There is, indeed, a general tendency for the sexual functions to take on a religious character and for the sexual organs to become sacred at a very early period in culture. Generation, the reproductive force in man, animals, and plants, was realized by primitive man to be a fact of the first magnitude, and he symbolized it in the sexual organs of man and woman, which thus attained to a solemnity which was entirely independent of purposes of sexual allurement. Phallus worship may almost be said to be a universal phenomenon; it is found even among races of high culture, among the Romans of the Empire and the Japanese to-day; it has, indeed, been thought by some that one of the origins of the cross is to be found in the phallus.

"Hardly any other object," remarks Dr. Richard Andree, "has been with such great unanimity represented by nearly all peoples as the phallus, the symbol of procreative force in the religions of the East and an object of veneration at public festivals. In the Moabitic Baal Peor, in the cult of Dionysos, everywhere, indeed, except in Persia, we meet with Priapic representations and the veneration accorded to the generative organ. It is needless to refer to the great significance of the Linga puja, the procreative organ of the god Siva, in India, a god to whom more temples were erected than to any other Indian deity. Our museums amply show how common phallic representations are in Africa, East Asia, the Pacific, frequently in connection with religious worship." (R. Andree, "Amerikansche Phallus-Darstellungen," Zeitschrift fuer Ethnologie, 1895, ht. 6, p. 678.)

Women have no external generative organ like the phallus to play a large part in life as a sacred symbol. There is, however, some reason to believe that the triangle is to some extent such a symbol. Lejeune ("La Representation Sexuelle en Religion, Art, et Pedagogie," Bulletin de la Societe d'Anthropologie, Paris, October 3, 1901) brings forward reasons in favor of the view that the triangular hair-covered region of the mons veneris has had considerable significance in this respect, and he presents various primitive figures in illustration.

Apart from the religions and magical properties so widely accorded to the primary sexual characters, there are other reasons why they should not often have gained or long retained any great importance as objects of sexual allurement. They are unnecessary and inconvenient for this purpose. The erect attitude of man gives them here, indeed, an advantage possessed by very few animals, among whom it happens with extreme rarity that the primary sexual characters are rendered attractive to the eye of the opposite sex, though they often are to the sense of smell. The sexual regions constitute a peculiarly vulnerable spot, and remain so even in man, and the need for their protection which thus exists conflicts with the prominent display required for a sexual allurement. This end is far more effectively attained, with greater advantage and less disadvantage, by concentrating the chief ensigns of sexual attractiveness on the upper and more conspicuous parts of the body. This method is well-nigh universal among animals as well as in man.

There is another reason why the sexual organs should be discarded as objects of sexual allurement, a reason which always proves finally decisive as a people advances in culture. They are not aesthetically beautiful. It is fundamentally necessary that the intromittent organ of the male and the receptive canal of the female should retain their primitive characteristics; they cannot, therefore, be greatly modified by sexual or natural selection, and the exceedingly primitive character they are thus compelled to retain, however sexually desirable and attractive they may become to the opposite sex under the influence of emotion, can rarely be regarded as beautiful from the point of view of aesthetic contemplation. Under the influence of art there is a tendency for the sexual organs to be diminished in size, and in no civilized country has the artist ever chosen to give an erect organ to his representations of ideal masculine beauty. It is mainly because the unaesthetic character of a woman's sexual region is almost imperceptible in any ordinary and normal position of the nude body that the feminine form is a more aesthetically beautiful object of contemplation than the masculine. Apart from this character we are probably bound, from a strictly aesthetic point of view, to regard the male form as more aesthetically beautiful.[139] The female form, moreover, usually overpasses very swiftly the period of the climax of its beauty, often only retaining it during a few weeks.

The following communication from a correspondent well brings out the divergences of feeling in this matter:

"You write that the sex organs, in an excited condition, cannot be called aesthetic. But I believe that they are a source, not only of curiosity and wonder to many persons, but also objects of admiration. I happen to know of one man, extremely intellectual and refined, who delights in lying between his mistress's thighs and gazing long at the dilated vagina. Also another man, married, and not intellectual, who always tenderly gazes at his wife's organs, in a strong light, before intercourse, and kisses her there and upon the abdomen. The wife, though amative, confessed to another woman that she could not understand the attraction. On the other hand, two married men have told me that the sight of their wives' genital parts would disgust them, and that they have never seen them.

"If the sexual parts cannot be called aesthetic, they have still a strong charm for many passionate lovers, of both sexes, though not often, I believe, among the unimaginative and the uneducated, who are apt to ridicule the organs or to be repelled by them. Many women confess that they are revolted by the sight of even a husband's complete nudity, though they have no indifference for sexual embraces. I think that the stupid bungle of Nature in making the generative organs serve as means of relieving the bladder has much to do with this revulsion. But some women of erotic temperament find pleasure in looking at the penis of a husband or lover, in handling it, and kissing it. Prostitutes do this in the way of business; some chaste, passionate wives act thus voluntarily. This is scarcely morbid, as the mammalia of most species smell and lick each others' genitals. Probably primitive man did the same."

Brantome (Vie des Dames Galantes, Discours II) has some remarks to much the same effect concerning the difference between men, some of whom take no pleasure in seeing the private parts of their wives or mistresses, while others admire them and delight to kiss them.

I must add that, however natural or legitimate the attraction of the sexual parts may be to either sex, the question of their purely aesthetic beauty remains unaffected.

Remy de Gourmont, in a discussion of the aesthetic element in sexual beauty, considers that the invisibility of the sexual organs is the decisive fact in rendering women more beautiful than men. "Sex, which is sometimes an advantage, is always a burden and always a flaw; it exists for the race and not for the individual. In the human male, and precisely because of his erect attitude, sex is the predominantly striking and visible fact, the point of attack in a struggle at close quarters, the point aimed at from a distance, an obstacle for the eye, whether regarded as a rugosity on the surface or as breaking the middle of a line. The harmony of the feminine body is thus geometrically much more perfect, especially when we consider the male and the female at the moment of desire when they present the most intense and natural expression of life. Then the woman, whose movements are all interior, or only visible by the undulation of her curves, preserves her full aesthetic value, while the man, as it were, all at once receding toward the primitive state of animality, seems to throw off all beauty and become reduced to the simple and naked condition of a genital organism." (Remy de Gourmont, Physique de l'Amour, p. 69.) Remy de Gourmont proceeds, however, to point out that man has his revenge after a woman has become pregnant, and that, moreover, the proportions of the masculine body are more beautiful than those of the feminine body.

The primary sexual characters of man and woman have thus never at any time played a very large part in sexual allurement. With the growth of culture, indeed, the very methods which had been adopted to call attention to the sexual organs were by a further development retained for the purpose of concealing them. From the first the secondary sexual characters have been a far more widespread method of sexual allurement than the primary sexual characters, and in the most civilized countries to-day they still constitute the most attractive of such methods to the majority of the population.

