In Rome, "when there was at first much less freedom in this matter than in Greece, the bath became common to both sexes, and though each had its basin and hot room apart, they could see each other, meet, speak, form intrigues, arrange meetings, and multiply adulteries. At first, the baths were so dark that men and women could wash side by side, without recognizing each other except by the voice; but soon the light of day was allowed to enter from every side. 'In the bath of Scipio,' said Seneca, 'there were narrow ventholes, rather than windows, hardly admitting enough light to outrage modesty; but nowadays, baths are called caves if they do not receive the sun's rays through large windows.' ... Hadrian severely prohibited this mingling of men and women, and ordained separate lavaera for the sexes. Marcus Aurelius and Alexander Severus renewed this edict, but in the interval, Heliogabalus had authorized the sexes to meet in the baths." (Dufour, Histoire de la Prostitution, vol. ii, Ch. XVIII; cf. Smith's Dictionary of Greek and Roman Antiquities, Art. Balneae.)

In Rome, according to ancient custom, actors were compelled to wear drawers (subligaculum) on the stage, in order to safeguard the modesty of Roman matrons. Respectable women, it seems, also always wore some sort of subligaculum, even sometimes when bathing. The name was also applied to a leathern girdle laced behind, which they were occasionally made to wear as a girdle of chastity. (Dufour, op. cit., vol. ii, p. 150.) Greek women also wore a cloth round the loins when taking the bath, as did the men who bathed there; and a woman is represented bathing and wearing a sort of thin combinations reaching to the middle of the thigh. (Smith's Dictionary, loc. cit.) At a later period, St. Augustine refers to the compestria, the drawers or apron worn by young men who stripped for exercise in the campus. (De Civitate Dei, Bk. XIV, Ch. XVII.)

Lecky (History of Morals, vol. ii, p. 318), brings together instances of women, in both Pagan and early Christian times, who showed their modesty by drawing their garments around them, even at the moment that they were being brutally killed. Plutarch, in his essay on the "Virtues of Women,"—moralizing on the well-known story of the young women of Milesia, among whom an epidemic of suicide was only brought to an end by the decree that in future women who hanged themselves should be carried naked through the market-places,—observes: "They, who had no dread of the most terrible things in the world, death and pain, could not abide the imagination of dishonor, and exposure to shame, even after death."

In the second century the physician Aretaeus, writing at Rome, remarks: "In many cases, owing to involuntary restraint from modesty at assemblies, and at banquets, the bladder becomes distended, and from the consequent loss of its contractile power, it no longer evacuates the urine." (On the Causes and Symptoms of Acute Diseases, Book II, Chapter X.)

Apuleius, writing in the second century, says: "Most women, in order to exhibit their native gracefulness and allurements, divest themselves of all their garments, and long to show their naked beauty, being conscious that they shall please more by the rosy redness of their skin than by the golden splendor of their robes." (Thomas Taylor's translation of Metamorphosis, p. 28.)

Christianity seems to have profoundly affected habits of thought and feeling by uniting together the merely natural emotion of sexual reserve with, on the one hand, the masculine virtue of modesty—modestia—and, on the other, the prescription of sexual abstinence. Tertullian admirably illustrates this confusion, and his treatises De Pudicitia and De Cultu Feminarum are instructive from the present point of view. In the latter he remarks (Book II, Chapter I): "Salvation—and not of women only, but likewise of men—consists in the exhibition, principally, of modesty. Since we are all the temple of God, modesty is the sacristan and priestess of that temple, who is to suffer nothing unclean or profane to enter it, for fear that the God who inhabits it should be offended.... Most women, either from simple ignorance or from dissimulation, have the hardihood so to walk as if modesty consisted only in the integrity of the flesh, and in turning away from fornication, and there were no need for anything else,—in dress and ornament, the studied graces of form,—wearing in their gait the self-same appearance as the women of the nations from whom the sense of true modesty is absent."

The earliest Christian ideal of modesty, not long maintained, is well shown in an epistle which, there is some reason to suppose, was written by Clement of Rome. "And if we see it to be requisite to stand and pray for the sake of the woman, and to speak words of exhortation and edification, we call the brethren and all the holy sisters and maidens, likewise all the other women who are there, with all modesty and becoming behavior, to come and feast on the truth. And those among us who are skilled in speaking, speak to them, and exhort them in those words which God has given us. And then we pray, and salute one another, the men the men. But the women and the maidens will wrap their hands in their garments; we also, with circumspection and with all purity, our eyes looking upward, shall wrap our right hand in our garments; and then they will come and give us the salutation on our right hand, wrapped in our garments. Then we go where God permits us." (Two Epistles Concerning Virginity; Second Epistle, Chapter III, vol. xiv. Ante-Nicene Christian Library, p. 384.)

"Women will scarce strip naked before their own husbands, affecting a plausible pretense of modesty," writes Clement of Alexandria, about the end of the second century, "but any others who wish may see them at home, shut up in their own baths, for they are not ashamed to strip before spectators, as if exposing their persons for sale. The baths are opened promiscuously to men and women; and there they strip for licentious indulgence (for, from looking, men get to loving), as if their modesty had been washed away in the bath. Those who have not become utterly destitute of modesty shut out strangers, but bathe with their own servants, and strip naked before their slaves, and are rubbed by them, giving to the crouching menial liberty to lust, by permitting fearless handling, for those who are introduced before their naked mistresses while in the bath, study to strip themselves in order to show audacity in lust, casting off fear in consequence of the wicked custom. The ancient athletes, ashamed to exhibit a man naked, preserved their modesty by going through the contest in drawers; but these women, divesting themselves of their modesty along with their chemise, wish to appear beautiful, but, contrary to their wish, are simply proved to be wicked." (Clement of Alexandria, Paedagogus, Book III, Chapter V. For elucidations of this passage, see Migne's Patrologiae Cursus Completus, vol. vii.) Promiscuous bathing was forbidden by the early Apostolical Constitutions, but Cyprian, Bishop of Carthage, found it necessary, in the third century, to upbraid even virgins vowed to chastity for continuing the custom. "What of those," he asks, "who frequent baths, who prostitute to eyes that are curious to lust, bodies that are dedicated to chastity and modesty? They who disgracefully behold naked men, and are seen naked by men? Do they not themselves afford enticement to vice? Do they not solicit and invite the desires of those present to their own corruption and wrong? 'Let every one,' say you, 'look to the disposition with which he comes thither: my care is only that of refreshing and washing my poor body.' That kind of defence does not clear you, nor does it excuse the crime of lasciviousness and wantonness. Such a washing defiles; it does not purify nor cleanse the limbs, but stains them. You behold no one immodestly, but you, yourself, are gazed upon immodestly; you do not pollute your eyes with disgraceful delight, but in delighting others you yourself are polluted; you make a show of the bathing-place; the places where you assemble are fouler than a theatre. There all modesty is put off; together with the clothing of garments, the honor and modesty of the body is laid aside, virginity is exposed, to be pointed at and to be handled.... Let your baths be performed with women, whose behavior is modest towards you." (Cyprian, De Habitu Virginum, cap. 19, 21.) The Church carried the same spirit among the barbarians of northern Europe, and several centuries later the promiscuous bathing of men and women was prohibited in some of the Penitentials. (The custom was, however, preserved here and there in Northern Europe, even to the end of the eighteenth century, or later. In Rudeck's Geschichte der oeffentlichen Sittlichkeit in Deutschland, an interesting chapter, with contemporary illustrations, is devoted to this custom; also, Max Bauer, Das Geschlechtsleben in der Deutschen Vergangenheit, pp. 216-265.)

"Women," says Clement again, "should not seek to be graceful by avoiding broad drinking vessels that oblige them to stretch their mouths, in order to drink from narrow alabastra that cause them indecently to throw back the head, revealing to men their necks and breasts. The mere thought of what she is ought to inspire a woman with modesty.... On no account must a woman be permitted to show to a man any portion of her body naked, for fear lest both fall: the one by gazing eagerly, the other by delighting to attract those eager glances." (Paedagogus, Book II, Chapter V.)

James, Bishop of Nisibis, in the fourth century, was a man of great holiness. We are told by Thedoret that once, when James had newly come into Persia, it was vouchsafed to him to perform a miracle under the following circumstances: He chanced to pass by a fountain where young women were washing their linen, and, his modesty being profoundly shocked by the exposure involved in this occupation, he cursed the fountain, which instantly dried up, and he changed the hair of the girls from black to a sandy color. (Jortin, Remarks on Ecclesiastical History, vol. iii, p. 4.)

Procopius, writing in the sixth century after Christ, and narrating how the Empress Theodora, in early life, would often appear almost naked before the public in the theatre, adds that she would willingly have appeared altogether nude, but that "no woman is allowed to expose herself altogether, unless she wears at least short drawers over the lower part of the abdomen." Chrysostom mentions, at the end of the fourth century, that Arcadius attempted to put down the August festival (Majuma), during which women appeared naked in the theatres, or swimming in large baths.

In mediaeval days, "ladies, at all events, as represented by the poets, were not, on the whole, very prudish. Meleranz surprised a lady who was taking a bath under a lime tree; the bath was covered with samite, and by it was a magnificent ivory bed, surrounded by tapestries representing the history of Paris and Helen, the destruction of Troy, the adventures of AEneas, etc. As Meleranz rides by, the lady's waiting-maids run away; she herself, however, with quick decision, raises the samite which covers the tub, and orders him to wait on her in place of the maids. He brings her shift and mantle, and shoes, and then stands aside till she is dressed; when she has placed herself on the bed, she calls him back and commands him to drive away the flies while she sleeps. Strange to say, the men are represented as more modest than the women. When two maidens prepared a bath for Parzival, and proposed to bathe him, according to custom, the inexperienced young knight was shy, and would not enter the bath until they had gone; on another occasion, he jumped quickly into bed when the maidens entered the room. When Wolfdieterich was about to undress, he had to ask the ladies who pressed around him to leave him alone for a short time, as he was ashamed they should see him naked. When Amphons of Spain, bewitched by his step-mother into a were-wolf, was at last restored, and stood suddenly naked before her, he was greatly ashamed. The maiden who healed Iwein was tender of his modesty. In his love-madness, the hero wanders for a time naked through the wood; three women find him asleep, and send a waiting-maid to annoint him with salve; when he came to himself, the maiden hid herself. On the whole, however, the ladies were not so delicate; they had no hesitation in bathing with gentlemen, and on these occasions would put their finest ornaments on their heads. I know no pictures of the twelfth and thirteenth centuries representing such a scene, but such baths in common are clearly represented in miniatures of the fifteenth century." (A. Schultz, Das Hoefische Leben zur Zeit der Minnesaenger, vol. i, p. 225.)

