Studies in the Psychology of Sex, Volume 6 Sex in...

The Greek Attitude Towards Nakedness—How the Romans Modified That Attitude—The Influence of Christianity—Nakedness in Mediæval Times—Evolution of the Horror of Nakedness—Concomitant Change in the Conception of Nakedness—Prudery—The Romantic Movement—Rise of a New Feeling in Regard to Nakedness—The Hygienic Aspect of Nakedness—How Children May Be Accustomed to Nakedness—Nakedness Not Inimical to Modesty—The Instinct of Physical Pride—The Value of Nakedness in Education—The Æsthetic Value of Nakedness—The Human Body as One of the Prime Tonics of Life—How Nakedness May Be Cultivated—The Moral Value of Nakedness.

The discussion of the value of nakedness in art leads us on to the allied question of nakedness in nature. What is the psychological influence of familiarity with nakedness? How far should children be made familiar with the naked body? This is a question in regard to which different opinions have been held in different ages, and during recent years a remarkable change has begun to come over the minds of practical educationalists in regard to it.

In Sparta, in Chios, and elsewhere in Greece, women at one time practiced gymnastic feats and dances in nakedness, together with the men, or in their presence.[40] Plato in his Republic approved of such customs and said that the ridicule of those who laughed at them was but "unripe fruit plucked from the tree of knowledge." On many questions Plato's opinions changed, but not on this. In the Laws, which are the last outcome of his philosophic reflection in old age, he still advocates (Bk. viii) a similar co-education of the sexes and their coöperation in all the works of life, in part with a view to blunt the over-keen edge of sexual appetite; with the same object he advocated the association together of youths and girls without constraint in costumes which offered no concealment to the form.

It is noteworthy that the Romans, a coarser-grained people than the Greeks and in our narrow modern sense more "moral," showed no perception of the moralizing and refining influence of nakedness. Nudity to them was merely a licentious indulgence, to be treated with contempt even when it was enjoyed. It was confined to the stage, and clamored for by the populace. In the Floralia, especially, the crowd seem to have claimed it as their right that the actors should play naked, probably, it has been thought, as a survival of a folk-ritual. But the Romans, though they were eager to run to the theatre, felt nothing but disdain for the performers. "Flagitii principium est, nudare inter cives corpora." So thought old Ennius, as reported by Cicero, and that remained the genuine Roman feeling to the last. "Quanta perversitas!" as Tertullian exclaimed. "Artem magnificant, artificem notant."[41] In this matter the Romans, although they aroused the horror of the Christians, were yet in reality laying the foundation of Christian morality.

Christianity, which found so many of Plato's opinions congenial, would have nothing to do with his view of nakedness and failed to recognize its psychological correctness. The reason was simple, and indeed simple-minded. The Church was passionately eager to fight against what it called "the flesh," and thus fell into the error of confusing the subjective question of sexual desire with the objective spectacle of the naked form. "The flesh" is evil; therefore, "the flesh" must be hidden. And they hid it, without understanding that in so doing they had not suppressed the craving for the human form, but, on the contrary, had heightened it by imparting to it the additional fascination of a forbidden mystery.

Burton, in his Anatomy of Melancholy (Part III, Sect II, Mem. II, Subs. IV), referring to the recommendations of Plato, adds: "But Eusebius and Theodoret worthily lash him for it; and well they might: for as one saith, the very sight of naked parts, causeth enormous, exceeding concupiscences, and stirs up both men and women to burning lust." Yet, as Burton himself adds further on in the same section of his work (Mem. V, Subs. III), without protest, "some are of opinion, that to see a woman naked, is able of itself to alter his affection; and it is worthy of consideration, saith Montaigne, the Frenchman, in his Essays, that the skilfullest masters of amorous dalliance appoint for a remedy of venereous passions, a full survey of the body."

There ought to be no question regarding the fact that it is the adorned, the partially concealed body, and not the absolutely naked body, which acts as a sexual excitant. I have brought together some evidence on this point in the study of "The Evolution of Modesty." "In Madagascar, West Africa, and the Cape," says G. F. Scott Elliot (A Naturalist in Mid-Africa, p. 36), "I have always found the same rule. Chastity varies inversely as the amount of clothing." It is now indeed generally held that one of the chief primary objects of ornament and clothing was the stimulation of sexual desire, and artists' models are well aware that when they are completely unclothed, they are most safe from undesired masculine advances. "A favorite model of mine told me," remarks Dr. Shufeldt (Medical Brief, Oct., 1904), the distinguished author of Studies of the Human Form, "that it was her practice to disrobe as soon after entering the artist's studio as possible, for, as men are not always responsible for their emotions, she felt that she was far less likely to arouse or excite them when entirely nude than when only semi-draped." This fact is, indeed, quite familiar to artists' models. If the conquest of sexual desire were the first and last consideration of life it would be more reasonable to prohibit clothing than to prohibit nakedness.