The main secondary sexual characters in woman and the type which they present in beautiful and well-developed persons are summarized as follows by Stratz, who in his book on the beauty of the body in woman sets forth the reasons for the characteristics here given:—

Delicate bony structure. Rounded forms and breasts. Broad pelvis. Long and abundant hair. Low and narrow boundary of pubic hair. Sparse hair in armpit. No hair on body. Delicate skin. Rounded skull. Small face. Large orbits. High and slender eyebrows. Low and small lower jaw. Soft transition from cheek to neck. Rounded neck. Slender wrist. Small hand, with long index finger. Rounded shoulders. Straight, small clavicle. Small and long thorax. Slender waist. Hollow sacrum. Prominent and domed nates. Sacral dimples. Rounded and thick thighs. Low and obtuse pubic arch. Soft contour of knee. Rounded calves. Slender ankle. Small toes. Long second and short fifth toe. Broad middle incisor teeth.

(Stratz, Die Schoenheit des Weiblichen Koerpers, fourteenth edition, 1903, p. 200. This statement agrees at most points with my own exposition of the secondary sexual characters: Man and Woman, fourth edition, revised and enlarged, 1904.)

Thus we find, among most of the peoples of Europe, Asia, and Africa, the chief continents of the world, that the large hips and buttocks of women are commonly regarded as an important feature of beauty. This secondary sexual character represents the most decided structural deviation of the feminine type from the masculine, a deviation demanded by the reproductive function of women, and in the admiration it arouses sexual selection is thus working in a line with natural selection. It cannot be said that, except in a very moderate degree, it has always been regarded as at the same time in a line with claims of purely aesthetic beauty. The European artist frequently seeks to attenuate rather than accentuate the protuberant lines of the feminine hips, and it is noteworthy that the Japanese also regard small hips as beautiful. Nearly everywhere else large hips and buttocks are regarded as a mark of beauty, and the average man is of this opinion even in the most aesthetic countries. The contrast of this exuberance with the more closely knit male form, the force of association, and the unquestionable fact that such development is the condition needed for healthy motherhood, have served as a basis for an ideal of sexual attractiveness which appeals to nearly all people more strongly than a more narrowly aesthetic ideal, which must inevitably be somewhat hermaphroditic in character.

Broad hips, which involve a large pelvis, are necessarily a characteristic of the highest human races, because the races with the largest heads must be endowed also with the largest pelvis to enable their large heads to enter the world. The white race, according to Bacarisse, has the broadest sacrum, the yellow race coming next, the black race last. The white race is also stated to show the greatest curvature of the sacrum, the yellow race next, while the black race has the flattest sacrum.[140] The black race thus possesses the least developed pelvis, the narrowest, and the flattest. It is certainly not an accidental coincidence that it is precisely among people of black race that we find a simulation of the large pelvis of the higher races admired and cultivated in the form of steatopygia. This is an enormously exaggerated development of the subcutaneous layer of fat which normally covers the buttocks and upper parts of the thighs in woman, and in this extreme form constitutes a kind of natural fatty tumor. Steatopygia cannot be said to exist, according to Deniker, unless the projection of the buttocks exceeds 4 per cent of the individual's height; it frequently equals 10 per cent. True steatopygia only exists among Bushman and Hottentot women, and among the peoples who are by blood connected with them. An unusual development of the buttocks is, however, found among the Woloffs and many other African peoples.[141] There can be no doubt that among the black peoples of Africa generally, whether true steatopygia exists among them or not, extreme gluteal development is regarded as a very important, if not the most important, mark of beauty, and Burton stated that a Somali man was supposed to choose his wife by ranging women in a row and selecting her who projected farthest a tergo.[142] In Europe, it must be added, clothing enables this feature of beauty to be simulated. Even by some African peoples the posterior development has been made to appear still larger by the use of cushions, and in England in the sixteenth century we find the same practice well recognized, and the Elizabethan dramatists refer to the "bum-roll," which in more recent times has become the bustle, devices which bear witness to what Watts, the painter, called "the persistent tendency to suggest that the most beautiful half of humanity is furnished with tails."[143] In reality, as we see, it is simply a tendency, not to simulate an animal character, but to emphasize the most human and the most feminine of the secondary sexual characters, and therefore, from the sexual point of view, a beautiful feature.[144]

Sometimes admiration for this characteristic is associated with admiration for marked obesity generally, and it may be noted that a somewhat greater degree of fatness may also be regarded as a feminine secondary sexual character. This admiration is specially marked among several of the black peoples of Africa, and here to become a beauty a woman must, by drinking enormous quantities of milk, seek to become very fat. Sonnini noted that to some extent the same thing might be found among the Mohammedan women of Egypt. After bright eyes and a soft, polished, hairless skin, an Egyptian woman, he stated, most desired to obtain embonpoint; men admired fat women and women sought to become fat. "The idea of a very fat woman," Sonnini adds, "is nearly always accompanied in Europe by that of softness of flesh, effacement of form, and defect of elasticity in the outlines. It would be a mistake thus to represent the women of Turkey in general, where all seek to become fat. It is certain that the women of the East, more favored by Nature, preserve longer than others the firmness of the flesh, and this precious property, joined to the freshness and whiteness of their skin, renders them very agreeable. It must be added that in no part of the world is cleanliness carried so far as by the women of the East."[145]

The special characteristics of the feminine hips and buttocks become conspicuous in walking and may be further emphasized by the special method of walking or carriage. The women of some southern countries are famous for the beauty of their way of walk; "the goddess is revealed by her walk," as Virgil said. In Spain, especially, among European countries, the walk very notably gives expression to the hips and buttocks. The spine is in Spain very curved, producing what is termed ensellure, or saddle-back—a characteristic which gives great flexibility to the back and prominence to the gluteal regions, sometimes slightly simulating steatopygia. The vibratory movement naturally produced by walking and sometimes artificially heightened thus becomes a trait of sexual beauty. Outside of Europe such vibration of the flanks and buttocks is more frankly displayed and cultivated as a sexual allurement. The Papuans are said to admire this vibratory movement of the buttocks in their women. Young girls are practiced in it by their mothers for hours at a time as soon as they have reached the age of 7 or 8, and the Papuan maiden walks thus whenever she is in the presence of men, subsiding into a simpler gait when no men are present. In some parts of tropical Africa the women walk in this fashion. It is also known to the Egyptians, and by the Arabs is called ghung.[146] As Mantegazza remarks, the essentially feminine character of this gait makes it a method of sexual allurement. It should be observed that it rests on feminine anatomical characteristics, and that the natural walk of a femininely developed woman is inevitably different from that of a man.