"In the years 1450-70, the use of the cod-piece was introduced, whereby the attributes of manhood were accentuated in the most shameless manner. It was, in fact, the avowed aim at that period to attract attention to these parts. The cod-piece was sometimes colored differently from the rest of the garments, often stuffed out to enlarge it artificially, and decorated with ribbons." (Rudeck, Geschichte der oeffentlichen Sittlichkeit in Deutschland, pp. 45-48; Dufour, Histoire de la Prostitution, vol. vi, pp. 21-23. Groos refers to the significance of this fashion, Spiele der Menschen, p. 337.)

"The first shirt began to be worn [in Germany] in the sixteenth century. From this fact, as well as from the custom of public bathing, we reach the remarkable result, that for the German people, the sight of complete nakedness was the daily rule up to the sixteenth century. Everyone undressed completely before going to bed, and, in the vapor-baths, no covering was used. Again, the dances, both of the peasants and the townspeople, were characterized by very high leaps into the air. It was the chief delight of the dancers for the male to raise his partner as high as possible in the air, so that her dress flew up. That feminine modesty was in this respect very indifferent, we know from countless references made in the fifteenth and sixteenth centuries. It must not be forgotten that throughout the middle ages women wore no underclothes, and even in the seventeenth century, the wearing of drawers by Italian women was regarded as singular. That with the disappearance of the baths, and the use of body-linen, a powerful influence was exerted on the creation of modesty, there can be little doubt." (Rudeck, op. cit., pp. 57, 399, etc.)

In 1461, when Louis XI entered Paris, three very beautiful maidens, quite naked, represented the Syrens, and declaimed poems before him; they were greatly admired by the public. In 1468, when Charles the Bold entered Lille, he was specially pleased, among the various festivities, with a representation of the Judgment of Paris, in which the three goddesses were nude. When Charles the Fifth entered Antwerp, the most beautiful maidens of the city danced before him, in nothing but gauze, and were closely contemplated by Duerer, as he told his friend, Melancthon. (B. Ritter, "Nuditaeten im Mittelalter," Jahrbuecher fuer Wissenschaft und Kunst, 1855, p. 227; this writer shows how luxury, fashion, poverty, and certain festivals, all combined to make nudity familiar; cf. Fahne, Der Carneval, p. 249. Dulaure quotes many old writers concerning the important part played by nude persons in ancient festivals, Des Divinites Generatrices, Chapter XIV.)

Passek, a Polish officer who wrote an account of his campaigns, admired the ladies of Denmark in 1658, but considered their customs immodest. "Everyone sleeps naked as at birth, and none consider it shameful to dress or undress before others. No notice, even, is taken of the guest, and in the light one garment is taken off after another, even the chemise is hung on the hook. Then the door is bolted, the light blown out, and one goes to bed. As we blamed their ways, saying that among us a woman would not act so, even in the presence of her husband alone, they replied that they knew nothing of such shame, and that there was no need to be ashamed of limbs which God had created. Moreover, to sleep without a shift was good, because, like the other garments, it sufficiently served the body during the day. Also, why take fleas and other insects to bed with one? Although our men teased them in various ways, they would not change their habits." (Passek, Denkwuerdigkeiten, German translation, p. 14.)

Until late in the seventeenth century, women in England, as well as France, suffered much in childbirth from the ignorance and superstition of incompetent midwives, owing to the prevailing conceptions of modesty, which rendered it impossible (as it is still, to some extent, in some semi-civilized lands) for male physicians to attend them. Dr. Willoughby, of Derby, tells how, in 1658, he had to creep into the chamber of a lying-in woman on his hands and knees, in order to examine her unperceived. In France, Clement was employed secretly to attend the mistresses of Louis XIV in their confinements; to the first he was conducted blindfold, while the King was concealed among the bed-curtains, and the face of the lady was enveloped in a network of lace. (E. Malins, "Midwifery and Midwives," British Medical Journal, June 22, 1901; Witkowski, Histoire des Accouchements, 1887, pp. 689 et seq.) Even until the Revolution, the examination of women in France in cases of rape or attempted outrage was left to a jury of matrons. In old English manuals of midwifery, even in the early nineteenth century, we still find much insistence on the demands of modesty. Thus, Dr. John Burns, of Glasgow, in his Principles of Midwifery, states that "some women, from motives of false delicacy, are averse from examination until the pains become severe." He adds that "it is usual for the room to be darkened, and the bed-curtains drawn close, during an examination." Many old pictures show the accoucheur groping in the dark, beneath the bed-clothes, to perform operations on women in childbirth. (A. Kind, "Das Weib als Gebaererin in der Kunst," Geschlecht und Gesellschaft, Bd. II, Heft 5, p. 203.)

In Iceland, Winkler stated in 1861 that he sometimes slept in the same room as a whole family; "it is often the custom for ten or more persons to use the same room for living in and sleeping, young and old, master and servant, male and female, and from motives of economy, all the clothes, without exception, are removed." (G. Winkler, Island; seine Bewohner, etc., pp. 107, 110.)

"At Cork," saye Fynes Moryson, in 1617, "I have seen with these eyes young maids stark naked grinding corn with certain stones to make cakes thereof." (Moryson, Itinerary, Part 3, Book III, Chapter V.)

"In the more remote parts of Ireland," Moryson elsewhere says, where the English laws and manners are unknown, "the very chief of the Irish, men as well as women, go naked in very winter-time, only having their privy parts covered with a rag of linen, and their bodies with a loose mantle. This I speak of my own experience." He goes on to tell of a Bohemian baron, just come from the North of Ireland, who "told me in great earnestness that he, coming to the house of Ocane, a great lord among them, was met at the door with sixteen women, all naked, excepting their loose mantles; whereof eight or ten were very fair, and two seemed very nymphs, with which strange sight, his eyes being dazzled, they led him into the house, and then sitting down by the fire with crossed legs, like tailors, and so low as could not but offend chaste eyes, desired him to sit down with them. Soon after, Ocane, the lord of the country, came in, all naked excepting a loose mantle, and shoes, which he put off as soon as he came in, and entertaining the baron after his best manner in the Latin tongue, desired him to put off his apparel, which he thought to be a burthen to him, and to sit naked by the fire with this naked company. But the baron... for shame, durst not put off his apparel." (Ib. Part 3, Book IV, Chapter II.)

Coryat, when traveling in Italy in the early part of the seventeenth century, found that in Lombardy many of the women and children wore only smocks, or shirts, in the hot weather. At Venice and Padua, he found that wives, widows, and maids, walk with naked breasts, many with backs also naked, almost to the middle. (Coryat, Crudities, 1611. The fashion of decollete garments, it may be remarked, only began in the fourteenth century; previously, the women of Europe generally covered themselves up to the neck.)

In Northern Italy, some years ago, a fire occurred at night in a house in which two girls were sleeping, naked, according to the custom. One threw herself out and was saved, the other returned for a garment, and was burnt to death. The narrator of the incident [a man] expressed strong approval of the more modest girl's action. (Private communication.) It may be added that the custom of sleeping naked is still preserved, also (according to Lippert and Stratz), in Jutland, in Iceland, in some parts of Norway, and sometimes even in Berlin.

Lady Mary Wortley Montague writes in 1717, of the Turkish ladies at the baths at Sophia: "The first sofas were covered with cushions and rich carpets, on which sat the ladies, and on the second, their slaves behind them, but without any distinction of rank in their dress, all being in a state of Nature; that is, in plain English, stark naked, without any beauty or defect concealed. Yet there was not the least wanton smile or immodest gesture among them. They walked and moved with the same majestic grace which Milton describes of our general mother. I am here convinced of the truth of a reflection I had often made, that if it was the fashion to go naked, the face would be hardly observed." (Letters and Works, 1866, vol. i, p. 285.)

At St. Petersburg, in 1774, Sir Nicholas Wraxall observed "the promiscuous bathing of not less than two hundred persons, of both sexes. There are several of these public bagnios," he adds, "in Petersburg, and every one pays a few copecks for admittance. There are, indeed, separate spaces for the men and women, but they seem quite regardless of this distinction, and sit or bathe in a state of absolute nudity among each other." (Sir N. Wraxall, A Tour Through Some of the Northern Parts of Europe, 3d ed., 1776, p. 248.) It is still usual for women in the country parts of Russia to bathe naked in the streams.

In 1790, Wedgwood wrote to Flaxman: "The nude is so general in the work of the ancients, that it will be very difficult to avoid the introduction of naked figures. On the other hand, it is absolutely necessary to do so, or to keep the pieces for our own use; for none, either male or female, of the present generation will take or apply them as furniture if the figures are naked." (Meteyard, Life of Wedgwood, vol. ii, p. 589.)

Mary Wollstonecraft quotes (for reprobation and not for approval) the following remarks: "The lady who asked the question whether women may be instructed in the modern system of botany, was accused of ridiculous prudery; nevertheless, if she had proposed the question to me, I should certainly have answered: 'They cannot!'" She further quotes from an educational book: "It would be needless to caution you against putting your hand, by chance, under your neck-handkerchief; for a modest woman never did so." (Mary Wollstonecraft, The Rights of Woman, 1792, pp. 277, 289.)

