women seek dark men. 4  Fair men seek dark women 3   7
                 Dark woman seeks fair man 1  Dark men seek fair women 4   5
                                              Medium-colored man seeks
                     Seek disparity....... 5    dark woman ........... 1   1
                                              Medium-colored man seeks
                                                fair woman ........... 1   1

                                                  Seek disparity...... 9  14

                                              Men of unknown color seek
                                                dark women ........... 3   3

It will be seen that in the case of pigmentation there is not as in the case of stature a decided charm of parity in the formation of sexual ideals. The phenomenon, however, remains essentially analogous. Just as in regard to stature there is without exception an abstract admiration for tall persons, so here, though to a less marked extent, there is a general admiration for dark persons. As many as 6 out of 8 women and 14 out of 21 men seek a dark partner. This tendency ranges itself with the considerations already brought forward (p. 182), leading us to believe that, in England at all events, the admiration of fairness is not efficacious to promote any sexual selection, and that if there is actually any such selection it must be put down to other causes. No doubt, even in England the abstract æsthetic admiration of fairness is justifiable and may influence the artist. Probably also it influences the poet, who is affected by a long-established convention in favor of fairness, and perhaps also by a general tendency on the part of our poets to be themselves fair and to yield to the charm of parity,—the tendency to prefer the women of one's own stock,—which we have already found to be a real force.^[175] But, as a matter of fact, our famous English beauties are not very fair; probably our handsomest men are not very fair, and the abstract sexual ideals of both our men and our women thus go out toward the dark.

The formation of a sexual ideal, while it furnishes a predisposition to be attracted in a certain direction, and undoubtedly has a certain weight in sexual choice, is not by any means the whole of sexual selection. It is not even the whole of the psychic element in sexual selection. Let us take, for instance, the question of stature. There would seem to be a general tendency for both men and women, apart from and before experience, to desire sexually large persons of the opposite sex. It may even be that this is part of a wider zoölogical tendency. In the human species it shows itself also on the spiritual plane, in the desire for the infinite, in the deep and unreasoning feeling that it is impossible to have too much of a good thing. But it not infrequently happens that a man in whose youthful dreams of love the heroine has always been large, has not been able to calculate what are the special nervous and other characteristics most likely to be met in large women, nor how far these correlated characteristics would suit his own instinctive demands. He may, and sometimes does, find that in these other demands, which prove to be more important and insistent than the desire for stature, the tall women he meets are less likely to suit him than the medium or short women.^[176] It may thus happen that a man whose ideal of woman has always been as tall may yet throughout life never be in intimate relationship with a tall woman because he finds that practically he has more marked affinities in the case of shorter women. His abstract ideals are modified or negatived by more imperative sympathies or antipathies.

In one field such sympathies have long been recognized, especially by alienists, as leading to sexual unions of parity, notwithstanding the belief in the generally superior attraction of disparity. It has often been pointed out that the neuropathic, the insane and criminal, "degenerates" of all kinds, show a notable tendency to marry each other. This tendency has not, however, been investigated with any precision.^[177]

The first attempt on a statistical basis to ascertain what degree of parity or disparity is actually attained by sexual selection was made by Alphonse de Candolle.^[178] Obtaining his facts from Switzerland, North Germany, and Belgium, he came to the conclusion that marriages are most commonly contracted between persons with different eye-colors, except in the case of brown-eyed women, who (as Schopenhauer stated, and as is seen in the English data of the sexual ideal I have brought forward) are found more attractive than others.

The first series of serious observations tending to confirm the result reached by the genius of Leonardo da Vinci and to show that sexual selection results in the pairing of like rather than of unlike persons was made by Hermann Fol, the embryologist.^[179] He set out with the popular notion that married people end by resembling each other, but when at Nice, which is visited by many young married couples on their honeymoons, he was struck by the resemblances already existing immediately after marriage. In order to test the matter he obtained the photographs of 251 young and old married couples not personally known to him. The results were as follows:

                            RESEMBLANCES      NONRESEMBLANCES
            COUPLES.        (PERCENTAGE).      (PERCENTAGE).   TOTAL.