In an elaborate discussion of beauty of movement Stratz summarizes the special characters of the gait in woman as follows: "A woman's walk is chiefly distinguished from a man's by shorter steps, the more marked forward movement of the hips, the greater length of the phase of rest in relation to the phase of motion, and by the fact that the compensatory movements of the upper parts of the body are less powerfully supported by the action of the arms and more by the revolution of the flanks. A man's walk has a more pushing and active character, a woman's a more rolling and passive character; while a man seems to seek to catch his fleeing equilibrium, a woman seems to seek to preserve the equilibrium she has reached.... A woman's walk is beautiful when it shows the definitely feminine and rolling character, with the greatest predominance of the moment of extension over that of flexion." (Stratz, Die Schoenheit des Weiblichen Koerpers, fourteenth edition, p. 275.)

An occasional development of the idea of sexual beauty as associated with developed hips is found in the tendency to regard the pregnant woman as the most beautiful type. Stratz observes that a woman artist once remarked to him that since motherhood is the final aim of woman, and a woman reaches her full flowering period in pregnancy, she ought to be most beautiful when pregnant. This is so, Stratz replied, if the period of her full physical bloom chances to correspond with the early months of pregnancy, for with the onset of pregnancy metabolism is heightened, the tissues become active, the tone of the skin softer and brighter, the breasts firmer, so that the charm of fullest bloom is increased until the moment when the expansion of the womb begins to destroy the harmony of the form. At one period of European culture, however,—at a moment and among a people not very sensitive to the most exquisite aesthetic sensations,—the ideal of beauty has even involved the character of advanced pregnancy. In northern Europe during the centuries immediately preceding the Renaissance the ideal of beauty, as we may see by the pictures of the time, was a pregnant woman, with protuberant abdomen and body more or less extended backward. This is notably apparent in the work of the Van Eycks: in the Eve in the Brussels Gallery; in the wife of Arnolfini in the highly finished portrait group in the National Gallery; even the virgins in the great masterpiece of the Van Eycks in the Cathedral at Ghent assume the type of the pregnant woman.

"Through all the middle ages down to Duerer and Cranach," quite truly remarks Laura Marholm (as quoted by I. Bloch, Beitraege zur AEtiologie der Psychopathia Sexualis, Teil I, p. 154), "we find a very peculiar type which has falsely been regarded as one of merely ascetic character. It represents quiet, peaceful, and cheerful faces, full of innocence; tall, slender, young figures; the shoulders still scanty; the breasts small, with slender legs beneath their garments; and round the upper part of the body clothing that is tight almost to the point of constriction. The waist comes just under the bosom, and from this point the broad skirts in folds give to the most feminine part of the feminine body full and absolutely unhampered power of movement and expansion. The womanly belly even in saints and virgins is very pronounced in the carriage of the body and clearly protuberant beneath the clothing. It is the maternal function, in sacred and profane figures alike, which marks the whole type—indeed, the whole conception—of woman." For a brief period this fashion reappeared in the eighteenth century, and women wore pads and other devices to increase the size of the abdomen.

With the Renaissance this ideal of beauty disappeared from art. But in real life we still seem to trace its survival in the fashion for that class of garments which involved an immense amount of expansion below the waist and secured such expansion by the use of whalebone hoops and similar devices. The Elizabethan farthingale was such a garment. This was originally a Spanish invention, as indicated by the name (from verdugardo, provided with hoops), and reached England through France. We find the fashion at its most extreme point in the fashionable dress of Spain in the seventeenth century, such as it has been immortalized by Velasquez. In England hoops died out during the reign of George III but were revived for a time, half a century later, in the Victorian crinoline.[147]

Only second to the pelvis and its integuments as a secondary sexual character in woman we must place the breasts.[148] Among barbarous and civilized peoples the beauty of the breast is usually highly esteemed. Among Europeans, indeed, the importance of this region is so highly esteemed that the general rule against the exposure of the body is in its favor abrogated, and the breasts are the only portion of the body, in the narrow sense, which a European lady in full dress is allowed more or less to uncover. Moreover, at various periods and notably in the eighteenth century, women naturally deficient in this respect have sometimes worn artificial busts made of wax. Savages, also, sometimes show admiration for this part of the body, and in the Papuan folk-tales, for instance, the sole distinguishing mark of a beautiful woman is breasts that stand up.[149] On the other hand, various savage peoples even appear to regard the development of the breasts as ugly and adopt devices for flattening this part of the body.[150] The feeling that prompts this practice is not unknown in modern Europe, for the Bulgarians are said to regard developed breasts as ugly; in mediaeval Europe, indeed, the general ideal of feminine slenderness was opposed to developed breasts, and the garments tended to compress them. But in a very high degree of civilization this feeling is unknown, as, indeed, it is unknown to most barbarians, and the beauty of a woman's breasts, and of any natural or artificial object which suggests the gracious curves of the bosom, is a universal source of pleasure.

The casual vision of a girl's breasts may, in the chastest youth, evoke a strange perturbation. (Cf., e.g., a passage in an early chapter of Marcelle Tinayre's La Maison du Peche.) We need not regard this feeling as of purely sexual origin; and in addition even to the aesthetic element it is probably founded to some extent on a reminiscence of the earliest associations of life. This element of early association was very well set forth long ago by Erasmus Darwin:—

"When the babe, soon after it is born into this cold world, is applied to its mother's bosom, its sense of perceiving warmth is first agreeably affected; next its sense of smell is delighted with the odor of her milk; then its taste is gratified by the flavor of it; afterward the appetites of hunger and of thirst afford pleasure by the possession of their object, and by the subsequent digestion of the aliment; and, last, the sense of touch is delighted by the softness and smoothness of the milky fountain, the source of such variety of happiness.

"All these various kinds of pleasure at length become associated with the form of the mother's breast, which the infant embraces with its hands, presses with its lips, and watches with its eyes; and thus acquires more accurate ideas of the form of its mother's bosom than of the odor, flavor, and warmth which it perceives by its other senses. And hence at our maturer years, when any object of vision is presented to us which by its wavy or spiral lines bears any similitude to the form of the female bosom, whether it be found in a landscape with soft gradations of raising and descending surface, or in the forms of some antique vases, or in other works of the pencil or the chisel, we feel a general glow of delight which seems to influence all our senses; and if the object be not too large we experience an attraction to embrace it with our lips as we did in our early infancy the bosom of our mothers." (E. Darwin, Zooenomia, 1800, vol. i, p. 174.)

The general admiration accorded to developed breasts and a developed pelvis is evidenced by a practice which, as embodied in the corset, is all but universal in many European countries, as well as the extra-European countries inhabited by the white race, and in one form or another is by no means unknown to peoples of other than the white race.