At the present time a knowledge of the physiology of plants is not usually considered inconsistent with modesty, but a knowledge of animal physiology is still so considered by many. Dr. H.R. Hopkins, of New York, wrote in 1895, regarding the teaching of physiology: "How can we teach growing girls the functions of the various parts of the human body, and still leave them their modesty? That is the practical question that has puzzled me for years."

In England, the use of drawers was almost unknown among women half a century ago, and was considered immodest and unfeminine. Tilt, a distinguished gynecologist of that period, advocated such garments, made of fine calico, and not to descend below the knee, on hygienic grounds. "Thus understood," he added, "the adoption of drawers will doubtless become more general in this country, as, being worn without the knowledge of the general observer, they will be robbed of the prejudice usually attached to an appendage deemed masculine." (Tilt, Elements of Health, 1852, p. 193.) Drawers came into general use among women during the third quarter of the nineteenth century.

Drawers are an Oriental garment, and seem to have reached Europe through Venice, the great channel of communication with the East. Like many other refinements of decency and cleanliness, they were at first chiefly cultivated by prostitutes, and, on this account, there was long a prejudice against them. Even at the present day, it is said that in France, a young peasant girl will exclaim, if asked whether she wears drawers: "I wear drawers, Madame? A respectable girl!" Drawers, however, quickly became acclimatized in France, and Dufour (op. cit., vol. vi, p. 28) even regards them as essentially a French garment. They were introduced at the Court towards the end of the fourteenth century, and in the sixteenth century were rendered almost necessary by the new fashion of the vertugale, or farthingale. In 1615, a lady's calecons are referred to as apparently an ordinary garment. It is noteworthy that in London, in the middle of the same century, young Mrs. Pepys, who was the daughter of French parents, usually wore drawers, which were seemingly of the closed kind. (Diary of S. Pepys, ed. Wheatley, May 15, 1663, vol. iii.) They were probably not worn by Englishwomen, and even in France, with the decay of the farthingale, they seem to have dropped out of use during the seventeenth century. In a technical and very complete book, L'Art de la Lingerie, published in 1771, women's drawers are not even mentioned, and Mercier (Tableau de Paris, 1783, vol. vii, p. 54) says that, except actresses, Parisian women do not wear drawers. Even by ballet dancers and actresses on the stage, they were not invariably worn. Camargo, the famous dancer, who first shortened the skirt in dancing, early in the eighteenth century, always observed great decorum, never showing the leg above the knee; when appealed to as to whether she wore drawers, she replied that she could not possibly appear without such a "precaution." But they were not necessarily worn by dancers, and in 1727 a young ballerina, having had her skirt accidentally torn away by a piece of stage machinery, the police issued an order that in future no actress or dancer should appear on the stage without drawers; this regulation does not appear, however, to have been long strictly maintained, though Schulz (Ueber Paris und die Pariser, p. 145) refers to it as in force in 1791. (The obscure origin and history of feminine drawers have been discussed from time to time in the Intermediaire des Chercheurs et Curieux, especially vols. xxv, lii, and liii.)

Prof. Irving Rosse, of Washington, refers to "New England prudishness," and "the colossal modesty of some New York policemen, who in certain cases want to give written, rather than oral testimony." He adds: "I have known this sentiment carried to such an extent in a Massachusetts small town, that a shop-keeper was obliged to drape a small, but innocent, statuette displayed in his window." (Irving Rosse, Virginia Medical Monthly, October, 1892.) I am told that popular feeling in South Africa would not permit the exhibition of the nude in the Art Collections of Cape Town. Even in Italy, nude statues are disfigured by the addition of tin fig-leaves, and sporadic manifestations of horror at the presence of nude statues, even when of most classic type, are liable to occur in all parts of Europe, including France and Germany. (Examples of this are recorded from time to time in Sexual-reform, published as an appendix to Geschlecht und Gesellschaft.)

Some years ago, (1898), it was stated that the Philadelphia Ladies' Home Journal had decided to avoid, in future, all reference to ladies' under-linen, because "the treatment of this subject in print calls for minutiae of detail which is extremely and pardonably offensive to refined and sensitive women."

"A man, married twenty years, told me that he had never seen his wife entirely nude. Such concealment of the external reproductive organs, by married people, appears to be common. Judging from my own inquiry, very few women care to look upon male nakedness, and many women, though not wanting in esthetic feeling, find no beauty in man's form. Some are positively repelled by the sight of nakedness, even that of a husband or lover. On the contrary, most men delight in gazing upon the uncovered figure of women. It seems that only highly-cultivated and imaginative women enjoy the spectacle of a finely-shaped nude man (especially after attending art classes, and drawing from the nude, as I am told by a lady artist). Or else the majority of women dissemble their curiosity or admiration. A woman of seventy, mother of several children, said to a young wife with whom I am acquainted: 'I have never seen a naked man in my life.' This old lady's sister confessed that she had never looked at her own nakedness in the whole course of her life. She said that it 'frightened' her. She was the mother of three sons. A maiden woman of the same family told her niece that women were 'disgusting, because they have monthly discharges.' The niece suggested that women have no choice in the matter, to which the aunt replied: 'I know that; but it doesn't make them less disgusting,' I have heard of a girl who died from haemorrhage of the womb, refusing, through shame, to make the ailment known to her family. The misery suffered by some women at the anticipation of a medical examination, appears to be very acute. Husbands have told me of brides who sob and tremble with fright on the wedding-night, the hysteria being sometimes alarming. E, aged 25, refused her husband for six weeks after marriage, exhibiting the greatest fear of his approach. Ignorance of the nature of the sexual connection is often the cause of exaggerated alarm. In Jersey, I used to hear of a bride who ran to the window and screamed 'murder,' on the wedding-night." (Private communication.)

At the present day it is not regarded as incompatible with modesty to exhibit the lower part of the thigh when in swimming costume, but it is immodest to exhibit the upper part of the thigh. In swimming competitions, a minimum of clothing must be combined with the demands of modesty. In England, the regulations of the Swimming Clubs affiliated to the Amateur Swimming Association, require that the male swimmer's costume shall extend not less than eight inches from the bifurcation downward, and that the female swimmer's costume shall extend to within not more than three inches from the knee. (A prolonged discussion, we are told, arose as to whether the costume should come to one, two, or three inches from the knee, and the proposal of the youngest lady swimmer present, that the costume ought to be very scanty, met with little approval.) The modesty of women is thus seen to be greater than that of men by, roughly speaking, about two inches. The same difference may be seen in the sleeves; the male sleeve must extend for two inches, the female sleeve four inches, down the arm. (Daily Papers, September 26, 1898.)

"At ——, bathing in a state of Nature was de rigueur for the elite of the bathers, while our Sunday visitors from the slums frequently made a great point of wearing bathing costumes; it was frequently noticed that those who were most anxious to avoid exposing their persons were distinguished by the foulness of their language. My impression was that their foul-mindedness deprived them of the consciousness of safety from coarse jests. If I were bathing alone among blackguards, I should probably feel uncomfortable myself, if without costume." (Private communication.)

A lady in a little city of the south of Italy, told Paola Lombroso that young middle-class girls there are not allowed to go out except to Mass, and cannot even show themselves at the window except under their mother's eye; yet they do not think it necessary to have a cabin when sea-bathing, and even dispense with a bathing costume without consciousness of immodesty. (P. Lombroso, Archivio di Psichiatria, 1901, p. 306.)

"A woman mentioned to me that a man came to her and told her in confidence his distress of mind: he feared he had corrupted his wife because she got into a bath in his presence, with her baby, and enjoyed his looking at her splashing about. He was deeply distressed, thinking he must have done her harm, and destroyed her modesty. The woman to whom this was said felt naturally indignant, but also it gave her the feeling as if every man may secretly despise a woman for the very things he teaches her, and only meets her confiding delight with regret or dislike." (Private communication.)

"Women will occasionally be found to hide diseases and symptoms from a bashfulness and modesty so great and perverse as to be hardly credible," writes Dr. W. Wynn Westcott, an experienced coroner. "I have known several cases of female deaths, reported as sudden, and of cause unknown, when the medical man called in during the latter hours of life has been quite unaware that his lady patient was dying of gangrene of a strangulated femoral hernia, or was bleeding to death from the bowel, or from ruptured varices of the vulva." (British Medical Journal, Feb. 29, 1908.)

The foregoing selection of facts might, of course, be indefinitely enlarged, since I have not generally quoted from any previous collection of facts bearing on the question of modesty. Such collections may be found in Ploss and Max Bartels Das Weib, a work that is constantly appearing in new and enlarged editions; Herbert Spencer, Descriptive Sociology (especially under such headings as "Clothing," "Moral Sentiments," and "AEsthetic Products"); W.G. Sumner, Folkways, Ch. XI; Mantegazza, Amori degli Uomini, Chapter II; Westermarck, Marriage, Chapter IX; Letourneau, L'Evolution de la Morale, pp. 126 et seq.; G. Mortimer, Chapters on Human Love, Chapter IV; and in the general anthropological works of Waitz-Gerland, Peschel, Ratzel and others.

FOOTNOTES:

[1] The earliest theory I have met with is that of St. Augustine, who states (De Civitate Dei, Bk. XIV, Ch. XVII) that erections of the penis never occurred until after the Fall of Man. It was the occurrence of this "shameless novelty" which made nakedness indecent. This theory fails to account for modesty in women.

[2] Guyau, L'Irreligion de l'Avenir, Ch. VII.