When Christianity absorbed the whole of the European world this strict avoidance of even the sight of "the flesh," although nominally accepted by all as the desirable ideal, could only be carried out, thoroughly and completely, in the cloister. In the practice of the world outside, although the original Christian ideals remained influential, various pagan and primitive traditions in favor of nakedness still persisted, and were, to some extent, allowed to manifest themselves, alike in ordinary custom and on special occasions.

Even during the Christian era the impulse to adopt nudity, often with the feeling that it was an especially sacred practice, has persisted. The Adamites of the second century, who read and prayed naked, and celebrated the sacrament naked, according to the statement quoted by St. Augustine, seem to have caused little scandal so long as they only practiced nudity in their sacred ceremonies. The German Brethren of the Free Spirit, in the thirteenth century, combined so much chastity with promiscuous nakedness that orthodox Catholics believed they were assisted by the Devil. The French Picards, at a much later date, insisted on public nakedness, believing that God had sent their leader into the world as a new Adam to reestablish the law of Nature; they were persecuted and were finally exterminated by the Hussites.

In daily life, however, a considerable degree of nakedness was tolerated during mediæval times. This was notably so in the public baths, frequented by men and women together. Thus Alwin Schultz remarks (in his Höfische Leben zur Zeit der Minnesänger), that the women of the aristocratic classes, though not the men, were often naked in these baths except for a hat and a necklace.

It is sometimes stated that in the mediæval religious plays Adam and Eve were absolutely naked. Chambers doubts this, and thinks they wore flesh-colored tights, or were, as in a later play of this kind, "apparelled in white leather" (E. K. Chambers, The Mediæval Stage, vol. i, p. 5). It may be so, but the public exposure even of the sexual organs was permitted, and that in aristocratic houses, for John of Salisbury (in a passage quoted by Buckle, Commonplace Book, 541) protests against this custom.

The women of the feminist sixteenth century in France, as R. de Maulde la Clavière remarks (Revue de l'Art, Jan., 1898), had no scruple in recompensing their adorers by admitting them to their toilette, or even their bath. Late in the century they became still less prudish, and many well-known ladies allowed themselves to be painted naked down to the waist, as we see in the portrait of "Gabrielle d'Estrées au Bain" at Chantilly. Many of these pictures, however, are certainly not real portraits.

Even in the middle of the seventeenth century in England nakedness was not prohibited in public, for Pepys tells us that on July 29, 1667, a Quaker came into Westminster Hall, crying, "Repent! Repent!" being in a state of nakedness, except that he was "very civilly tied about the privities to avoid scandal." (This was doubtless Solomon Eccles, who was accustomed to go about in this costume, both before and after the Restoration. He had been a distinguished musician, and, though eccentric, was apparently not insane.)

In a chapter, "De la Nudité," and in the appendices of his book, De l'Amour (vol. i, p. 221), Sénancour gives instances of the occasional practice of nudity in Europe, and adds some interesting remarks of his own; so, also, Dulaure (Des Divinités Génératrices, Ch. XV). It would appear, as a rule, that though complete nudity was allowed in other respects, it was usual to cover the sexual parts.

The movement of revolt against nakedness never became completely victorious until the nineteenth century. That century represented the triumph of all the forces that banned public nakedness everywhere and altogether. If, as Pudor insists, nakedness is aristocratic and the slavery of clothes a plebeian characteristic imposed on the lower classes by an upper class who reserved to themselves the privilege of physical culture, we may perhaps connect this with the outburst of democratic plebeianism which, as Nietzsche pointed out, reached its climax in the nineteenth century. It is in any case certainly interesting to observe that by this time the movement had entirely changed its character. It had become general, but at the same time its foundation had been undermined. It had largely lost its religious and moral character, and instead was regarded as a matter of convention. The nineteenth century man who encountered the spectacle of white limbs flashing in the sunlight no longer felt like the mediæval ascetic that he was risking the salvation of his immortal soul or even courting the depravation of his morals; he merely felt that it was "indecent" or, in extreme cases, "disgusting." That is to say he regarded the matter as simply a question of conventional etiquette, at the worst, of taste, of æsthetics. In thus bringing down his repugnance to nakedness to so low a plane he had indeed rendered it generally acceptable, but at the same time he had deprived it of high sanction. His profound horror of nakedness was out of relation to the frivolous grounds on which he based it.

