It remains the most reasonable view that the foot bandage must be regarded as strictly analogous to the waist bandage or corset which also tends to produce deformity of the constricted region. Stratz has ingeniously remarked (Frauenkleidung, third edition, p. 101) that the success of the Chinese in dwarfing trees may have suggested a similar attempt in regard to women's feet, and adds that in any case both dwarfed trees and bound feet bear witness in the Mongolian to the same love for small and elegant, not to say deformed, things. For a Chinaman the deformed foot is a "golden water-lily."
Many facts (together with illustrations) bearing on Chinese deformation of the foot will be found in Ploss, Das Weib, vol. i, Section IV.
The significance of the sexual emotion aroused by the female foot in China and the origin of its compression begin to become clear when we realize that this foot-fetichism is merely an extreme development of a tendency which is fairly well marked among nearly all the peoples of yellow race. Jacoby, who has brought together a number of interesting facts bearing on the sexual significance of the foot, states that a similar tendency is to be found among the Mongol and Turk peoples of Siberia, and in the east and central parts of European Russia, among the Permiaks, the Wotiaks, etc. Here the woman, at all events when young, has always her feet, as well as head, covered, however little clothing she may otherwise wear.
"On hot nights or on baking days," Jacoby states, "you may see these women with uncovered breasts, or even entirely naked without embarrassment, but you will never see them with bare feet, and no male relations, except the husband, will ever see the feet and lower part of the legs of the women in the house. These women have their modesty in their feet, and also their coquetry; to unbind the feet of a woman is for a man a voluptuous act, and the touch of the bands produces the same effect as a corset still warm from a woman's body on a European man. A woman's beauty, that which attracts and excites a man, lies in her foot; in Mordvin love poems celebrating the beauty of women there is much about her attire, especially her embroidered chemise, but as regards the charms of her person the poet is content to state that 'her feet are beautiful;' with that everything is said. The young peasant woman of the central provinces as part of her holiday raiment puts on great woolen stockings which come up to the groin and are then folded over to below the knee. To uncover the feet of a person of the opposite sex is a sexual act, and has thus become the symbol of sexual possession, so that the stocking or foot-gear became the emblem of marriage, as later the ring. (It was so among the Jews, as we see in the book of Ruth, Chapter III, v. 4, and Chapter IV, vv. 7 and 8). St. Vladimir the Great asked in marriage the daughter of Prince Rogvold; as Vladimir's mother had been a serf, the princess proudly replied that she 'would not uncover the feet of a slave.' At the present time in the east of Russia when a young girl tries to find out by divination whom she will have as a husband the traditional formula is 'Come and take my stockings off.' Among the populations of the north and east, it is sometimes the bride who must do this for her husband on the wedding night, and sometimes the bridegroom for his wife, not as a token of love, but as a nuptial ceremony. Among the professional classes and small nobility in Russia parents place money in the stocking of their child at marriage as a present for the other partner, it being supposed that the couple mutually remove each other's foot raiment, as an act of sexual possession, the emblem of coitus." (Paul Jacoby, Archives d'Anthropologie Criminelle, December, 1903, p. 793.) The practice among ourselves of children hanging up their stockings at night for presents would seem to be a relic of the last-mentioned custom.
While we may witness the sexual symbolism of the foot, with or without an associated foot-fetichism, most highly developed in Asia and Eastern Europe, it has by no means been altogether unknown in some stages of western civilization, and traces of it may be found here and there even yet. Schinz refers to the connection between the feet and sexual pleasure as existing not only among the Egyptians and the Arabs, but among the ancient Germans and the modern Spaniards,[[16]] while Jacoby points out that among the Greeks, the Romans, and especially the Etruscans, it was usual to represent chaste and virgin goddesses with their feet covered, even though they might be otherwise nude. Ovid, again, is never weary of dwelling on the sexual charm of the feminine foot. He represents the chaste matron as wearing a weighted stola which always fell so as to cover her feet; it was only the courtesan, or the nymph who is taking part in an erotic festival, who appears with raised robes, revealing her feet.[[17]] So grave a historian as Strabo, as well as Ælian, refers to the story of the courtesan Rhodope whose sandal was carried off by an eagle and dropped in the King of Egypt's lap as he was administering justice, so that he could not rest until he had discovered to whom this delicately small sandal belonged, and finally made her his queen. Kleinpaul, who repeats this story, has collected many European sayings and customs (including Turkish), indicating that the slipper is a very ancient symbol of a woman's sexual parts.[[18]]
In Rome, Dufour remarks, "Matrons having appropriated the use of the shoe (soccus) prostitutes were not allowed to use it, and were obliged to have their feet always naked in sandals or slippers (crepida and solea), which they fastened over the instep with gilt bands. Tibullus delights to describe his mistress's little foot, compressed by the band that imprisoned it: Ansaque compressos colligat arcta pedes. Nudity of the foot in woman was a sign of prostitution, and their brilliant whiteness acted afar as a pimp to attract looks and desires." (Dufour, Histoire de la Prostitution, vol. II., ch. xviii.)