[3] Timidity, as understood by Dugas, in his interesting essay on that subject, is probably most remote. Dr. H. Campbell's "morbid shyness" (British Medical Journal, September 26, 1896) is, in part, identical with timidity, in part, with modesty. The matter is further complicated by the fact that modesty itself has in English (like virtue) two distinct meanings. In its original form it has no special connection with sex or women, but may rather be considered as a masculine virtue. Cicero regards "modestia" as the equivalent of the Greek sophrosune. This is the "modesty" which Mary Wollstonecraft eulogized in the last century, the outcome of knowledge and reflection, "soberness of mind," "the graceful calm virtue of maturity." In French, it is possible to avoid the confusion, and modestie is entirely distinct from pudeur. It is, of course, mainly with pudeur that I am here concerned.



II.

Modesty an Agglomeration of Fears—Children in Relation to Modesty—Modesty in Animals—The Attitude of the Medicean Venus—The Sexual Factor of Modesty Based on Sexual Periodicity and on the Primitive Phenomena of Courtship—The Necessity of Seclusion in Primitive Sexual Intercourse—The Meaning of Coquetry—The Sexual Charm of Modesty—Modesty as an Expression of Feminine Erotic Impulse—The Fear of Causing Disgust as a Factor of Modesty—The Modesty of Savages in Regard to Eating in the Presence of Others—The Sacro-Pubic Region as a Focus of Disgust—The Idea of Ceremonial Uncleanliness—The Custom of Veiling the Face—Ornaments and Clothing—Modesty Becomes Concentrated in the Garment—The Economic Factor in Modesty—The Contribution of Civilization to Modesty—The Elaboration of Social Ritual.

That modesty—like all the closely-allied emotions—is based on fear, one of the most primitive of the emotions, seems to be fairly evident.[4] The association of modesty and fear is even a very ancient observation, and is found in the fragments of Epicharmus, while according to one of the most recent definitions, "modesty is the timidity of the body." Modesty is, indeed, an agglomeration of fears, especially, as I hope to show, of two important and distinct fears: one of much earlier than human origin, and supplied solely by the female; the other of more distinctly human character, and of social, rather than sexual, origin.

A child left to itself, though very bashful, is wholly devoid of modesty.[5] Everyone is familiar with the shocking inconvenances of children in speech and act, with the charming ways in which they innocently disregard the conventions of modesty their elders thrust upon them, or, even when anxious to carry them out, wholly miss the point at issue: as when a child thinks that to put a little garment round the neck satisfies the demands of modesty. Julius Moses states that modesty in the uncovering of the sexual parts begins about the age of four. But in cases when this occurs it is difficult to exclude teaching and example. Under civilized conditions the convention of modesty long precedes its real development. Bell has found that in love affairs before the age of nine the girl is more aggressive than the boy and that at that age she begins to be modest.[6] It may fairly be said that complete development of modesty only takes place at the advent of puberty.[7] We may admit, with Perez, one of the very few writers who touch on the evolution of this emotion, that modesty may appear at a very early age if sexual desire appears early.[8] We should not, however, be justified in asserting that on this account modesty is a purely sexual phenomenon. The social impulses also develop about puberty, and to that coincidence the compound nature of the emotion of modesty may well be largely due.

The sexual factor is, however, the simplest and most primitive element of modesty, and may, therefore, be mentioned first. Anyone who watches a bitch, not in heat, when approached by a dog with tail wagging gallantly, may see the beginnings of modesty. When the dog's attentions become a little too marked, the bitch squats firmly down on the front legs and hind quarters though when the period of oestrus comes her modesty may be flung to the air and she eagerly turns her hind quarters to her admirer's nose and elevates her tail high in the air. Her attitude of refusal is equivalent, that is to say, to that which in the human race is typified by the classical example of womanly modesty in the Medicean Venus, who withdraws the pelvis, at the same time holding one hand to guard the pubes, the other to guard the breasts.[9] The essential expression in each case is that of defence of the sexual centers against the undesired advances of the male.[10]

Stratz, who criticizes the above statement, argues (with photographs of nude women in illustration) that the normal type of European surprised modesty is shown by an attitude in which the arms are crossed over the breast, the most sexually attractive region, while the thighs are pressed together, one being placed before the other, the shoulder raised and the back slightly curved; occasionally, he adds, the hands may be used to cover the face, and then the crossed arms conceal the breasts. The Medicean Venus, he remarks, is only a pretty woman coquetting with her body. Canova's Venus in the Pitti (who has drapery in front of her, and presses her arms across her breast) being a more accurate rendering of the attitude of modesty. But Stratz admits that when a surprised woman is gazed at for some time, she turns her head away, sinks or closes her eyes, and covers her pubes (or any other part she thinks is being gazed at) with one hand, while with the other she hides her breast or face. This he terms the secondary expression of modesty. (Stratz, Die Frauenkleidung, third ed., p. 23.)

It is certainly true that the Medicean Venus merely represents an artistic convention, a generalized tradition, not founded on exact and precise observation of the gestures of modesty, and it is equally true that all the instinctive movements noted by Stratz are commonly resorted to by a woman whose nakedness is surprised. But in the absence of any series of carefully recorded observations, one may doubt whether the distinction drawn by Stratz between the primary and the secondary expression of modesty can be upheld as the general rule, while it is most certainly not true for every case. When a young woman is surprised in a state of nakedness by a person of the opposite, or even of the same, sex, it is her instinct to conceal the primary centers of sexual function and attractiveness, in the first place, the pubes, in the second place the breasts. The exact attitude and the particular gestures of the hands in achieving the desired end vary with the individual, and with the circumstances. The hand may not be used at all as a veil, and, indeed, the instinct of modesty itself may inhibit the use of the hand for the protection of modesty (to turn the back towards the beholder is often the chief impulse of blushing modesty, even when clothed), but the application of the hand to this end is primitive and natural. The lowly Fuegian woman, depicted by Hyades and Deniker, who holds her hand to her pubes while being photographed, is one at this point with the Roman Venus described by Ovid (Ars Amatoria, Book II):—

"Ipsa Venus pubem, quoties velamnia ponit, Protegitur laeva semireducta manus."

It may be added that young men of the lower social classes, at all events in England, when bathing at the seaside in complete nudity, commonly grasp the sexual organs with one hand, for concealment, as they walk up from the sea.

The sexual modesty of the female animal is rooted in the sexual periodicity of the female, and is an involuntary expression of the organic fact that the time for love is not now. Inasmuch as this fact is true of the greater part of the lives of all female animals below man, the expression itself becomes so habitual that it even intrudes at those moments when it has ceased to be in place. We may see this again illustrated in the bitch, who, when in heat, herself runs after the male, and again turns to flee, perhaps only submitting with much persuasion to his embrace. Thus, modesty becomes something more than a mere refusal of the male; it becomes an invitation to the male, and is mixed up with his ideas of what is sexually desirable in the female. This would alone serve to account for the existence of modesty as a psychical secondary sexual character. In this sense, and in this sense only, we may say, with Colin Scott, that "the feeling of shame is made to be overcome," and is thus correlated with its physical representative, the hymen, in the rupture of which, as Groos remarks, there is, in some degree, a disruption also of modesty. The sexual modesty of the female is thus an inevitable by-product of the naturally aggressive attitude of the male in sexual relationships, and the naturally defensive attitude of the female, this again being founded on the fact that, while—in man and the species allied to him—the sexual function in the female is periodic, and during most of life a function to be guarded from the opposite sex, in the male it rarely or never needs to be so guarded.[11]

Both male and female, however, need to guard themselves during the exercise of their sexual activities from jealous rivals, as well as from enemies who might take advantage of their position to attack them. It is highly probable that this is one important sexual factor in the constitution of modesty, and it helps to explain how the male, not less than the female, cultivates modesty, and shuns publicity, in the exercise of sexual functions. Northcote has especially emphasized this element in modesty, as originating in the fear of rivals. "That from this seeking after secrecy from motives of fear should arise an instinctive feeling that the sexual act must always be hidden, is a natural enough sequence. And since it is not a long step between thinking of an act as needing concealment and thinking of it as wrong, it is easily conceivable that sexual intercourse comes to be regarded as a stolen and therefore, in some degree, a sinful pleasure."[12]

Animals in a state of nature usually appear to seek seclusion for sexual intercourse, although this instinct is lost under domestication. Even the lowest savages, also, if uncorrupted by civilized influences, seek the solitude of the forest or the protection of their huts for the same purpose; the rare cases in which coitus is public seem usually to involve a ceremonial or social observance, rather than mere personal gratification. At Loango, for instance, it would be highly improper to have intercourse in an exposed spot; it must only be performed inside the hut, with closed doors, at night, when no one is present.[13]

It is on the sexual factor of modesty, existing in a well-marked form even among animals, that coquetry is founded. I am glad to find myself on this point in agreement with Professor Groos, who, in his elaborate study of the play-instinct, has reached the same conclusion. So far from being the mere heartless play by which a woman shows her power over a man, Groos points out that coquetry possesses "high biological and psychological significance," being rooted in the antagonism between the sexual instinct and inborn modesty. He refers to the roe, who runs away from the stag—but in a circle. (Groos, Die Spiele der Menschen, 1899, p. 339; also the same author's Die Spiele der Thiere, pp. 288 et seq.) Another example of coquetry is furnished by the female kingfisher (Alcedo ispida), which will spend all the morning in teasing and flying away from the male, but is careful constantly to look back, and never to let him out of her sight. (Many examples are given by Buechner, in Liebe und Liebesleben in der Tierwelt.) Robert Mueller (Sexualbiologie, p. 302) emphasizes the importance of coquetry as a lure to the male.

"It is quite true," a lady writes to me in a private letter, "that 'coquetry is a poor thing,' and that every milkmaid can assume it, but a woman uses it principally in self-defence, while she is finding out what the man himself is like." This is in accordance with the remark of Marro, that modesty enables a woman "to put lovers to the test, in order to select him who is best able to serve the natural ends of love." It is doubtless the necessity for this probationary period, as a test of masculine qualities, which usually leads a woman to repel instinctively a too hasty and impatient suitor, for, as Arthur Macdonald remarks, "It seems to be instinctive in young women to reject the impetuous lover, without the least consideration of his character, ability, and fitness."