We must not, however, under-rate the tenacity with which this horror of nakedness was held. Nothing illustrates more vividly the deeply ingrained hatred which the nineteenth century felt of nakedness than the ferocity—there is no other word for it—with which Christian missionaries to savages all over the world, even in the tropics, insisted on their converts adopting the conventional clothing of Northern Europe. Travellers' narratives abound in references to the emphasis placed by missionaries on this change of custom, which was both injurious to the health of the people and degrading to their dignity. It is sufficient to quote one authoritative witness, Lord Stanmore, formerly Governor of Fiji, who read a long paper to the Anglican Missionary Conference in 1894 on the subject of "Undue Introduction of Western Ways." "In the centre of the village," he remarked in quoting a typical case (and referring not to Fiji but to Tonga), "is the church, a wooden barn-like building. If the day be Sunday, we shall find the native minister arrayed in a greenish-black swallow-tail coat, a neckcloth, once white, and a pair of spectacles, which he probably does not need, preaching to a congregation, the male portion of which is dressed in much the same manner as himself, while the women are dizened out in old battered hats or bonnets, and shapeless gowns like bathing dresses, or it may be in crinolines of an early type.

Chiefs of influence and women of high birth, who in their native dress would look, and do look, the ladies and gentlemen they are, are, by their Sunday finery, given the appearance of attendants upon Jack-in-the-Green. If a visit be paid to the houses of the town, after the morning's work of the people is over, the family will be found sitting on chairs, listless and uncomfortable, in a room full of litter. In the houses of the superior native clergy there will be a yet greater aping of the manners of the West. There will be chairs covered with hideous antimacassars, tasteless round worsted-work mats for absent flower jars, and a lot of ugly cheap and vulgar china chimney ornaments, which, there being no fireplace, and consequently no chimney-piece, are set out in order on a rickety deal table. The whole life of these village folk is one piece of unreal acting. They are continually asking themselves whether they are incurring any of the penalties entailed by infraction of the long table of prohibitions, and whether they are living up to the foreign garments they wear. Their faces have, for the most part, an expression of sullen discontent, they move about silently and joylessly, rebels in heart to the restrictive code on them, but which they fear to cast off, partly from a vague apprehension of possible secular results, and partly because they suppose they will cease to be good Christians if they do so. They have good ground for their dissatisfaction.

At the time when I visited the villages I have specially in my eye, it was punishable by fine and imprisonment to wear native clothing, punishable by fine and imprisonment to wear long hair or a garland of flowers; punishable by fine or imprisonment to wrestle or to play at ball; punishable by fine and imprisonment to build a native-fashioned house; punishable not to wear shirt and trousers, and in certain localities coat and shoes also; and, in addition to laws enforcing a strictly puritanical observation of the Sabbath, it was punishable by fine and imprisonment to bathe on Sundays. In some other places bathing on Sunday was punishable by flogging; and to my knowledge women have been flogged for no other offense. Men in such circumstances are ripe for revolt, and sometimes the revolt comes."

An obvious result of reducing the feeling about nakedness to an unreasoning but imperative convention is the tendency to prudishness. This, as we know, is a form of pseudo-modesty which, being a convention, and not a natural feeling, is capable of unlimited extension. It is by no means confined to modern times or to Christian Europe. The ancient Hebrews were not entirely free from prudishness, and we find in the Old Testament that by a curious euphemism the sexual organs are sometimes referred to as "the feet." The Turks are capable of prudishness. So, indeed, were even the ancient Greeks. "Dion the philosopher tells us," remarks Clement of Alexandria (Stromates, Bk. IV, Ch. XIX) "that a certain woman, Lysidica, through excess of modesty, bathed in her clothes, and that Philotera, when she was to enter the bath, gradually drew back her tunic as the water covered her naked parts; and then rising by degrees, put it on." Mincing prudes were found among the early Christians, and their ways are graphically described by St. Jerome in one of his letters to Eustochium: "These women," he says, "speak between their teeth or with the edge of the lips, and with a lisping tongue, only half pronouncing their words, because they regard as gross whatever is natural. Such as these," declares Jerome, the scholar in him overcoming the ascetic, "corrupt even language." Whenever a new and artificial "modesty" is imposed upon savages prudery tends to arise.