        Young.............. 132, about 66,66   66, about 33.33   198
        Old ...............  38, about 71.70   15, about 28.30    53

He concluded that in the immense majority of marriages of inclination the contracting parties are attracted by similarities, and not by dissimilarities, and that, consequently, the resemblances between aged married couples are not acquired during conjugal life. Although Fol's results were not obtained by good methods, and do not cover definite points like stature and eye-color, they represented the conclusions of a highly skilled and acute observer and have since been amply confirmed.

Galton could not find that the average results from a fairly large number of cases indicated that stature, eye-color, or other personal characteristics notably influenced sexual selection, as evidenced by a comparison of married couples.^[180] Karl Pearson, however, in part making use of a large body of data obtained by Galton, referring to stature and eye-color, has reached the conclusion that sexual selection ultimately results in a marked degree of parity so far as these characters are concerned.^[181] As regards stature, he is unable to find evidence of what he terms "preferential mating"; that is to say, it does not appear that any preconceived ideals concerning the desirability of tallness in sexual mates leads to any perceptibly greater tallness of the chosen mate; husbands are not taller than men in general, nor wives than women in general. In regard to eye-color, however, there appeared to be evidence of preferential mating. Husbands are very decidedly fairer than men in general, and though there is no such marked difference in women, wives are also somewhat fairer than women in general. As regards "assortative mating" as it is termed by Pearson,—the tendency to parity or to disparity between husbands and wives,—the result were in both cases decisive. Tall men marry women who are somewhat above the average in height; short men marry women who are somewhat below the average, so that husband and wife resemble each other in stature as closely as uncle and niece. As regards eye-color there is also a tendency for like to marry like; the light-eyed men tend to marry light-eyed women more often than dark-eyed women; the dark-eyed men tend to marry dark-eyed women more often than light-eyed. There remains, however, a very considerable difference in the eye-color of husband and wife; in the 774 couples dealt with by Pearson there are 333 dark-eyed women to only 251 dark-eyed men, and 523 light-eyed men to only 441 light-eyed women. The women in the English population are darker-eyed than the men;^[182] but the difference is scarcely so great as this; so that even if wives are not so dark-eyed as women generally it would appear that the ideal admiration for the dark-eyed may still to some extent make itself felt in actual mating.

While we have to recognize that the modification and even total inhibition of sexual ideals in the process of actual mating is largely due to psychic causes, such causes do not appear to cover the whole of the phenomena. Undoubtedly they count for much, and the man or the woman who, from whatever causes, has constituted a sexual ideal with certain characters may in the actual contacts of life find that individuals with other and even opposed characters most adequately respond to his or her psychic demands. There are, however, other causes in play here which at first sight may seem to be not of a purely psychic character. One unquestionable cause of this kind comes into action in regard to pigmentary selection. Fair people, possibly as a matter of race more than from absence of pigment, are more energetic than dark people. They possess a sanguine vigor and impetuosity which, in most, though not in all, fields and especially in the competition of practical life, tend to give them some superiority over their darker brethren. The greater fairness of husbands in comparison with men in general, as found by Karl Pearson, is thus accounted for; fair men are most likely to obtain wives. Husbands are fairer than men in general for the same reason that, as I have shown elsewhere,^[183] created peers are fairer than either hereditary peers or even most groups of intellectual persons; they have possessed in higher measure the qualities that insure success. It may be added that with the recognition of this fact we have not really left the field of sexual psychology, for, as has already been pointed out, that energy which thus insures success in practical life is itself a sexual allurement to women. Energy in a woman in courtship is less congenial to her sexual attitude than to a man's, and is not attractive to men; thus it is not surprising, even apart from the probably greater beauty of dark women, that the preponderance of fairness among wives as compared to women generally, indicated by Karl Pearson's data, is very slight. It may possibly be accounted for altogether by homogamy—the tendency of like to marry like—in the fair husbands.