This essential element in courtship, this fundamental attitude of pursuer and pursued, is clearly to be seen even in animals and savages; it is equally pronounced in the most civilized men and women, manifesting itself in crude and subtle ways alike. Shakespeare's Angelo, whose virtue had always resisted the temptations of vice, discovered at last that

"modesty may more betray our sense Than woman's lightness."

"What," asked the wise Montaigne, "is the object of that virginal shame, that sedate coldness, that severe countenance, that pretence of not knowing things which they understand better than we who teach them, except to increase in us the desire to conquer and curb, to trample under our appetite, all that ceremony and those obstacles? For there is not only matter for pleasure, but for pride also, in ruffling and debauching that soft sweetness and infantine modesty."[14] The masculine attitude in the face of feminine coyness may easily pass into a kind of sadism, but is nevertheless in its origin an innocent and instinctive impulse. Restif de la Bretonne, describing his own shame and timidity as a pretty boy whom the girls would run after and kiss, adds: "It is surprising that at the same time I would imagine the pleasure I should have in embracing a girl who resisted, in inspiring her with timidity, in making her flee and in pursuing her; that was a part which I burned to play."[15] It is the instinct of the sophisticated and the unsophisticated alike. The Arabs have developed an erotic ideal of sensuality, but they emphasize the importance of feminine modesty, and declare that the best woman is "she who sees not men and whom they see not."[16] This deep-rooted modesty of women towards men in courtship is intimately interwoven with the marriage customs and magic rites of even the most primitive peoples, and has survived in many civilized practices to-day.[17] The prostitute must be able to simulate the modesty she may often be far from feeling, and the immense erotic advantage of the innocent over the vicious woman lies largely in the fact that in her the exquisite reactions of modesty are fresh and vigorous. "I cannot imagine anything that is more sexually exciting," remarks Hans Menjago, "than to observe a person of the opposite sex, who, by some external or internal force, is compelled to fight against her physical modesty. The more modest she is the more sexually exciting is the picture she presents."[18] It is notable that even in abnormal, as well as in normal, erotic passion the desire is for innocent and not for vicious women, and, in association with this, the desired favor to be keenly relished must often be gained by sudden surprise and not by mutual agreement. A foot fetichist writes to me: "It is the stolen glimpse of a pretty foot or ankle which produces the greatest effect on me." A urolagnic symbolist was chiefly excited by the act of urination when he caught a young woman unawares in the act. A fetichistic admirer of the nates only desired to see this region in innocent girls, not in prostitutes. The exhibitionist, almost invariably, only exposes himself to apparently respectable girls.

A Russian correspondent, who feels this charm of women in a particularly strong degree, is inclined to think that there is an element of perversity in it. "In the erotic action of the idea of feminine enjoyment," he writes, "I think there are traces of a certain perversity. In fact, owing to the impressions of early youth, woman (even if we feel contempt for her in theory) is placed above us, on a certain pedestal, as an almost sacred being, and the more so because mysterious. Now sensuality and sexual desire are considered as rather vulgar, and a little dirty, even ridiculous and degrading, not to say bestial. The woman who enjoys it, is, therefore, rather like a profaned altar, or, at least, like a divinity who has descended on to the earth. To give enjoyment to a woman is, therefore, like perpetrating a sacrilege, or at least like taking a liberty with a god. The feelings bequeathed to us by a long social civilization maintain themselves in spite of our rational and deliberate opinions. Reason tells us that there is nothing evil in sexual enjoyment, whether in man or woman, but an unconscious feeling directs our emotions, and this feeling (having a germ that was placed in modern men by Christianity, and perhaps by still older religions) says that woman ought to be an absolutely pure being, with ethereal sensations, and that in her sexual enjoyment is out of place, improper, scandalous. To arouse sexual emotions in a woman, if not to profane a sacred host, is, at all events, the staining of an immaculate peplos; if not sacrilege, it is, at least, irreverence or impertinence. For all men, the chaster a woman is, the more agreeable it is to bring her to the orgasm. That is felt as a triumph of the body over the soul, of sin over virtue, of earth over heaven. There is something diabolic in such pleasure, especially when it is felt by a man intoxicated with love, and full of religious respect for the virgin of his election. This feeling is, from a rational point of view, absurd, and in its tendencies, immoral; but it is delicious in its sacredly voluptuous subtlety. Defloration thus has its powerful fascination in the respect consciously or unconsciously felt for woman's chastity. In marriage, the feeling is yet more complicated: in deflowering his bride, the Christian (that is, any man brought up in a Christian civilization) has the feeling of committing a sort of sin (for the 'flesh' is, for him, always connected with sin) which, by a special privilege, has for him become legitimate. He has received a special permit to corrupt innocence. Hence, the peculiar prestige for civilized Christians, of the wedding night, sung by Shelley, in ecstatic verses:—

"'Oh, joy! Oh, fear! What will be done In the absence of the sun!'"

This feeling has, however, its normal range, and is not, per se, a perversity, though it may doubtless become so when unduly heightened by Christian sentiment, and especially if it leads, as to some extent it has led in my Russian correspondent, to an abnormal feeling of the sexual attraction of girls who have only or scarcely reached the age of puberty. The sexual charm of this period of girlhood is well illustrated in many of the poems of Thomas Ashe, and it is worthy of note, as perhaps supporting the contention that this attraction is based on Christian feeling, that Ashe had been a clergyman. An attentiveness to the woman's pleasure remains, in itself, very far from a perversion, but increases, as Colin Scott has pointed out, with civilization, while its absence—the indifference to the partner's pleasure—is a perversion of the most degraded kind.

There is no such instinctive demand on the woman's part for innocence in the man.[19] In the nature of things that could not be. Such emotion is required for properly playing the part of the pursued; it is by no means an added attraction on the part of the pursuer. There is, however, an allied and corresponding desire which is very often clearly or latently present in the woman: a longing for pleasure that is stolen or forbidden. It is a mistake to suppose that this is an indication of viciousness or perversity. It appears to be an impulse that occurs quite naturally in altogether innocent women. The exciting charm of the risky and dangerous naturally arises on a background of feminine shyness and timidity. We may trace its recognition at a very early stage of history in the story of Eve and the forbidden fruit that has so often been the symbol of the masculine organs of sex. It is on this ground that many have argued the folly of laying external restrictions on women in matters of love. Thus in quoting the great Italian writer who afterwards became Pope Pius II, Robert Burton remarked: "I am of AEneas Sylvius' mind, 'Those jealous Italians do very ill to lock up their wives; for women are of such a disposition they will mostly covet that which is denied most, and offend least when they have free liberty to trespass.'"[20]

It is the spontaneous and natural instinct of the lover to desire modesty in his mistress, and by no means any calculated opinion on his part that modesty is the sign of sexual emotion. It remains true, however, that modesty is an expression of feminine erotic impulse. We have here one of the instances, of which there, are so many, of that curious and instinctive harmony by which Nature has sought the more effectively to bring about the ends of courtship. As to the fact itself there can be little doubt. It constantly forces itself on the notice of careful observers, and has long been decided in the affirmative by those who have discussed the matter. Venette, one of the earliest writers on the psychology of sex, after discussing the question at length, decided that the timid woman is a more ardent lover than the bold woman.[21] "It is the most pudent girl," remarked Restif de la Bretonne whose experience of women was so extensive, "the girl who blushes most, who is most disposed to the pleasures of love," he adds that, in girls and boys alike, shyness is a premature consciousness of sex.[22] This observation has even become embodied in popular proverbs. "Do as the lasses do—say no, but take it," is a Scotch saying, to which corresponds the Welsh saying, "The more prudish the more unchaste."[23]

It is not, at first, quite clear why an excessively shy and modest woman should be the most apt for intimate relationships with a man, and in such a case the woman is often charged with hypocrisy. There is, however, no hypocrisy in the matter. The shy and reserved woman holds herself aloof from intimacy in ordinary friendship, because she is acutely sensitive to the judgments of others, and fears that any seemingly immodest action may make an unfavorable opinion. With a lover, however, in whose eyes she feels assured that her actions can not be viewed unfavorably, these barriers of modesty fall down, and the resulting intimacy becomes all the more fascinating to the woman because of its contrast with the extreme reserve she is impelled to maintain in other relationships. It thus happens that many modest women who, in non-sexual relationships with their own sex, are not able to act with the physical unreserve not uncommon with women among themselves, yet feel no such reserve with a man, when they are once confident of his good opinion. Much the same is true of modest and sensitive men in their relations with women.

This fundamental animal factor of modesty, rooted in the natural facts of the sexual life of the higher mammals, and especially man, obviously will not explain all the phenomena of modesty. We must turn to the other great primary element of modesty, the social factor.

We cannot doubt that one of the most primitive and universal of the social characteristics of man is an aptitude for disgust, founded, as it is, on a yet more primitive and animal aptitude for disgust, which has little or no social significance. In nearly all races, even the most savage, we seem to find distinct traces of this aptitude for disgust in the presence of certain actions of others, an emotion naturally reflected in the individual's own actions, and hence a guide to conduct. Notwithstanding our gastric community of disgust with lower animals, it is only in man that this disgust seems to become transformed and developed, to possess a distinctly social character, and to serve as a guide to social conduct.[24] The objects of disgust vary infinitely according to the circumstances and habits of particular races, but the reaction of disgust is fundamental throughout.