Haddon describes this among the natives of Torres Straits, where even the children now suffer from exaggerated prudishness, though formerly absolutely naked and unashamed (Cambridge Anthropological Expedition to Torres Straits, vol. v, p. 271).

The nineteenth century, which witnessed the triumph of timidity and prudery in this matter, also produced the first fruitful germ of new conceptions of nakedness. To some extent these were embodied in the great Romantic movement. Rousseau, indeed, had placed no special insistence on nakedness as an element of the return to Nature which he preached so influentially. A new feeling in this matter emerged, however, with characteristic extravagance, in some of the episodes of the Revolution, while in Germany in the pioneering Lucinde of Friedrich Schlegel, a characteristic figure in the Romantic movement, a still unfamiliar conception of the body was set forth in a serious and earnest spirit.

In England, Blake with his strange and flaming genius, proclaimed a mystical gospel which involved the spiritual glorification of the body and contempt for the civilized worship of clothes ("As to a modern man," he wrote, "stripped from his load of clothing he is like a dead corpse"); while, later, in America, Thoreau and Whitman and Burroughs asserted, still more definitely, a not dissimilar message concerning the need of returning to Nature.

We find the importance of the sight of the body—though very narrowly, for the avoidance of fraud in the preliminaries of marriage—set forth as early as the sixteenth century by Sir Thomas More in his Utopia, which is so rich in new and fruitful ideas. In Utopia, according to Sir Thomas More, before marriage, a staid and honest matron "showeth the woman, be she maid or widow, naked to the wooer. And likewise a sage and discreet man exhibiteth the wooer naked to the woman. At this custom we laughed and disallowed it as foolish. But they, on their part, do greatly wonder at the folly of all other nations which, in buying a colt where a little money is in hazard, be so chary and circumspect that though he be almost all bare, yet they will not buy him unless the saddle and all the harness be taken off, lest under these coverings be hid some gall or sore. And yet, in choosing a wife, which shall be either pleasure or displeasure to them all their life after, they be so reckless that all the residue of the woman's body being covered with clothes, they estimate her scarcely by one handsbreadth (for they can see no more but her face) and so join her to them, not without great jeopardy of evil agreeing together, if anything in her body afterward should chance to offend or mislike them. Verily, so foul deformity may be hid under these coverings that it may quite alienate and take away the man's mind from his wife, when it shall not be lawful for their bodies to be separate again.

The clear conception of what may be called the spiritual value of nakedness—by no means from More's point of view, but as a part of natural hygiene in the widest sense, and as a high and special aspect of the purifying and ennobling function of beauty—is of much later date. It is not clearly expressed until the time of the Romantic movement at the beginning of the nineteenth century. We have it admirably set forth in Sénancour's De l'Amour (first edition, 1806; fourth and enlarged edition, 1834), which still remains one of the best books on the morality of love. After remarking that nakedness by no means abolishes modesty, he proceeds to advocate occasional partial or complete nudity. "Let us suppose," he remarks, somewhat in the spirit of Plato, "a country in which at certain general festivals the women should be absolutely free to be nearly or even quite naked. Swimming, waltzing, walking, those who thought good to do so might remain unclothed in the presence of men. No doubt the illusions of love would be little known, and passion would see a diminution of its transports. But is it passion that in general ennobles human affairs? We need honest attachments and delicate delights, and all these we may obtain while still preserving our common-sense.... Such nakedness would demand corresponding institutions, strong and simple, and a great respect for those conventions which belong to all times" (Sénancour, De l'Amour, vol. i, p. 314).

From that time onwards references to the value and desirability of nakedness become more and more frequent in all civilized countries, sometimes mingled with sarcastic allusions to the false conventions we have inherited in this matter. Thus Thoreau writes in his journal on June 12, 1852, as he looks at boys bathing in the river: "The color of their bodies in the sun at a distance is pleasing. I hear the sound of their sport borne over the water. As yet we have not man in Nature. What a singular fact for an angel visitant to this earth to carry back in his note-book, that men were forbidden to expose their bodies under the severest penalties."

Iwan Bloch, in Chapter VII of his Sexual Life of Our Time, discusses this question of nakedness from the modern point of view, and concludes: "A natural conception of nakedness: that is the watchword of the future. All the hygienic, æsthetic, and moral efforts of our time are pointing in that direction."

