[115] G. Hirth, “Ways to Love,” p. 49.
[116] The modern fancy for slender, ethereal, Pre-Raphaelite feminine figures is also to some extent allied with a negative accentuation of the breasts. Heinrich Pudor with good reason declares that at the present time perhaps the strongest sexual influence of woman is dependent upon the fact that “the existence of the breasts is concealed, and the appearance of the male sex is simulated.” Cf. his article, “Clothing and Sex,” in Die Gemeinschaft der Eigenen, August number, 1906, p. 22. Still, the sexual stimulating influence of this concealment of the breasts appears to be of a transient character, and confined to certain circles of the hyperæsthetic and the homosexual.
[117] Heinrich Pudor, “Nackt-Kultur,” vol. ii.; “Clothing and Sex; Limbs and Pelvis,” pp. 7, 8 (Berlin-Steglitz, 1906).
[118] Cf. the passages relating to this in my work, “Contributions,” etc., vol. i., pp. 152, 153.
[119] Schopenhauer, “Parerga and Paralipomena,” vol. v., p. 176.
[120] G. Simmel, “Philosophy of Fashion, p. 24” (Berlin, 1906).
[121] “Contributions to the Etiology of Psychopathia Sexualis,” vol. i., pp. 158-162.
[122] Ovid, in his “Ars Amandi,” long ago advised men who wished to please women to avoid feminine adornments, and to leave those to the homosexual.
[123] J. Ryan, “Prostitution in London,” p. 382 (London, 1839).
[124] In Alfred de Musset’s erotic story, “Gamiani,” he describes how a woman danced on a mat of catskin, which gave rise in her to very voluptuous sensations.