The tightening of the waist girth was little known to the Greeks of the best period, but it was practiced by the Greeks of the decadence and by them transmitted to the Romans; there are many references in Latin literature to this practice, and the ancient physician wrote against it in the same sense as modern doctors. So far as Christian Europe is concerned it would appear that the corset arose to gratify an ideal of asceticism rather than of sexual allurement. The bodice in early mediaeval days bound and compressed the breasts and thus tended to efface the specifically feminine character of a woman's body. Gradually, however, the bodice was displaced downward, and its effect, ultimately, was to render the breasts more prominent instead of effacing them. Not only does the corset render the breasts more prominent; it has the further effect of displacing the breathing activity of the lungs in an upward direction, the advantage from the point of sexual allurement thus gained being that additional attention is drawn to the bosom from the respiratory movement thus imparted to it. So marked and so constant is this artificial respiratory effect, under the influence of the waist compression habitual among civilized women, that until recent years it was commonly supposed that there is a real and fundamental difference in breathing between men and women, that women's breathing is thoracic and men's abdominal. It is now known that under natural and healthy conditions there is no such difference, but that men and women breathe in a precisely identical manner. The corset may thus be regarded as the chief instrument of sexual allurement which the armory of costume supplies to a woman, for it furnishes her with a method of heightening at once her two chief sexual secondary characters, the bosom above, the hips and buttocks below. We cannot be surprised that all the scientific evidence in the world of the evil of the corset is powerless not merely to cause its abolition, but even to secure the general adoption of its comparatively harmless modifications.

Several books have been written on the history of the corset. Leoty (Le Corset a travers les Ages, 1893) accepts Bouvier's division of the phases through which the corset has passed: (1) the bands, or fasciae, of Greek and Roman ladies; (2) period of transition during greater part of middle ages, classic traditions still subsisting; (3) end of middle ages and beginning of Renaissance, when tight bodices were worn; (4) the period of whalebone bodices, from middle of sixteenth to end of eighteenth centuries; (5) the period of the modern corset. We hear of embroidered girdles in Homer. Even in Rome, however, the fasciae were not in general use, and were chiefly employed either to support the breasts or to compress their excessive development, and then called mamillare. The zona was a girdle, worn usually round the hips, especially by young girls. The modern corset is a combination of the fascia and the zona. It was at the end of the fourteenth century that Isabeau of Bavaria introduced the custom of showing the breasts uncovered, and the word "corset" was then used for the first time.

Stratz, in his Frauenkleidung (pp. 366 et seq.), and in his Schoenheit des Weiblichen Koerpers, Chapters VIII, X, and XVI, also deals with the corset, and illustrates the results of compression on the body. For a summary of the evidence concerning the difference of respiration in man and woman, its causes and results, see Havelock Ellis, Man and Woman, fourth edition, 1904, pp. 228-244. With reference to the probable influence of the corset and unsuitable clothing generally during early life in impeding the development of the mammary glands, causing inability to suckle properly, and thus increasing infant mortality, see especially a paper by Professor Bollinger (Correspondenz-blatt Deutsch. Gesell. Anthropologie, October, 1899).

The compression caused by the corset, it must be added, is not usually realized or known by those who wear it. Thus, Rushton Parker and Hugh Smith found, in two independent series of measurements, that the waist measurement was, on the average, two inches less over the corset than round the naked waist; "the great majority seemed quite unaware of the fact." In one case the difference was as much as five inches. (British Medical Journal, September 15 and 22, 1900.)

The breasts and the developed hips are characteristics of women and are indications of functional effectiveness as well as sexual allurement. Another prominent sexual character which belongs to man, and is not obviously an index of function, is furnished by the hair on the face. The beard may be regarded as purely a sexual adornment, and thus comparable to the somewhat similar growth on the heads of many male animals. From this point of view its history is interesting, for it illustrates the tendency with increase of civilization not merely to dispense with sexual allurement in the primary sexual organs, but even to disregard those growths which would appear to have been developed solely to act as sexual allurements. The cultivation of the beard belongs peculiarly to barbarous races. Among these races it is frequently regarded as the most sacred and beautiful part of the person, as an object to swear by, an object to which the slightest insult must be treated as deadly. Holding such a position, it must doubtless act as a sexual allurement. "Allah has specially created an angel in Heaven," it is said in the Arabian Nights, "who has no other occupation than to sing the praises of the Creator for giving a beard to men and long hair to women." The sexual character of the beard and the other hirsute appendage is significantly indicated by the fact that the ascetic spirit in Christianity has always sought to minimize or to hide the hair. Altogether apart, however, from this religious influence, civilization tends to be opposed to the growth of hair on the masculine face and especially to the beard. It is part of the well-marked tendency with civilization to the abolition of sexual differences. We find this general tendency among the Greeks and Romans, and, on the whole, with certain variations and fluctuations of fashion, in modern Europe also. Schopenhauer frequently referred to this disappearance of the beard as a mark of civilization, "a barometer of culture."[151] The absence of facial hair heightens aesthetic beauty of form, and is not felt to remove any substantial sexual attraction.

That even the Egyptians regarded the beard as a mark of beauty and an object of veneration is shown by the fact that the priests wore it long and cut it off in grief (Herodotus, Euterpe, Chapter XXXVI). The respect with which the beard was regarded among the ancient Hebrews is indicated in the narrative (II Samuel, Chapter X) which tells how, when David sent his servants to King Hanun the latter shaved off half their beards; they were too ashamed to return in this condition, and remained at Jericho until their beards had grown again. A passage in Ordericus Vitalis (Ecclesiastical History, Book VIII, Chapter X) is interesting both as regards the fashions of the twelfth century in England and Normandy and the feeling that prompted Ordericus. Speaking of the men of his time, he wrote: "The forepart of their head is bare after the manner of thieves, while at the back they nourish long hair like harlots. In former times penitents, captives and pilgrims usually went unshaved and wore long beards, as an outward mark of their penance or captivity or pilgrimage. Now almost all the world wear crisped hair and beards, carrying on their faces the token of their filthy lust like stinking goats. Their locks are curled with hot irons, and instead of wearing caps they bind their heads with fillets. A knight seldom appears in public with his head uncovered, and properly shaved, according to the apostolic precept (I Corinthians, Chapter XI, verses 7 and 14)."

We have seen that there is good reason for assuming a certain fundamental tendency whereby the most various peoples of the world, at all events in the person of their most intelligent members, recognize and accept a common ideal of feminine beauty, so that to a certain extent beauty may be said to have an objectively aesthetic basis. We have further found that this aesthetic human ideal is modified, and very variously modified in different countries and even in the same country at different periods, by a tendency, prompted by a sexual impulse which is not necessarily in harmony with aesthetic cannons, to emphasize, or even to repress, one or other of the prominent secondary sexual characters of the body. We now come to another tendency which is apt to an even greater extent to limit the cultivation of the purely aesthetic ideal of beauty: the influences of national or racial type.