Stratz, as befits one who has worked so strenuously in the cause of human health and beauty, admirably sets forth the stage which we have now attained in this matter. After pointing out (Die Frauenkleidung, third edition, 1904, p. 30) that, in opposition to the pagan world which worshipped naked gods, Christianity developed the idea that nakedness was merely sexual, and therefore immoral, he proceeds: "But over all glimmered on the heavenly heights of the Cross, the naked body of the Saviour. Under that protection there has gradually disengaged itself from the confusion of ideas a new transfigured form of nakedness made free after long struggle. I would call this artistic nakedness, for as it was immortalized by the old Greeks through art, so also among us it has been awakened to new life by art. Artistic nakedness is, in its nature, much higher than either the natural or the sensual conception of nakedness. The simple child of Nature sees in nakedness nothing at all; the clothed man sees in the uncovered body only a sensual irritation. But at the highest standpoint man consciously returns to Nature, and recognizes that under the manifold coverings of human fabrication there is hidden the most splendid creature that God has created. One may stand in silent, worshipping wonder before the sight; another may be impelled to imitate and show to his fellow-man what in that holy moment he has seen. But both enjoy the spectacle of human beauty with full consciousness and enlightened purity of thought."

Lord Monboddo, the Scotch judge, who was a pioneer in regard to many modern ideas, had already in the eighteenth century realized the hygienic value of "air-baths," and he invented that now familiar name. "Lord Monboddo," says Boswell, in 1777 (Life of Johnson, edited by Hill, vol. iii, p. 168) "told me that he awaked every morning at four, and then for his health got up and walked in his room naked, with the window open, which he called taking an air-bath." It is said also, I know not on what authority, that he made his beautiful daughters take an air-bath naked on the terrace every morning. Another distinguished man of the same century, Benjamin Franklin, used sometimes to work naked in his study on hygienic grounds, and, it is recorded, once affrighted a servant-girl by opening the door in an absent-minded moment, thus unattired.

Rikli seems to have been the apostle of air-baths and sun-baths regarded as a systematic method. He established light-and air-baths over half a century ago at Trieste and elsewhere in Austria. His motto was: "Light, Truth, and Freedom are the motive forces towards the highest development of physical and moral health." Man is not a fish, he declared; light and air are the first conditions of a highly organized life. Solaria for the treatment of a number of different disordered conditions are now commonly established, and most systems of natural therapeutics attach prime importance to light and air, while in medicine generally it is beginning to be recognized that such influences can by no means be neglected. Dr. Fernand Sandoz, in his Introduction à la Thérapeutique Naturiste par les agents Physiques et Dietétiques (1907) sets forth such methods comprehensively. In Germany sun-baths have become widely common; thus Lenkei (in a paper summarized in British Medical Journal, Oct. 31, 1908) prescribes them with much benefit in tuberculosis, rheumatic conditions, obesity, anæmia, neurasthenia, etc. He considers that their peculiar value lies in the action of light. Professor J. N. Hyde, of Chicago, even believes ("Light-Hunger in the Production of Psoriasis," British Medical Journal, Oct. 6, 1906), that psoriasis is caused by deficiency of sunlight, and is best cured by the application of light.

This belief, which has not, however, been generally accepted in its unqualified form, he ingeniously supports by the fact that psoriasis tends to appear on the most exposed parts of the body, which may be held to naturally receive and require the maximum of light, and by the absence of the disease in hot countries and among negroes.

The hygienic value of nakedness is indicated by the robust health of the savages throughout the world who go naked. The vigor of the Irish, also, has been connected with the fact that (as Fynes Moryson's Itinerary shows) both sexes, even among persons of high social class, were accustomed to go naked except for a mantle, especially in more remote parts of the country, as late as the seventeenth century. Where-ever primitive races abandon nakedness for clothing, at once the tendency to disease, mortality, and degeneracy notably increases, though it must be remembered that the use of clothing is commonly accompanied by the introduction of other bad habits. "Nakedness is the only condition universal among vigorous and healthy savages; at every other point perhaps they differ," remarks Frederick Boyle in a paper ("Savages and Clothes," Monthly Review, Sept., 1905) in which he brings together much evidence concerning the hygienic advantages of the natural human state in which man is "all face."

It is in Germany that a return towards nakedness has been most ably and thoroughly advocated, notably by Dr. H. Pudor in his Nackt-Cultur, and by R. Ungewitter in Die Nacktheit (first published in 1905), a book which has had a very large circulation in many editions. These writers enthusiastically advocate nakedness, not only on hygienic, but on moral and artistic grounds. Pudor insists more especially that "nakedness, both in gymnastics and in sport, is a method of cure and a method of regeneration;" he advocates co-education in this culture of nakedness. Although he makes large claims for nakedness—believing that all the nations which have disregarded these claims have rapidly become decadent—Pudor is less hopeful than Ungewitter of any speedy victory over the prejudices opposed to the culture of nakedness. He considers that the immediate task is education, and that a practical commencement may best be made with the foot which is specially in need of hygiene and exercise; a large part of the first volume of his book is devoted to the foot.