The energy and vitality of fair people is not, however, it is probable, merely an indirect cause of the greater tendency of fair men to become husbands; that is to say, it is not merely the result of the generally somewhat greater ability of the fair to attain success in temporal affairs. In addition to this, fair men, if not fair women, would appear to show a tendency to a greater activity in their specifically sexual proclivities. This is a point which we shall encounter in a later Study and it is therefore unnecessary to discuss it here.

In dealing with the question of sexual selection in man various writers have been puzzled by the problem presented by that abhorrence of incest which is usually, though not always so clearly marked among the different races of mankind.^[184] It was once commonly stated, as by Morgan and by Maine, that this abhorrence was the result of experience; the marriages of closely related persons were found to be injurious to offspring and were therefore avoided. This theory, however, is baseless because the marriages of closely related persons are not injurious to the offspring. Consanguineous marriages, so closely as they can be investigated on a large scale,—that is to say, marriages between cousins,—as Huth was the first to show, develop no tendency to the production of offspring of impaired quality provided the parents are sound; they are only injurious in this respect in so far as they may lead to the union of couples who are both defective in the same direction. According to another theory, that of Westermarck, who has very fully and ably discussed the whole question,^[185] "there is an innate aversion to sexual intercourse between persons living very closely together from early youth, and, as such persons are in most cases related, this feeling displays itself chiefly as a horror of intercourse between near kin." Westermarck points out very truly that the prohibition of incest could not be founded on experience even if (as he is himself inclined to believe) consanguineous marriages are injurious to the offspring; incest is prevented "neither by laws, nor by customs, nor by education, but by an instinct which under normal circumstances makes sexual love between the nearest kin a psychic impossibility." There is, however, a very radical objection to this theory. It assumes the existence of a kind of instinct which can with difficulty be accepted. An instinct is fundamentally a more or less complicated series of reflexes set in action by a definite stimulus. An innate tendency at once so specific and so merely negative, involving at the same time deliberate intellectual processes, can only with a certain force be introduced into the accepted class of instincts. It is as awkward and artificial an instinct as would be, let us say, an instinct to avoid eating the apples that grew in one's own yard.^[186]

The explanation of the abhorrence to incest is really, however, exceedingly simple. Any reader who has followed the discussion of sexual selection in the present volume and is also familiar with the "Analysis of the Sexual Impulse" set forth in the previous volume of these Studies will quickly perceive that the normal failure of the pairing instinct to manifest itself in the case of brothers and sisters, or of boys and girls brought up together from infancy, is a merely negative phenomenon due to the inevitable absence under those circumstances of the conditions which evoke the pairing impulse. Courtship is the process by which powerful sensory stimuli proceeding from a person of the opposite sex gradually produce the physiological state of tumescence, with its psychic concomitant of love and desire, more or less necessary for mating to be effected. But between those who have been brought up together from childhood all the sensory stimuli of vision, hearing, and touch have been dulled by use, trained to the calm level of affection, and deprived of their potency to arouse the erethistic excitement which produces sexual tumescence.^[187] Brothers and sisters in relation to each other have at puberty already reached that state to which old married couples by the exhaustion of youthful passion and the slow usage of daily life gradually approximate. Passion between brother and sister is, indeed, by no means so rare as is sometimes supposed, and it may be very strong, but it is usually aroused by the aid of those conditions which are normally required for the appearance of passion, more especially by the unfamiliarity caused by a long separation. In reality, therefore, the usual absence of sexual attraction between brothers and sisters requires no special explanation; it is merely due to the normal absence under these circumstances of the conditions that tend to produce sexual tumescence and the play of those sensory allurements which lead to sexual selection.^[188] It is a purely negative phenomenon and it is quite unnecessary, even if it were legitimate, to invoke any instinct for its explanation. It is probable that the same tendency also operates among animals to some extent, tending to produce a stronger sexual attraction toward those of their species to whom they have not become habituated.^[189] In animals, and in man also when living under primitive conditions, sexual attraction is not a constant phenomenon^[190]; it is an occasional manifestation only called out by the powerful stimulation. It is not its absence which we need to explain; it is its presence which needs explanation, and such an explanation we find in the analysis of the phenomena of courtship.