To the average man of every race the woman who most completely embodies the type of his race is usually the most beautiful, and even mutilations and deformities often have their origin, as Humboldt long since pointed out, in the effort to accentuate the racial type.[152] Eastern women possess by nature large and conspicuous eyes, and this characteristic they seek still further to heighten by art. The Ainu are the hairiest of races, and there is nothing which they consider so beautiful as hair. It is difficult to be sexually attracted to persons who are fundamentally unlike ourselves in racial constitution.[153]

It frequently happens that this admiration for racial characteristics leads to the idealization of features which are far removed from aesthetic beauty. The firm and rounded breast is certainly a feature of beauty, but among many of the black peoples of Africa the breasts fall at a very early period, and here we sometimes find that the hanging breast is admired as beautiful.

The African Baganda, the Rev. J. Roscoe states (Journal of the Anthropological Institute, January-June, 1902, p. 72), admire hanging breasts to such an extent that their young women tie them down in order to hasten the arrival of this condition.

"The most remarkable trait of beauty in the East," wrote Sonnini, "is to have large black eyes, and nature has made this a characteristic sign of the women of these countries. But, not content with this, the women of Egypt wish their eyes to be still larger and blacker. To attain this Mussulmans, Jewesses, and Christians, rich and poor, all tint their eyelids with galena. They also blacken the lashes (as Juvenal tells us the Roman ladies did) and mark the angles of the eye so that the fissure appears larger." (Sonnini, Voyage dans la Haute et Basse Egypte, 1799, vol. i, p. 290.) Kohl is thus only used by the women who have what the Arabs call "natural kohl." As Flinders Petrie has found, the women of the so-called "New Race," between the sixth and tenth dynasties of ancient Egypt, used galena and malachite for painting their faces. Jewish women in the days of the prophets painted their eyes with kohl, as do some Hindu women to-day.

"The Ainu have a great affection for their beards. They regard them as a sign of manhood and strength and consider them as especially handsome. They look upon them, indeed, as a great and highly prized treasure." (J. Batchelor, The Ainu and their Folklore, p. 162.)

A great many theories have been put forward to explain the Chinese fashion of compressing and deforming the foot. The Chinese are great admirers of the feminine foot, and show extreme sexual sensitiveness in regard to it. Chinese women naturally possess very small feet, and the main reason for binding them is probably to be found in the desire to make them still smaller. (See, e.g., Stratz, Die Frauenkleidung, 1904, p. 101.)

An interesting question, which in part finds its explanation here and is of considerable significance from the point of view of sexual selection, concerns the relative admiration bestowed on blondes and brunettes. The question is not, indeed, one which is entirely settled by racial characteristics. There is something to be said on the matter from the objective standpoint of aesthetic considerations. Stratz, in a chapter on beauty of coloring in woman, points out that fair hair is more beautiful because it harmonizes better with the soft outlines of woman, and, one may add, it is more brilliantly conspicuous; a golden object looks larger than a black object. The hair of the armpit, also, Stratz considers should be light. On the other hand, the pubic hair should be dark in order to emphasize the breadth of the pelvis and the obtusity of the angle between the mons veneris and the thighs. The eyebrows and eyelashes should also be dark in order to increase the apparent size of the orbits. Stratz adds that among many thousand women he has only seen one who, together with an otherwise perfect form, has also possessed these excellencies in the highest measure. With an equable and matt complexion she had blonde, very long, smooth hair, with sparse, blonde, and curly axillary hair; but, although her eyes were blue, the eyebrows and eyelashes were black, as also was the not overdeveloped pubic hair.[154]

We may accept it as fairly certain that, so far as any objective standard of aesthetic beauty is recognizable, that standard involves the supremacy of the fair type of woman. Such supremacy in beauty has doubtless been further supported by the fact that in most European countries the ruling caste, the aristocratic class, whose superior energy has brought it to the top, is somewhat blonder than the average population.

The main cause, however, in determining the relative amount of admiration accorded in Europe to blondes and to brunettes is the fact that the population of Europe must be regarded as predominantly fair, and that our conception of beauty in feminine coloring is influenced by an instinctive desire to seek this type in its finest forms. In the north of Europe there can, of course, be no question concerning the predominant fairness of the population, but in portions of the centre and especially in the south it may be considered a question. It must, however, be remembered that the white population occupying all the shores of the Mediterranean have the black peoples of Africa immediately to the south of them. They have been liable to come in contact with the black peoples and in contrast with them they have tended not only to be more impressed with their own whiteness, but to appraise still more highly its blondest manifestations as representing a type the farthest removed from the negro. It must be added that the northerner who comes into the south is apt to overestimate the darkness of the southerner because of the extreme fairness of his own people. The differences are, however, less extreme than we are apt to suppose; there are more dark people in the north than we commonly assume, and more fair people in the south. Thus, if we take Italy, we find in its fairest part, Venetia, according to Raseri, that there are 8 per cent. communes in which fair hair predominates, 81 per cent. in which brown predominates, and only 11 per cent. in which black predominates; as we go farther south black hair becomes more prevalent, but there are in most provinces a few communes in which fair hair is not only frequent, but even predominant. It is somewhat the same with light eyes, which are also most abundant in Venetia and decrease to a slighter extent as we go south. It is possible that in former days the blondes prevailed to a greater degree than to-day in the south of Europe. Among the Berbers of the Atlas Mountains, who are probably allied to the South Europeans, there appears to be a fairly considerable proportion of blondes,[155] while on the other hand there is some reason to believe that blondes die out under the influence of civilization as well as of a hot climate.

However this may be, the European admiration for blondes dates back to early classic times. Gods and men in Homer would appear to be frequently described as fair.[156] Venus is nearly always blonde, as was Milton's Eve. Lucian refers to women who dye their hair. The Greek sculptors gilded the hair of their statues, and the figurines in many cases show very fair hair.[157] The Roman custom of dyeing the hair light, as Renier has shown, was not due to the desire to be like the fair Germans, and when Rome fell it would appear that the custom of dyeing the hair persisted, and never died out; it is mentioned by Anselm, who died at the beginning of the twelfth century.[158]

In the poetry of the people in Italy brunettes, as we should expect, receive much commendation, though even here the blondes are preferred. When we turn to the painters and poets of Italy, and the aesthetic writers on beauty from the Renaissance onward, the admiration for fair hair is unqualified, though there is no correspondingly unanimous admiration for blue eyes. Angelico and most of the pre-Raphaelite artists usually painted their women with flaxen and light-golden hair, which often became brown with the artists of the Renaissance period. Firenzuola, in his admirable dialogue on feminine beauty, says that a woman's hair should be like gold or honey or the rays of the sun. Luigini also, in his Libro della bella Donna, says that hair must be golden. So also thought Petrarch and Ariosto. There is, however, no corresponding predilection among these writers for blue eyes. Firenzuola said that the eyes must be dark, though not black. Luigini said that they must be bright and black. Niphus had previously said that the eyes should be "black like those of Venus" and the skin ivory, even a little brown. He mentions that Avicenna had praised the mixed, or gray eye.

