[85] According to Karl von den Steinen (op. cit., p. 186), the oil colours used in painting the body are “actually the clothing of the Indians, employed for this purpose as occasion demands.” Their oldest aim was protection against heat, cutaneous irritation, and external noxious influences.
[86] Cf. Y. Hirn, “The Origin of Art” (Leipzig, 1904, pp. 223, 224).
[87] Cf. my “Contributions to the Etiology of Psychopathia Sexualis,” vol. ii., p. 338.
[88] Cf. K. Lange, “The Nature of Art” (Berlin, 1901, vol. ii., pp. 185, 186).
[89] The significance of tattooing of this nature in the diagnosis of sexual perversities we shall later discuss at greater length.
[90] Cf. Kurella, “The Natural History of the Criminal” (Stuttgart, 1893, pp. 105-112).
[91] “Erotic Tattooing” in “Anthropophyteia, Annual for Folk-lore and for Researches regarding the History of the Evolution of Sexual Morals,” edited by Friedrich S. Krauss (Leipzig, 1904, vol. i., pp. 507-513). According to an account in the Temps, in a deserter from the French army the most remarkable tattooings were observed. On the breast there were two seductive women throwing kisses to a sturdy musketeer, in addition to portraits of music-hall singers, both male and female—for example, Yvette Guilbert. The entire back was covered with love sketches. Cf. B. Z. am Mittag, August 21, 1906.
[92] William Ellis, “Polynesian Researches” (London, 1859, vol. i., p. 235).
[93] Cf. Hirn, “The Origin of Art,” pp. 214, 215.
[94] Cf. Havelock Ellis, op. cit. pp. 56-62.