The best study of the phenomena of disgust known to me is, without doubt, Professor Richet's.[25] Richet concludes that it is the dangerous and the useless which evoke disgust. The digestive and sexual excretions and secretions, being either useless or, in accordance with widespread primitive ideas, highly dangerous, the genito-anal region became a concentrated focus of disgust.[26] It is largely for this reason, no doubt, that savage men exhibit modesty, not only toward women, but toward their own sex, and that so many of the lowest savages take great precautions in obtaining seclusion for the fulfillment of natural functions. The statement, now so often made, that the primary object of clothes is to accentuate, rather than to conceal, has in it—as I shall point out later—a large element of truth, but it is by no means a complete account of the matter. It seems difficult not to admit that, alongside the impulse to accentuate sexual differences, there is also in both men and women a genuine impulse to concealment among the most primitive peoples, and the invincible repugnance often felt by savages to remove the girdle or apron, is scarcely accounted for by the theory that it is solely a sexual lure.

In this connection it seems to me instructive to consider a special form of modesty very strongly marked among savages in some parts of the world. I refer to the feeling of immodesty in eating. Where this feeling exists, modesty is offended when one eats in public; the modest man retires to eat. Indecency, said Cook, was utterly unknown among the Tahitians; but they would not eat together; even brothers and sisters had their separate baskets of provisions, and generally sat some yards apart, with their backs to each other, when they ate.[27] The Warrua of Central Africa, Cameron found, when offered a drink, put up a cloth before their faces while they swallowed it, and would not allow anyone to see them eat or drink; so that every man or woman must have his own fire and cook for himself.[28] Karl von den Steinen remarks, in his interesting book on Brazil, that though the Bakairi of Central Brazil have no feeling of shame about nakedness, they are ashamed to eat in public; they retire to eat, and hung their heads in shame-faced confusion when they saw him innocently eat in public. Hrolf Vaughan Stevens found that, when he gave an Orang Laut (Malay) woman anything to eat, she not only would not eat it if her husband were present, but if any man were present she would go outside before eating or giving her children to eat.[29] Thus among these peoples the act of eating in public produces the same feelings as among ourselves the indecent exposure of the body in public.[30]

It is quite easy to understand how this arises. Whenever there is any pressure on the means of subsistence, as among savages at some time or another there nearly always is, it must necessarily arouse a profound and mixed emotion of desire and disgust to see another person putting into his stomach what one might just as well have put into one's own.[31] The special secrecy sometimes observed by women is probably due to the fact that women would be less able to resist the emotions that the act of eating would arouse in onlookers. As social feeling develops, a man desires not only to eat in safety, but also to avoid being an object of disgust, and to spare his friends all unpleasant emotions. Hence it becomes a requirement of ordinary decency to eat in private. A man who eats in public becomes—like the man who in our cities exposes his person in public—an object of disgust and contempt.

Long ago, when a hospital student on midwifery duty in London slums, I had occasion to observe that among the women of the poor, and more especially in those who had lost the first bloom of youth, modesty consisted chiefly in the fear of being disgusting. There was an almost pathetic anxiety, in the face of pain and discomfort, not to be disgusting in the doctor's eyes. This anxiety expressed itself in the ordinary symptoms of modesty. But, as soon as the woman realized that I found nothing disgusting in whatever was proper and necessary to be done under the circumstances, it almost invariably happened that every sign of modesty at once disappeared.[32] In the special and elementary conditions of parturition, modesty is reduced to this one fear of causing disgust; so that, when that is negated, the emotion is non-existent, and the subject becomes, without effort, as direct and natural as a little child. A fellow-student on similar duty, who also discovered for himself the same character of modesty—that if he was careful to guard her modesty the woman was careful also, and that if he was not the woman was not—remarked on it to me with sadness; it seemed to him derogatory to womanhood that what he had been accustomed to consider its supreme grace should be so superficial that he could at will set limits to it.[33] I thought then, as I think still, that that was rather a perversion of the matter, and that nothing becomes degrading because we happen to have learned something about its operations. But I am more convinced than ever that the fear of causing disgust—a fear quite distinct from that of losing a sexual lure or breaking a rule of social etiquette—plays a very large part in the modesty of the more modest sex, and in modesty generally. Our Venuses, as Lucretius long since remarked and Montaigne after him, are careful to conceal from their lovers the vita postscenia, and that fantastic fate which placed so near together the supreme foci of physical attraction and physical repugnance, has immensely contributed to build up all the subtlest coquetries of courtship. Whatever stimulates self-confidence and lulls the fear of evoking disgust—whether it is the presence of a beloved person in whose good opinion complete confidence is felt, or whether it is merely the grosser narcotizing influence of a slight degree of intoxication—always automatically lulls the emotion of modesty.[34] Together with the animal factor of sexual refusal, this social fear of evoking disgust seems to me the most fundamental element in modesty.

It is, of course, impossible to argue that the fact of the sacro-pubic region of the body being the chief focus of concealment proves the importance of this factor of modesty. But it may fairly be argued that it owes this position not merely to being the sexual centre, but also as being the excretory centre. Even among many lower mammals, as well as among birds and insects, there is a well-marked horror of dirt, somewhat disguised by the varying ways in which an animal may be said to define "dirt." Many animals spend more time and energy in the duties of cleanliness than human beings, and they often show well-marked anxiety to remove their own excrement, or to keep away from it.[35] Thus this element of modesty also may be said to have an animal basis.

It is on this animal basis that the human and social fear of arousing disgust has developed. Its probably wide extension is indicated not only by the strong feeling attached to the constant presence of clothing on this part of the body,—such constant presence being quite uncalled for if the garment or ornament is merely a sort of sexual war-paint,—but by the repugnance felt by many savages very low down in the scale to the public satisfaction of natural needs, and to their more than civilized cleanliness in this connection;[36] it is further of interest to note that in some parts of the world the covering is not in front, but behind; though of this fact there are probably other explanations. Among civilized people, also, it may be added, the final and invincible seat of modesty is sometimes not around the pubes, but the anus; that is to say, that in such cases the fear of arousing disgust is the ultimate and most fundamental element of modesty.[37]

The concentration of modesty around the anus is sometimes very marked. Many women feel so high a degree of shame and reserve with regard to this region, that they are comparatively indifferent to an anterior examination of the sexual organs. A similar feeling is not seldom found in men. "I would permit of an examination of my genitals by a medical man, without any feeling of discomfort," a correspondent writes, "but I think I would rather die than submit to any rectal examination." Even physicians have been known to endure painful rectal disorders for years, rather than undergo examination.

"Among ordinary English girls," a medical correspondent writes, "I have often noticed that the dislike and shame of allowing a man to have sexual intercourse with them, when newly married, is simply due to the fact that the sexual aperture is so closely apposed to the anus and bladder. If the vulva and vagina were situated between a woman's shoulder blades, and a man had a separate instrument for coitus, not used for any excretory purpose, I do not think women would feel about intercourse as they sometimes do. Again, in their ignorance of anatomy, women often look upon the vagina and womb as part of the bowel and its exit of discharge, and sometimes say, for instance, 'inflammation of the bowel', when they mean womb. Again, many, perhaps most, women believe that they pass water through the vagina, and are ignorant of the existence of the separate urethral orifice. Again, women associate the vulva with the anus, and so feel ashamed of it; even when speaking to their husbands, or to a doctor, or among themselves; they have absolutely no name for the vulva (I mean among the upper classes, and people of gentle birth), but speak of it as 'down below,' 'low down,' etc."

Even though this feeling is largely based on wrong and ignorant ideas, it must still be recognized that it is to some extent natural and inevitable. "How much is risked," exclaims Dugas, "in the privacies of love! The results may be disillusion, disgust, the consciousness of physical imperfection, of brutality or coldness, of aesthetic disenchantment, of a sentimental shock, seen or divined. To be without modesty, that is to say, to have no fear of the ordeals of love, one must be sure of one's self, of one's grace, of one's physical emotions, of one's feelings, and be sure, moreover, of the effect of all these on the nerves, the imagination, and the heart of another person. Let us suppose modesty reduced to aesthetic discomfort, to a woman's fear of displeasing, or of not seeming beautiful enough. Even thus defined, how can modesty avoid being always awake and restless? What woman could repeat, without risk, the tranquil action of Phryne? And even in that action, who knows how much may not have been due to mere professional insolence!" (Dugas, "La Pudeur," Revue Philosophique, November, 1903.) "Men and Women," Schurtz points out (Altersklassen und Maennerbuende, pp. 41-51), "have certainly the capacity mutually to supplement and enrich each other; but when this completion fails, or is not sought, the difference may easily become a strong antipathy;" and he proceeds to develop the wide-reaching significance of this psychic fact.

I have emphasized the proximity of the excretory centres to the sexual focus in discussing this important factor of modesty, because, in analyzing so complex and elusive an emotion as modesty it is desirable to keep as near as possible to the essential and fundamental facts on which it is based. It is scarcely necessary to point out that, in ordinary civilized society, these fundamental facts are not usually present at the surface of consciousness and may even be absent altogether; on the foundation of them may arise all sorts of idealized fears, of delicate reserves, of aesthetic refinements, as the emotions of love become more complex and more subtle, and the crude simplicity of the basis on which they finally rest becomes inevitably concealed.

Another factor of modesty, which reaches a high development in savagery, is the ritual element, especially the idea of ceremonial uncleanness, based on a dread of the supernatural influences which the sexual organs and functions are supposed to exert. It may be to some extent rooted in the elements already referred to, and it leads us into a much wider field than that of modesty, so that it is only necessary to touch slightly on it here; it has been exhaustively studied by Frazer and by Crawley. Offences against the ritual rendered necessary by this mysterious dread, though more serious than offences against sexual reticence or the fear of causing disgust, are so obviously allied that they all reinforce one another and cannot easily be disentangled.