The abhorrence of incest is an interesting and significant phenomenon from our present point of view, because it instructively points out to us the limits to that charm of parity which apparently makes itself felt to some considerable extent in the constitution of the sexual ideal and still more in the actual homogamy which seems to predominate over heterogamy. This homogamy is, it will be observed, a racial homogamy; it relates to anthropological characters which mark stocks. Even in this racial field, it is unnecessary to remark, the homogamy attained is not, and could not be, absolute; nor would it appear that such absolute racial homogamy is even desired. A tall man who seeks a tall woman can seldom wish her to be as tall as himself; a dark man who seeks a dark woman, certainly will not be displeased at the inevitably greater or less degree of pigment which he finds in her eyes as compared to his own.

But when we go outside the racial field this tendency to homogamy disappears at once. A man marries a woman who, with slight, but agreeable, variations, belongs to a like stock to himself. The abhorrence of incest indicates that even the sexual attraction to people of the same stock has its limits, for it is not strong enough to overcome the sexual indifference between persons of near kin. The desire for novelty shown in this sexual indifference to near kin and to those who have been housemates from childhood, together with the notable sexual attractiveness often possessed by a strange youth or maiden who arrives in a small town or village, indicates that slight differences in stock, if not, indeed, a positive advantage from this point of view, are certainly not a disadvantage. When we leave the consideration of racial differences to consider sexual differences, not only do we no longer find any charm of parity, but we find that there is an actual charm of disparity. At this point it is necessary to remember all that has been brought forward in earlier pages^[191] concerning the emphasis of the secondary sexual characters in the ideal of beauty. All those qualities which the woman desires to see emphasized in the man are the precise opposite of the qualities which the man desires to see emphasized in the woman. The man must be strong, vigorous, energetic, hairy, even rough, to stir the primitive instincts of the woman's nature; the woman who satisfies this man must be smooth, rounded, and gentle. It would be hopeless to seek for any homogamy between the manly man and the virile woman, between the feminine woman and the effeminate man. It is not impossible that this tendency to seek disparity in sexual characters may exert some disturbing influences on the tendency to seek parity in anthropological racial characters, for the sexual difference to some extent makes itself felt in racial characters. A somewhat greater darkness of women is a secondary (or, more precisely, tertiary) sexual character, and on this account alone, it is possible, somewhat attractive to men^[192]. A difference in size and stature is a very marked secondary sexual character. In the considerable body of data concerning the stature of married couples reproduced by Pearson from Galton's tables, although the tall on the average tend to marry the tall, and the short the short, it is yet noteworthy that, while the men of 5 ft. 4 ins. have more wives at 5 ft. 2 ins. than at any other height, men of 6 ft. show, in an exactly similar manner, more wives at 5 ft. 2 ins. than at any other height, although for many intermediate heights the most numerous groups of wives are taller^[193].

In matters of carriage, habit, and especially clothing the love of sexual disparity is instinctive, everywhere well marked, and often carried to very great lengths. To some extent such differences are due to the opposing demands of more fundamental differences in custom and occupation. But this cause by no means adequately accounts for them, since it may sometimes happen that what in one land is the practice of the men is in another the practice of the women, and yet the practices of the two sexes are still opposed^[194]. Men instinctively desire to avoid doing things in women's ways, and women instinctively avoid doing things in men's ways, yet both sexes admire in the other sex those things which in themselves they avoid. In the matter of clothing this charm of disparity reaches its highest point, and it has constantly happened that men have even called in the aid of religion to enforce a distinction which seemed to them so urgent^[195]. One of the greatest of sex allurements would be lost and the extreme importance of clothes would disappear at once if the two sexes were to dress alike; such identity of dress has, however, never come about among any people.

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V.

Summary of the Conclusions at Present Attainable in Regard to the Nature of Beauty and its Relation to Sexual Selection.