This feeling seems to have survived in a more or less vague and unconscious form in mediæval Europe. "In the tenth century," according to Dufour (Histoire de la Prostitution, vol. VI., p. 11), "shoes a la poulaine, with a claw or beak, pursued for more than four centuries by the anathemas of popes and the invectives of preachers, were always regarded by mediæval casuists as the most abominable emblems of immodesty. At a first glance it is not easy to see why these shoes—terminating in a lion's claw, an eagle's beak, the prow of a ship, or other metal appendage—should be so scandalous. The excommunication inflicted on this kind of foot-gear preceded the impudent invention of some libertine, who wore poulaines in the shape of the phallus, a custom adopted also by women. This kind of poulaine was denounced as mandite de Dicu (Ducange's Glossary, at the word Poulainia) and prohibited by royal ordinances (see letter of Charles V., 17 October, 1367, regarding the garments of the women of Montpellier). Great lords and ladies continued, however, to wear poulaines." In Louis XL's court they were still worn of a quarter of an ell in length.
Spain, ever tenacious of ancient ideas, appears to have preserved longer than other countries the ancient classic traditions in regard to the foot as a focus of modesty and an object of sexual attraction. In Spanish religious pictures it was always necessary that the Virgin's feet should be concealed, the clergy ordaining that her robe should be long and flowing, so that the feet might be covered with decent folds. Pacheco, the master and father-in-law of Velasquez, writes in 1649 in his Arte de la Pintura: "What can be more foreign from the respect which we owe to the purity of Our Lady the Virgin than to paint her sitting down with one of her knees placed over the other, and often with her sacred feet uncovered and naked. Let thanks be given to the Holy Inquisition which commands that this liberty should be corrected!" It was Pacheco's duty in Seville to see that these commands were obeyed. At the court of Philip IV. at this time the princesses never showed their feet, as we may see in the pictures of Velasquez. When a local manufacturer desired to present that monarch's second bride, Mariana of Austria, with some silk stockings the offer was indignantly rejected by the Court Chamberlain: "The Queen of Spain has no legs!" Philip V.'s, queen was thrown from her horse and dragged by the feet; no one ventured to interfere until two gentlemen bravely rescued her and then fled, dreading punishment by the king: they were, however, graciously pardoned. Reinach ("Pieds Pudiques," Cultes, Mythes et Religions, pp. 105-110) brings together several passages from the Countess D'Aulnoy's account of the Madrid Court in the seventeenth century and from other sources, showing how careful Spanish ladies were as regards their feet, and how jealous Spanish husbands were in this matter. At this time, when Spanish influence was considerable, the fashion of Spain seems to have spread to other countries. One may note that in Vandyck's pictures of English beauties the feet are not visible, though in the more characteristically English painters of a somewhat later age it became usual to display them conspicuously, while the French custom in this matter is the farthest removed from the Spanish. At the present day a well-bred Spanish woman shows as little as possible of her feet in walking, and even in some of the most characteristic Spanish dances there is little or no kicking, and the feet may even be invisible throughout. It is noteworthy that in numerous figures of Spanish women (probably artists' models) reproduced in Ploss's Das Weib the stockings are worn, although the women are otherwise, in most cases, quite naked. Max Dessoir mentions ("Psychologie der Vita Sexualis," Zeitschrift für Psychiatrie, 1894, p. 954) that in Spanish pornographic photographs women always have their shoes on, and he considers this an indication of perversity. I have seen the statement (attributed to Gautier's Voyage en Espagne, where, however, it does not occur) that Spanish prostitutes uncover their feet in sign of assent, and Madame d'Aulnoy stated that in her time to show her lover her feet was a Spanish woman's final favor.
The tendency, which we thus find to be normal at some earlier periods of civilization, to insist on the sexual symbolism of the feminine foot or its coverings, and to regard them as a special sexual fascination, is not without significance for the interpretation of the sporadic manifestations of foot-fetichism among ourselves. Eccentric as foot-fetichism may appear to us, it is simply the re-emergence, by a pseudo-atavism or arrest of development, of a mental or emotional impulse which was probably experienced by our forefathers, and is often traceable among young children to-day.[[19]] The occasional reappearance of this bygone impulse and the stability which it may acquire are thus conditioned by the sensitive reaction of an abnormally nervous and usually precocious organism to influences which, among the average and ordinary population of Europe to-day, are either never felt, or quickly outgrown, or very strictly subordinated in the highly complex crystallizations which the course of love and the process of tumescence create within us.