As the matter is to-day viewed by those educationalists who are equally alive to sanitary and sexual considerations, the claims of nakedness, so far as concerns the young, are regarded as part alike of physical and moral hygiene. The free contact of the naked body with air and water and light makes for the health of the body; familiarity with the sight of the body abolishes petty pruriencies, trains the sense of beauty, and makes for the health of the soul. This double aspect of the matter has undoubtedly weighed greatly with those teachers who now approve of customs which, a few years ago, would have been hastily dismissed as "indecent." There is still a wide difference of opinion as to the limits to which the practice of nakedness may be carried, and also as to the age when it should begin to be restricted. The fact that the adult generation of to-day grew up under the influence of the old horror of nakedness is an inevitable check on any revolutionary changes in these matters.

Maria Lischnewska, one of the ablest advocates of the methodical enlightenment of children in matters of sex (op. cit.), clearly realizes that a sane attitude towards the body lies at the root of a sound education for life. She finds that the chief objection encountered in such education, as applied in the higher classes of schools, is "the horror of the civilized man at his own body." She shows that there can be no doubt that those who are engaged in the difficult task of working towards the abolition of that superstitious horror have taken up a moral task of the first importance.

Walter Gerhard, in a thoughtful and sensible paper on the educational question ("Ein Kapitel zur Erziehungsfrage," Geschlecht und Gesellschaft, vol. i, Heft 2), points out that it is the adult who needs education in this matter—as in so many other matters of sexual enlightenment—considerably more than the child. Parents educate their children from the earliest years in prudery, and vainly flatter themselves that they have thereby promoted their modesty and morality. He records his own early life in a tropical land and accustomed to nakedness from the first. "It was not till I came to Germany when nearly twenty that I learnt that the human body is indecent, and that it must not be shown because that 'would arouse bad impulses.' It was not till the human body was entirely withdrawn from my sight and after I was constantly told that there was something improper behind clothes, that I was able to understand this.... Until then I had not known that a naked body, by the mere fact of being naked, could arouse erotic feelings. I had known erotic feelings, but they had not arisen from the sight of the naked body, but gradually blossomed from the union of our souls." And he draws the final moral that, if only for the sake of our children, we must learn to educate ourselves.

Forel (Die Sexuelle Frage, p. 140), speaking in entirely the same sense as Gerhard, remarks that prudery may be either caused or cured in children. It may be caused by undue anxiety in covering their bodies and hiding from them the bodies of others. It may be cured by making them realize that there is nothing in the body that is unnatural and that we need be ashamed of, and by encouraging bathing of the sexes in common. He points out (p. 512) the advantages of allowing children to be acquainted with the adult forms which they will themselves some day assume, and condemns the conduct of those foolish persons who assume that children already possess the adult's erotic feelings about the body. That is so far from being the case that children are frequently unable to distinguish the sex of other children apart from their clothes.

At the Mannheim Congress of the German Society for Combating Venereal Diseases, specially devoted to sexual hygiene, the speakers constantly referred to the necessity of promoting familiarity with the naked body. Thus Eulenburg and Julian Marcuse (Sexualpädagogik, p. 264) emphasize the importance of air-baths, not only for the sake of the physical health of the young, but in the interests of rational sexual training. Höller, a teacher, speaking at the same congress (op. cit., p. 85), after insisting on familiarity with the nude in art and literature, and protesting against the bowdlerising of poems for the young, continues: "By bathing-drawers ordinances no soul was ever yet saved from moral ruin. One who has learnt to enjoy peacefully the naked in art is only stirred by the naked in nature as by a work of art." Enderlin, another teacher, speaking in the same sense (p. 58), points out that nakedness cannot act sexually or immorally on the child, since the sexual impulse has not yet become pronounced, and the earlier he is introduced to the naked in nature and in art, as a matter of course, the less likely are the sexual feelings to be developed precociously. The child thus, indeed, becomes immune to impure influences, so that later, when representations of the nude are brought before him for the object of provoking his wantonness, they are powerless to injure him. It is important, Enderlin adds, for familiarity with the nude in art to be learnt at school, for most of us, as Siebert remarks, have to learn purity through art.