The consideration of vision has led us into a region in which, more definitely and precisely than is the case with any other sense, we can observe and even hope to measure the operation of sexual selection in man. In the conception of feminine beauty we possess an instrument of universal extension by which it seems possible to measure the nature and extent of such selection as exercised by men on women. This conception, with which we set out, is, however, by no means so precise, so easily available for the attainment of sound conclusions, as at first it may seem to be.

It is true that beauty is not, as some have supposed, a mere matter of caprice. It rests in part on (1) an objective basis of æsthetic character which holds all its variations together and leads to a remarkable approximation among the ideals of feminine beauty cherished by the most intelligent men of all races. But beyond this general objective basis we find that (2) the specific characters of the race or nation tend to cause divergence in the ideals of beauty, since beauty is often held to consist in the extreme development of these racial or national anthropological features; and it would, indeed, appear that the full development of racial characters indicates at the same time the full development of health and vigor. We have further to consider that (3) in most countries an important and usually essential element of beauty lies in the emphasis of the secondary and tertiary sexual characters: the special characters of the hair in woman, her breasts, her hips, and innumerable other qualities of minor saliency, but all apt to be of significance from the point of view of sexual selection. In addition we have (4) the factor of individual taste, constituted by the special organization and the peculiar experiences of the individual and inevitably affecting his ideal of beauty. Often this individual factor is merged into collective shapes, and in this way are constituted passing fashions in the matter of beauty, certain influences which normally affect only the individual having become potent enough to affect many individuals. Finally, in states of high civilization and in individuals of that restless and nervous temperament which is common in civilization, we have (5) a tendency to the appearance of an exotic element in the ideal of beauty, and in place of admiring that kind of beauty which most closely approximates to the type of their own race men begin to be agreeably affected by types which more or less deviate from that with which they are most familiar.

While we have these various and to some extent conflicting elements in a man's ideal of feminine beauty, the question is still further complicated by the fact that sexual selection in the human species is not merely the choice of the woman by the man, but also the choice of the man by the woman. And when we come to consider this we find that the standard is altogether different, that many of the elements of beauty as it exists in woman for man have here fallen away altogether, while a new and preponderant element has to be recognized in the shape of a regard for strength and vigor. This, as I have pointed out, is not a purely visual character, but a tactile pressure character translated into visual terms.

When we have stated the sexual ideal we have not yet, however, by any means stated the complete problem of human sexual selection. The ideal that is desired and sought is, in a large measure, not the outcome of experience; it is not even necessarily the expression of the individual's temperament and idiosyncrasy. It may be largely the result of fortuitous circumstances, of slight chance attractions in childhood, of accepted traditions consecrated by romance. In the actual contacts of life the individual may find that his sexual impulse is stirred by sensory stimuli which are other than those of the ideal he had cherished and may even be the reverse of them.

Beyond this, also, we have reason for believing that factors of a still more fundamentally biological character, to some extent deeper even than all these psychic elements, enter into the problem of sexual selection. Certain individuals, apart altogether from the question of whether they are either ideally or practically the most fit mates, display a greater energy and achieve a greater success than others in securing partners. These individuals possess a greater constitutional vigor, physical or mental, which conduces to their success in practical affairs generally, and probably also heightens their specifically philogamic activities.

Thus, the problem of human sexual selection is in the highest degree complicated. When we gather together such scanty data of precise nature as are at present available, we realize that, while generally according with the results which the evidence not of a quantitative nature would lead us to accept, their precise significance is not at present altogether clear. It would appear on the whole that in choosing a mate we tend to seek parity of racial and individual characters together with disparity of secondary sexual characters. But we need a much larger number of groups of evidence of varying character and obtained under varying conditions. Such evidence will doubtless accumulate now that its nature is becoming defined and the need for it recognized. In the meanwhile we are, at all events, in a position to assert, even with the evidence before us, that now that the real meaning of sexual selection is becoming clear its efficacy in human evolution can no longer be questioned.

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