In France and other northern countries the admiration for very fair hair is just as marked as in Italy, and dates back to the earliest ages of which we have a record. "Even before the thirteenth century," remarks Houdoy, in his very interesting study of feminine beauty in northern France during mediaeval times, "and for men as well as for women, fair hair was an essential condition of beauty; gold is the term of comparison almost exclusively used."[159] He mentions that in the Acta Sanctorum it is stated that Saint Godelive of Bruges, though otherwise beautiful, had black hair and eyebrows and was hence contemptuously called a crow. In the Chanson de Roland and all the French mediaeval poems the eyes are invariably vairs. This epithet is somewhat vague. It comes from varius, and signifies mixed, which Houdoy regards as showing various irradiations, the same quality which later gave rise to the term iris to describe the pupillary membrane.[160] Vair would thus describe not so much the color of the eye as its brilliant and sparkling quality. While Houdoy may have been correct, it still seems probable that the eye described as vair was usually assumed to be "various" in color also, of the kind we commonly call gray, which is usually applied to blue eyes encircled with a ring of faintly sprinkled brown pigment. Such eyes are fairly typical of northern France and frequently beautiful. That this was the case seems to be clearly indicated by the fact that, as Houdoy himself points out, a few centuries later the vair eye was regarded as vert, and green eyes were celebrated as the most beautiful.[161] The etymology was false, but a false etymology will hardly suffice to change an ideal. At the Renaissance Jehan Lemaire, when describing Venus as the type of beauty, speaks of her green eyes, and Ronsard, a little later, sang:

"Noir je veux l'oeil et brun le teint, Bien que l'oeil verd toute la France adore."

Early in the sixteenth century Brantome quotes some lines current in France, Spain, and Italy according to which a woman should have a white skin, but black eyes and eyebrows, and adds that personally he agrees with the Spaniard that "a brunette is sometimes equal to a blonde,"[162] but there is also a marked admiration for green eyes in Spanish literature; not only in the typical description of a Spanish beauty in the Celestina (Act. I) are the eyes green, but Cervantes, for example, when referring to the beautiful eyes of a woman, frequently speaks of them as green.

It would thus appear that in Continental Europe generally, from south to north, there is a fair uniformity of opinion as regards the pigmentary type of feminine beauty. Such variation as exists seemingly involves a somewhat greater degree of darkness for the southern beauty in harmony with the greater racial darkness of the southerner, but the variations fluctuate within a narrow range; the extremely dark type is always excluded, and so it would seem probable is the extremely fair type, for blue eyes have not, on the whole, been considered to form part of the admired type.

If we turn to England no serious modification of this conclusion is called for. Beauty is still fair. Indeed, the very word "fair" in England itself means beautiful. That in the seventeenth century it was generally held essential that beauty should be blonde is indicated by a passage in the Anatomy of Melancholy, where Burton argues that "golden hair was ever in great account," and quotes many examples from classic and more modern literature.[163] That this remains the case is sufficiently evidenced by the fact that the ballet and chorus on the English stage wear yellow wigs, and the heroine of the stage is blonde, while the female villain of melodrama is a brunette.

While, however, this admiration of fairness as a mark of beauty unquestionably prevails in England, I do not think it can be said—as it probably can be said of the neighboring and closely allied country of France—that the most beautiful women belong to the fairest group of the community. In most parts of Europe the coarse and unbeautiful plebeian type tends to be very dark; in England it tends to be very fair. England is, however, somewhat fairer generally than most parts of Europe; so that, while it may be said that a very beautiful woman in France or in Spain may belong to the blondest section of the community, a very beautiful woman in England, even though of the same degree of blondness as her Continental sister, will not belong to the extremely blonde section of the English community. It thus comes about that when we are in northern France we find that gray eyes, a very fair but yet unfreckled complexion, brown hair, finely molded features, and highly sensitive facial expression combine to constitute a type which is more beautiful than any other we meet in France, and it belongs to the fairest section of the French population. When we cross over to England, however, unless we go to a so-called "Celtic" district, it is hopeless to seek among the blondest section of the community for any such beautiful and refined type. The English beautiful woman, though she may still be fair, is by no means very fair, and from the English standpoint she may even sometimes appear somewhat dark:[164] In determining what I call the index of pigmentation—or degree of darkness of the eyes and hair—of different groups in the National Portrait Gallery I found that the "famous beauties" (my own personal criterion of beauty not being taken into account) was somewhat nearer to the dark than to the light end of the scale.[165] If we consider, at random, individual instances of famous English beauties they are not extremely fair. Lady Venetia Stanley, in the early seventeenth century, who became the wife of Sir Kenelm Digby, was somewhat dark, with brown hair and eyebrows. Mrs. Overall, a little later in the same century, a Lancashire woman, the wife of the Dean of St. Paul's, was, says Aubrey, "the greatest beauty in her time in England," though very wanton, with "the loveliest eyes that were ever seen"; if we may trust a ballad given by Aubrey she was dark with black hair. The Gunnings, the famous beauties of the eighteenth century, were not extremely fair, and Lady Hamilton, the most characteristic type of English beauty, had blue, brown-flecked eyes and dark chestnut hair. Coloration is only one of the elements of beauty, though an important one. Other things being equal, the most blonde is most beautiful; but it so happens that among the races of Great Britain the other things are very frequently not equal, and that, notwithstanding a conviction ingrained in the language, with us the fairest of women is not always the "fairest." So magical, however, is the effect of brilliant coloring that it serves to keep alive in popular opinion an unqualified belief in the universal European creed of the beauty of blondness.

We have seen that underlying the conception of beauty, more especially as it manifests itself in woman to man, are to be found at least three fundamental elements: First there is the general beauty of the species as it tends to culminate in the white peoples of European origin; then there is the beauty due to the full development or even exaggeration of the sexual and more especially the secondary sexual characters; and last there is the beauty due to the complete embodiment of the particular racial or national type. To make the analysis fairly complete must be added at least one other factor: the influence of individual taste. Every individual, at all events in civilization, within certain narrow limits, builds up a feminine ideal of his own, in part on the basis of his own special organization and its demands, in part on the actual accidental attractions he has experienced. It is unnecessary to emphasize the existence of this factor, which has always to be taken into account in every consideration of sexual selection in civilized man. But its variations are numerous and in impassioned lovers it may even lead to the idealization of features which are in reality the reverse of beautiful. It may be said of many a man, as d'Annunzio says of the hero of his Trionfo della Morte in relation to the woman he loved, that "he felt himself bound to her by the real qualities of her body, and not only by those which were most beautiful, but specially by those which were least beautiful" (the novelist italicizes these words), so that his attention was fixed upon her defects, and emphasized them, thus arousing within himself an impetuous state of desire. Without invoking defects, however, there are endless personal variations which may all be said to come within the limits of possible beauty or charm. "There are no two women," as Stratz remarks, "who in exactly the same way stroke back a rebellious lock from their brows, no two who hold the hand in greeting in exactly the same way, no two who gather up their skirts as they walk with exactly the same movement."[166] Among the multitude of minute differences—which yet can be seen and felt—the beholder is variously attracted or repelled according to his own individual idiosyncrasy, and the operations of sexual selection are effected accordingly.