Nearly everywhere all over the world at a primitive stage of thought, and even to some extent in the highest civilization, the sight of the sexual organs or of the sexual act, the image or even the names of the sexual parts of either man or woman, are believed to have a curiously potent influence, sometimes beneficent, but quite as often maleficent. The two kinds of influence may even be combined, and Riedel, quoted by Ploss and Bartels,[38] states that the Ambon islanders carve a schematic representation of the vulva on their fruit trees, in part to promote the productiveness of the trees, and in part to scare any unauthorized person who might be tempted to steal the fruit. The precautions prescribed as regards coitus at Loango[39] are evidently associated with religious fears. In Ceylon, again (as a medical correspondent there informs me), where the penis is worshipped and held sacred, a native never allows it to be seen, except under compulsion, by a doctor, and even a wife must neither see it nor touch it nor ask for coitus, though she must grant as much as the husband desires. All savage and barbarous peoples who have attained any high degree of ceremonialism have included the functions not only of sex, but also of excretion, more or less stringently within the bounds of that ceremonialism.[40] It is only necessary to refer to the Jewish ritual books of the Old Testament, to Hesiod, and to the customs prevalent among Mohammedan peoples. Modesty in eating, also, has its roots by no means only in the fear of causing disgust, but very largely in this kind of ritual, and Crawley has shown how numerous and frequent among primitive peoples are the religious implications of eating and drinking.[41] So profound is this dread of the sacred mystery of sex, and so widespread is the ritual based upon it, that some have imagined that here alone we may find the complete explanation of modesty, and Salomon Reinach declares that "at the origin of the emotion of modesty lies a taboo."[42]

Durkheim ("La Prohibition de l'Inceste," L'Annee Sociologique, 1898, p. 50), arguing that whatever sense of repugnance women may inspire must necessarily reach the highest point around the womb, which is hence subjected to the most stringent taboo, incidentally suggests that here is an origin of modesty. "The sexual organs must be veiled at an early period, to prevent the dangerous effluvia which they give off from reaching the environment. The veil is often a method of intercepting magic action. Once constituted, the practice would be maintained and transformed."

It was doubtless as a secondary and derived significance that the veil became, as Reinach ("Le Voile de l'Oblation," op. cit., pp. 299-311) shows it was, alike among the Romans and in the Catholic Church, the sign of consecration to the gods.

At an early stage of culture, again, menstruation is regarded as a process of purification, a dangerous expulsion of vitiated humors. Hence the term katharsis applied to it by the Greeks. Hence also the mediaeval view of women: "Mulier speciosa templum aedificatum super cloacam," said Boethius. The sacro-pubic region in women, because it includes the source of menstruation, thus becomes a specially heightened seat of taboo. According to the Mosiac law (Leviticus, Chapter XX, v. 18), if a man uncovered a menstruating woman, both were to be cut off.

It is probable that the Mohammedan custom of veiling the face and head really has its source solely in another aspect of this ritual factor of modesty. It must be remembered that this custom is not Mohammedan in its origin, since it existed long previously among the Arabians, and is described by Tertullian.[43] In early Arabia very handsome men also veiled their faces, in order to preserve themselves from the evil eye, and it has been conjectured with much probability that the origin of the custom of women veiling their faces may be traced to this magico-religious precaution.[44] Among the Jews of the same period, according to Buechler,[45] the women had their heads covered and never cut their hair; to appear in the streets without such covering would be like a prostitute and was adequate ground for divorce; adulterous women were punished by uncovering their heads and cutting their hair. It is possible, though not certain, that St. Paul's obscure injunction to women to cover their heads "because of the angels," may really be based on the ancient reason, that when uncovered they would be exposed to the wanton assaults of spirits (1 Corinthians, Ch. XI, vv. 5-6),[46] exactly as Singhalese women believe that they must keep the vulva covered lest demons should have intercourse with them. Even at the present day St. Paul's injunction is still observed by Christendom, which is, however, far from accepting, or even perhaps understanding, the folk-lore ground on which are based such injunctions.

Crawley thus summarizes some of the evidence concerning the significance of the veil:—

"Sexual shyness, not only in woman, but in man, is intensified at marriage, and forms a chief feature of the dangerous sexual properties mutually feared. When fully ceremonial, the idea takes on the meaning that satisfaction of these feelings will lead to their neutralization, as, in fact, it does. The bridegroom in ancient Sparta supped on the wedding night at the men's mess, and then visited his bride, leaving her before daybreak. This practice was continued, and sometimes children were born before the pair had ever seen each other's faces by day. At weddings in the Babar Islands, the bridegroom has to hunt for his bride in a darkened room. This lasts a good while if she is shy. In South Africa, the bridegroom may not see his bride till the whole of the marriage ceremonies have been performed. In Persia, a husband never sees his wife till he has consummated the marriage. At marriages in South Arabia, the bride and bridegroom have to sit immovable in the same position from noon till midnight, fasting, in separate rooms. The bride is attended by ladies, and the groom by men. They may not see each other till the night of the fourth day. In Egypt, the groom cannot see the face of his bride, even by a surreptitious glance, till she is in his absolute possession. Then comes the ceremony, which he performs, of uncovering her face. In Egypt, of course, this has been accentuated by the seclusion and veiling of women. In Morocco, at the feast before the marriage, the bride and groom sit together on a sort of throne; all the time, the poor bride's eyes are firmly closed, and she sits amidst the revelry as immovable as a statue. On the next day is the marriage. She is conducted after dark to her future home, accompanied by a crowd with lanterns and candles. She is led with closed eyes along the street by two relatives, each holding one of her hands. The bride's head is held in its proper position by a female relative, who walks behind her. She wears a veil, and is not allowed to open her eyes until she is set on the bridal bed, with a girl friend beside her. Amongst the Zulus, the bridal party proceeds to the house of the groom, having the bride hidden amongst them. They stand facing the groom, while the bride sings a song. Her companions then suddenly break away, and she is discovered standing in the middle, with a fringe of beads covering her face. Amongst the people of Kumaun, the husband sees his wife first after the joining of hands. Amongst the Bedui of North East Africa, the bride is brought on the evening of the wedding-day by her girl friends, to the groom's house. She is closely muffled up. Amongst the Jews of Jerusalem, the bride, at the marriage ceremony, stands under the nuptial canopy, her eyes being closed, that she may not behold the face of her future husband before she reaches the bridal chamber. In Melanesia, the bride is carried to her new home on some one's back, wrapped in many mats, with palm-fans held about her face, because she is supposed to be modest and shy. Among the Damaras, the groom cannot see his bride for four days after marriage. When a Damara woman is asked in marriage, she covers her face for a time with the flap of a headdress made for this purpose. At the Thlinkeet marriage ceremony, the bride must look down, and keep her head bowed all the time; during the wedding-day, she remains hiding in a corner of the house, and the groom is forbidden to enter. At a Yezedee marriage, the bride is covered from head to foot with a thick veil, and when arrived at her new home, she retires behind a curtain in the corner of a darkened room, where she remains for three days before her husband is permitted to see her. In Corea, the bride has to cover her face with her long sleeves, when meeting the bridegroom at the wedding. The Manchurian bride uncovers her face for the first time when she descends from the nuptial couch. It is dangerous even to see dangerous persons. Sight is a method of contagion in primitive science, and the idea coincides with the psychological aversion to see dangerous things, and with sexual shyness and timidity. In the customs noticed, we can distinguish the feeling that it is dangerous to the bride for her husband's eyes to be upon her, and the feeling of bashfulness in her which induces her neither to see him nor to be seen by him. These ideas explain the origin of the bridal veil and similar concealments. The bridal veil is used, to take a few instances, in China, Burmah, Corea, Russia, Bulgaria, Manchuria, and Persia, and in all these cases it conceals the face entirely." (E. Crawley, The Mystic Rose, pp. 328 et seq.)

Alexander Walker, writing in 1846, remarks: "Among old-fashioned people, of whom a good example may be found in old country people of the middle class in England, it is indecent to be seen with the head unclothed; such a woman is terrified at the chance of being seen In that condition, and if intruded on at that time, she shrieks with terror, and flies to conceal herself." (A. Walker, Beauty, p. 15.) This fear of being seen with the head uncovered exists still, M. Van Gennep informs me, in some regions of France, as in Brittany.

So far it has only been necessary to refer incidentally to the connection of modesty with clothing. I have sought to emphasize the unquestionable, but often forgotten, fact that modesty is in its origin independent of clothing, that physiological modesty takes precedence of anatomical modesty, and that the primary factors of modesty were certainly developed long before the discovery of either ornament or garments. The rise of clothing probably had its first psychical basis on an emotion of modesty already compositely formed of the elements we have traced. Both the main elementary factors, it must be noted, must naturally tend to develop and unite in a more complex, though—it may well be—much less intense, emotion. The impulse which leads the female animal, as it leads some African women when found without their girdles, to squat firmly down on the earth, becomes a more refined and extended play of gesture and ornament and garment. A very notable advance, I may remark, is made when this primary attitude of defence against the action of the male becomes a defence against his eyes. We may thus explain the spread of modesty to various parts of the body, even when we exclude the more special influence of the evil eye. The breasts very early become a focus of modesty in women; this may be observed among many naked, or nearly naked, negro races; the tendency of the nates to become the chief seat of modesty in many parts of Africa may probably be, in large part, thus explained, since the full development of the gluteal regions is often the greatest attraction an African woman can possess.[47] The same cause contributes, doubtless, to the face becoming, in some races, the centre of modesty. We see the influence of this defence against strange eyes in the special precautions in gesture or clothing taken by the women in various parts of the world, against the more offensive eyes of civilized Europeans.

But in thus becoming directed only against sight, and not against action, the gestures of modesty are at once free to become merely those of coquetry. When there is no real danger of offensive action, there is no need for more than playful defence, and no serious anxiety should that defence be taken as a disguised invitation. Thus the road is at once fully open toward the most civilized manifestations of the comedy of courtship.

In the same way the social fear of arousing disgust combines easily and perfectly with any new development in the invention of ornament or clothing as sexual lures. Even among the most civilized races it has often been noted that the fashion of feminine garments (as also sometimes the use of scents) has the double object of concealing and attracting. It is so with the little apron of the young savage belle. The heightening of the attraction is, indeed, a logical outcome of the fear of evoking disgust.

