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.
How widespread is the occasional or habitual practice of nakedness in the world generally, and how entirely concordant it is with even a most sensitive modesty, has been set forth in "The Evolution of Modesty," in vol. i of these Studies.
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.