Another factor in the constitution of the ideal of beauty, but one perhaps exclusively found under civilized conditions, is the love of the unusual, the remote, the exotic. It is commonly stated that rarity is admired in beauty. This is not strictly true, except as regards combinations and characters which vary only in a very slight degree from the generally admired type. "Jucundum nihil est quod non reficit variatas," according to the saying of Publilius Syrus. The greater nervous restlessness and sensibility of civilization heightens this tendency, which is not infrequently found also among men of artistic genius. One may refer, for instance, to Baudelaire's profound admiration for the mulatto type of beauty.[167] In every great centre of civilization the national ideal of beauty tends to be somewhat modified in exotic directions, and foreign ideals, as well as foreign fashions, become preferred to those that are native. It is significant of this tendency that when, a few years since, an enterprising Parisian journal hung in its salle the portraits of one hundred and thirty-one actresses, etc., and invited the votes of the public by ballot as to the most beautiful of them, not one of the three women who came out at the head of the poll was French. A dancer of Belgian origin (Cleo de Merode) was by far at the head with over 3000 votes, followed by an American from San Francisco (Sybil Sanderson), and then a Polish woman.

FOOTNOTES:

[134] Figured in Mau's Pompeii, p. 174.

[135] As a native of Lukunor said to the traveler Mertens, "It has the same object as your clothes, to please the women."

[136] "The greatest provocations of lust are from our apparel," as Burton states (Anatomy of Melancholy, Part III, Sec. II, Mem. II, Subs. III), illustrating this proposition with immense learning. Stanley Hall (American Journal of Psychology, vol. ix, Part III, pp. 365 et seq.) has some interesting observations on the various psychic influences of clothing; cf. Bloch, Beitraege zur AEtiologie der Psychopathia Sexualis, Teil II, pp. 330 et seq.

[137] History of Human Marriage, Chapter IX, especially p, 201. We have a striking and comparatively modern European example of an article of clothing designed to draw attention to the sexual sphere in the codpiece (the French braguette), familiar to us through fifteenth and sixteenth century pictures and numerous allusions in Rabelais and in Elizabethan literature. This was originally a metal box for the protection of the sexual organs in war, but subsequently gave place to a leather case only worn by the lower classes, and became finally an elegant article of fashionable apparel, often made of silk and adorned with ribbons, even with gold and jewels. (See, e.g., Bloch, Beitraege zur AEtiologie der Psychopathia Sexualis, Teil I, p. 159.)

[138] A correspondent in Ceylon has pointed out to me that in the Indian statues of Buddha, Vishnu, goddesses, etc., the necklace always covers the nipples, a sexually attractive adornment being thus at the same time the guardian of the orifices of the body. Crawley (The Mystic Rose, p. 135) regards mutilations as in the nature of permanent amulets or charms.

[139] Mantegazza, in his discussion of this point, although an ardent admirer of feminine beauty, decides that woman's form is not, on the whole, more beautiful than man's. See Appendix to Cap. IV of Fisiologia della Donna.

[140] For a discussion of the anthropology of the feminine pelvis, see Ploss and Bartels, Das Weib, bd. 1. Sec. VI.

[141] Ploss and Bartels, loc. cit.; Deniker, Revue d'Anthropologie, January 15, 1889, and Races of Man, p. 93.

[142] Darwin.

[143] G.F. Watts, "On Taste in Dress," Nineteenth Century, 1883.

[144] From mediaeval times onwards there has been a tendency to treat the gluteal region with contempt, a tendency well marked in speech and custom among the lowest classes in Europe to-day, but not easily traceable in classic times. Duehren (Das Geschlechtsleben in England, bd. II, pp. 359 et seq.) brings forward quotations from aesthetic writers and others dealing with the beauty of this part of the body.

[145] Sonnini, Voyage, etc., vol. i, p. 308.

[146] Ploss and Bartels, Das Weib, bd. 1, Sec. III; Mantegazza, Fisiologia della Donna, Chapter III.

[147] Bloch brings together various interesting quotations concerning the farthingale and the crinoline. (Beitraege zur AEtiologie der Psychopathia Sexualis, Teil I, p. 156.) He states that, like most other feminine fashions in dress, it was certainly invented by prostitutes.

[148] The racial variations in the form and character of the breasts are great, and there are considerable variations even among Europeans. Even as regards the latter our knowledge is, however, still very vague and incomplete; there is here a fruitful field for the medical anthropologist. Ploss and Bartels have brought together the existing data (Das Weib, bd. I, Sec. VIII). Stratz also discusses the subject (Die Schoenheit das Weiblichen Koerpers, Chapter X).

[149] Cambridge Anthropological Expedition to Torres Straits, vol. v, p. 28.

[150] These devices are dealt with and illustrations given by Ploss and Bartels, Das Weib (loc. cit.).

[151] See, e.g., Parerga und Paralipomena, bd. I, p. 189, and bd. 2, p. 482. Moll has also discussed this point (Untersuchungen ueber die Libido Sexualis, bd. I, pp. 384 et seq.).

[152] Speaking of some South American tribes, he remarks (Travels, English translations, 1814, vol. iii. p. 236) that they "have as great an antipathy to the beard as the Eastern nations hold it in reverence. This antipathy is derived from the same source as the predilection for flat foreheads, which is seen in so singular a manner in the statues of the Aztec heroes and divinities. Nations attach the idea of beauty to everything which particularly characterizes their own physical conformation, their natural physiognomy." See also Westermarck, History of Marriage, p. 261. Ripley (Races of Europe, pp. 49, 202) attaches much importance to the sexual selection founded on a tendency of this kind.

[153] "Differences of race are irreducible," Abel Hermant remarks (Confession d'un Enfant d'Hier, p. 209), "and between two beings who love each other they cannot fail to produce exceptional and instructive reactions. In the first superficial ebullition of love, indeed, nothing notable may be manifested, but in a fairly short time the two lovers, innately hostile, in striving to approach each other strike against an invisible partition which separates them. Their sensibilities are divergent; everything in each shocks the other; even their anatomical conformation, even the language of their gestures; all is foreign."

[154] C.H. Stratz, Die Schoenheit des Weiblichen Koerpers, fourteenth edition, Chapter XII.

[155] See, e.g., Sergi, The Mediterranean Race, pp. 59-75.

[156] Sergi (The Mediterranean Race, Chapter 1), by an analysis of Homer's color epithets, argues that in very few cases do they involve fairness; but his attempt scarcely seems successful, although most of these epithets are undoubtedly vague and involve a certain range of possible color.

[157] Lechat's study of the numerous realistic colored statues recently discovered in Greece (summarized in Zentralblatt fuer Anthropologie, 1904, ht. 1, p. 22) shows that with few exceptions the hair is fair.