It is possible, as some ethnographists have observed,[48] that intercrural cords and other primitive garments have a physical ground, inasmuch as they protect the most sensitive and unprotected part of the body, especially in women. We may note in this connection the significant remarks of K. von den Steinen, who argues that among Brazilian tribes the object of the uluri, etc., is to obtain a maximum of protection for the mucous membrane with a minimum of concealment. Among the Eskimo, as Nansen noted, the corresponding intercrural cord is so thin as to be often practically invisible; this may be noted, I may add, in the excellent photographs of Eskimo women given by Holm.

But it is evident that, in the beginning, protection is to little or no extent the motive for attaching foreign substances to the body. Thus the tribes of Central Australia wear no clothes, although they often suffer from the cold. But, in addition to armlets, neck-bands and head-bands, they have string or hair girdles, with, for the women, a very small apron and, for the men, a pubic tassel. The latter does not conceal the organs, being no larger than a coin, and often brilliantly coated with white pipeclay, especially during the progress of corrobborees, when a large number of men and women meet together; it serves the purpose of drawing attention to the organs.[49] When Forster visited the unspoilt islanders of the Pacific early in the eighteenth century, he tells us that, though they wore no clothes, they found it necessary to cover themselves with various ornaments, especially on, the sexual parts. "But though their males," he remarks, "were to all appearances equally anxious in this respect with their females, this part of their dress served only to make that more conspicuous which it intended to hide."[50] He adds the significant remark that "these ideas of decency and modesty are only observed at the age of sexual maturity," just as in Central Australia women may only wear aprons after the initiation of puberty.

"There are certain things," said Montaigne, "which are hidden in order to be shown;" and there can be no doubt that the contention of Westermarck and others, that ornament and clothing were, in the first place, intended, not to conceal or even to protect the body, but, in large part, to render it sexually attractive, is fully proved.[51] We cannot, in the light of all that has gone before, regard ornaments and clothing as the sole cause of modesty, but the feelings that are thus gathered around the garment constitute a highly important factor of modesty.

Among some Australian tribes it is said that the sexual organs are only covered during their erotic dances; and it is further said that in some parts of the world only prostitutes are clothed. "The scanty covering," as Westermarck observes, "was found to act as the most powerful obtainable sexual stimulus." It is undoubtedly true that this statement may be made not merely of the savage, but of the most civilized world. All observers agree that the complete nudity of savages, unlike the civilized decollete or detrousse, has no suggestion of sexual allurement. (Westermarck quotes numerous testimonies on this point, op. cit., pp. 192 et seq.) Dr. R.W. Felkin remarks concerning Central Africa, that he has never met more indecency than in Uganda, where the penalty of death is inflicted on an adult found naked in the street. (Edinburgh Medical Journal, April, 1884.) A study of pictures or statuary will alone serve to demonstrate that nakedness is always chaster in its effects than partial clothing. As a well-known artist, Du Maurier, has remarked (in Trilby), it is "a fact well known to all painters and sculptors who have used the nude model (except a few shady pretenders, whose purity, not being of the right sort, has gone rank from too much watching) that nothing is so chaste as nudity. Venus herself, as she drops her garments and steps on to the model-throne, leaves behind her on the floor every weapon in her armory by which she can pierce to the grosser passions of men." Burton, in the Anatomy of Melancholy (Part III, Sect. II, Subsect. 3), deals at length with the "Allurements of Love," and concludes that "the greatest provocations of lust are from our apparel." The artist's model, as one informs me, is much less exposed to liberties from men when nude than when she is partially clothed, and it may be noted that in Paris studios the model who poses naked undresses behind a screen.

An admirable poetic rendering of this element in the philosophy of clothing has been given by Herrick, that master of erotic psychology, in "A Lily in Crystal," where he argues that a lily in crystal, and amber in a stream, and strawberries in cream, gain an added delight from semi-concealment; and so, he concludes, we obtain

"A rule, how far, to teach, Your nakedness must reach."

In this connection, also, it is worth noting that Stanley Hall, in a report based on returns from nearly a thousand persons, mostly teachers, ("The Early Sense of Self," American Journal of Psychology, 1898, p. 366), finds that of the three functions of clothes—protection, ornament, and Lotzean "self-feeling"—the second is by far the most conspicuous in childhood. The attitude of children is testimony to the primitive attitude toward clothing.

It cannot, however, be said that the use of clothing for the sake of showing the natural forms of the body has everywhere been developed. In Japan, where nakedness is accepted without shame, clothes are worn to cover and conceal, and not to reveal, the body. It is so, also, in China. A distinguished Chinese gentleman, who had long resided in Europe, once told Baelz that he had gradually learnt to grasp the European point of view, but that it would be impossible to persuade his fellow-countrymen that a woman who used her clothes to show off her figure could possibly possess the least trace of modesty. (Baelz, Zeitschrift fuer Ethnologie, 1901, Heft 2, p. 179.)

The great artistic elaboration often displayed by articles of ornament or clothing, even when very small, and the fact—as shown by Karl von den Steinen regarding the Brazilian uluri—that they may serve as common motives in general decoration, sufficiently prove that such objects attract rather than avoid attention. And while there is an invincible repugnance among some peoples to remove these articles, such repugnance being often strongest when the adornment is most minute, others have no such repugnance or are quite indifferent whether or not their aprons are accurately adjusted. The mere presence or possession of the article gives the required sense of self-respect, of human dignity, of sexual desirability. Thus it is that to unclothe a person, is to humiliate him; this was so even in Homeric times, for we may recall the threat of Ulysses to strip Thyestes.[52]

When clothing is once established, another element, this time a social-economic element, often comes in to emphasize its importance and increase the anatomical modesty of women. I mean the growth of the conception of women as property. Waitz, followed by Schurtz and Letourneau, has insisted that the jealousy of husbands is the primary origin of clothing, and, indirectly, of modesty. Diderot in the eighteenth century had already given clear expression to the same view. It is undoubtedly true that only married women are among some peoples clothed, the unmarried women, though full grown, remaining naked. In many parts of the world, also, as Mantegazza and others have shown, where the men are naked and the women covered, clothing is regarded as a sort of disgrace, and men can only with difficulty be persuaded to adopt it. Before marriage a woman was often free, and not bound to chastity, and at the same time was often naked; after marriage she was clothed, and no longer free. To the husband's mind, the garment appears—illogically, though naturally—a moral and physical protection against any attack on his property.[53] Thus a new motive was furnished, this time somewhat artificially, for making nakedness, in women at all events, disgraceful. As the conception of property also extended to the father's right over his daughters, and the appreciation of female chastity developed, this motive spread to unmarried as well as married women. A woman on the west coast of Africa must always be chaste because she is first the property of her parents and afterwards of her husband,[54] and even in the seventeenth century of Christendom so able a thinker as Bishop Burnet furnished precisely the same reason for feminine chastity.[55] This conception probably constituted the chief and most persistent element furnished to the complex emotion of modesty by the barbarous stages of human civilization.

This economic factor necessarily involved the introduction of a new moral element into modesty. If a woman's chastity is the property of another person, it is essential that she shall be modest in order that men may not be tempted to incur the penalties involved by the infringement of property rights. Thus modesty is strictly inculcated on women in order that men may be safeguarded from temptation. The fact was overlooked that modesty is itself a temptation. Immodesty being, on this ground, disapproved by men, a new motive for modesty is furnished to women. In the book which the Knight of the Tower, Landry, wrote in the fourteenth century, for the instruction of his daughters, this factor of modesty is naively revealed. He tells his daughters of the trouble that David got into through the thoughtlessness of Bathsheba, and warns them that "every woman ought religiously to conceal herself when dressing and washing, and neither out of vanity nor yet to attract attention show either her hair, or her neck, or her breast, or any part which ought to be covered." Hinton went so far as to regard what he termed "body modesty," as entirely a custom imposed upon women by men with the object of preserving their own virtue. While this motive is far from being the sole source of modesty, it must certainly be borne in mind as an inevitable outcome of the economic factor of modesty.

In Europe it seems probable that the generally accepted conceptions of mediaeval chivalry were not without influence in constituting the forms in which modesty shows itself among us. In the early middle ages there seems to have been a much greater degree of physical familiarity between the sexes than is commonly found among barbarians elsewhere. There was certainly considerable promiscuity in bathing and indifference to nakedness. It seems probable, as Durkheim points out,[56] that this state of things was modified in part by the growing force of the dictates of Christian morality, which regarded all intimate approaches between the sexes as sinful, and in part by the influence of chivalry with its aesthetic and moral ideals of women, as the representative of all the delicacies and elegancies of civilization. This ideal was regarded as incompatible with the familiarities of the existing social relationships between the sexes, and thus a separation, which at first existed only in art and literature, began by a curious reaction to exert an influence on real life.

The chief new feature—it is scarcely a new element—added to modesty when an advanced civilization slowly emerges from barbarism is the elaboration of its social ritual.[57] Civilization expands the range of modesty, and renders it, at the same time, more changeable. The French seventeenth century, and the English eighteenth, represent early stages of modern European civilization, and they both devoted special attention to the elaboration of the minute details of modesty. The frequenters of the Hotel Rambouillet, the precieuses satirized by Moliere, were not only engaged in refining the language; they were refining feelings and ideas and enlarging the boundaries of modesty.[58] In England such famous and popular authors as Swift and Sterne bear witness to a new ardor of modesty in the sudden reticences, the dashes, and the asterisks, which are found throughout their works. The altogether new quality of literary prurience, of which Sterne is still the classical example, could only have arisen on the basis of the new modesty which was then overspreading society and literature. Idle people, mostly, no doubt, the women in salons and drawing-rooms, people more familiar with books than with the realities of life, now laid down the rules of modesty, and were ever enlarging it, ever inventing new subtleties of gesture and speech, which it would be immodest to neglect, and which are ever being rendered vulgar by use and ever changing.