[158] Renier, Il Tipo Estetico, pp. 127 et seq. In another book, Les Femmes Blondes selon les Peintres de l'Ecole de Venise, par deux Venitiens (one of these "Venetians" being Armand Baschet), is brought together much information concerning the preference for blondes in literature, together with a great many of the recipes anciently used for making the hair fair.

[159] J. Houdoy, La Beaute des Femmes dans la Litterature et dans l'Art du XIIe au XVIe Siecle, 1876, pp. 32 et seq.

[160] Houdoy, op. cit., pp. 41 et seq.

[161] Houdoy, op. cit., p. 83.

[162] Brantome, Vie des Dames Galantes, Discours II.

[163] Anatomy of Melancholy, Part III, Sec. II, Mem. II, Subs. II.

[164] It is significant that Burton (Anatomy of Melancholy, loc. cit.), while praising golden hair, also argues that "of all eyes black are moist amiable," quoting many examples to this effect from classic and later literature.

[165] "Relative Abilities of the Fair and the Dark," Monthly Review, August, 1901; cf. H. Ellis, A Study of British Genius, p. 215.

[166] Stratz, Die Schoenheit des Weiblichen Koerpers, p. 217.

[167] Bloch (Beitraege zur AEtiologie der Psychopathia Sexualis, Teil II, pp. 261 et seq.) brings together some facts bearing on the admiration for negresses in Paris and elsewhere.



III.

Beauty not the Sole Element in the Sexual Appeal of Vision—Movement—The Mirror—Narcissism—Pygmalionism—Mixoscopy—The Indifference of Women to Male Beauty—The Significance of Woman's Admiration of Strength—The Spectacle of Strength is a Tactile Quality made Visible.

Our discussion of the sensory element of vision in human sexual selection has been mainly an attempt to disentangle the chief elements of beauty in so far as beauty is a stimulus to the sexual instinct. Beauty by no means comprehends the whole of the influences which make for sexual allurement through vision, but it is the point at which all the most powerful and subtle of these are focussed; it represents a fairly definite complexus, appealing at once to the sexual and to the aesthetic impulses, to which no other sense can furnish anything in any degree analogous. It is because this conception of beauty has arisen upon it that vision properly occupies the supreme position in man from the point of view which we here occupy.

Beauty is thus the chief, but it is not the sole, element in the sexual appeal of vision. In all parts of the world this has always been well understood, and in courtship, in the effort to arouse tumescence, the appeals to vision have been multiplied and at the same time aided by appeals to the other senses. Movement, especially in the form of dancing, is the most important of the secondary appeals to vision. This is so well recognized that it is scarcely necessary to insist upon it here; it may suffice to refer to a single typical example. The most decent of Polynesian dances, according to William Ellis, was the hura, which was danced by the daughters of chiefs in the presence of young men of rank with the hope of gaining a future husband. "The daughters of the chiefs, who were the dancers on these occasions, at times amounted to five or six, though occasionally only one exhibited her symmetry of figure and gracefulness of action. Their dress was singular, but elegant. The head was ornamented with a fine and beautiful braid of human hair, wound round the head in the form of a turban. A triple wreath of scarlet, white, and yellow flowers adorned the head-dress. A loose vest of spotted cloth covered the lower part of the bosom. The tihi, of fine white stiffened cloth frequently edged with a scarlet border, gathered like a large frill, passed under the arms and reached below the waist; while a handsome fine cloth, fastened round the waist with a band or sash, covered the feet. The breasts were ornamented with rainbow-colored mother-of-pearl shells, and a covering of curiously wrought network and feathers. The music of the hura was the large and small drum and occasionally the flute. The movements were generally slow, but always easy and natural, and no exertion on the part of the performers was wanting to render them graceful and attractive."[168] We see here, in this very typical example, how the extraneous visual aids of movement, color, and brilliancy are invoked in conjunction with music to make the appeal of beauty more convincing in the process of sexual selection.

It may be in place here to mention, in passing, the considerable place which vision occupies in normal and abnormal methods of heightening tumescence under circumstances which exclude definite selection by beauty. The action of mirrors belongs to this group of phenomena. Mirrors are present in profusion in high-class brothels—on the walls and also above the beds. Innocent youths and girls are also often impelled to contemplate themselves in mirrors and sometimes thus, produce the first traces of sexual excitement. I have referred to the developed forms of this kind of self-contemplation in the Study of Auto-erotism, and in this connection have alluded to the fable of Narcissus, whence Naecke has since devised the term Narcissism for this group of phenomena. It is only necessary to mention the enormous production of photographs, representing normal and abnormal sexual actions, specially prepared for the purpose of exciting or of gratifying sexual appetites, and the frequency with which even normal photographs of the nude appeal to the same lust of the eyes.

Pygmalionism, or falling in love with statues, is a rare form of erotomania founded on the sense of vision and closely related to the allurement of beauty. (I here use "pygmalionism" as a general term for the sexual love of statues; it is sometimes restricted to cases in which a man requires of a prostitute that she shall assume the part of a statue which gradually comes to life, and finds sexual gratification in this performance alone; Eulenburg quotes examples, Sexuale Neuropathie, p. 107.) An emotional interest in statues is by no means uncommon among young men during adolescence. Heine, in Florentine Nights, records the experiences of a boy who conceived a sentimental love for a statue, and, as this book appears to be largely autobiographical, the incident may have been founded on fact. Youths have sometimes masturbated before statues, and even before the image of the Virgin; such cases are known to priests and mentioned in manuals for confessors. Pygmalionism appears to have been not uncommon among the ancient Greeks, and this has been ascribed to their aesthetic sense; but the manifestation is due rather to the absence than to the presence of aesthetic feeling, and we may observe among ourselves that it is the ignorant and uncultured who feel the indecency of statues and thus betray their sense of the sexual appeal of such objects. We have to remember that in Greece statues played a very prominent part in life, and also that they were tinted, and thus more lifelike than with us. Lucian, Athenaeus, AElian, and others refer to cases of men who fell in love with statues. Tarnowsky (Sexual Instinct, English edition, p. 85) mentions the case of a young man who was arrested in St. Petersburg for paying moonlight visits to the statue of a nymph on the terrace of a country house, and Krafft-Ebing quotes from a French newspaper the case which occurred in Paris during the spring of 1877 of a gardener who fell in love with a Venus in one of the parks. (I. Bloch, Beitraege zur AEtiologie der Psychopathia Sexualis, Teil II, pp. 297-305, brings together various facts bearing on this group of manifestations.)

Necrophily, or a sexual attraction for corpses, is sometimes regarded as related to pygmalionism. It is, however, a more profoundly morbid manifestation, and may perhaps he regarded as a kind of perverted sadism.

Founded on the sense of vision also we find a phenomenon, bordering on the abnormal, which is by Moll termed mixoscopy. This means the sexual pleasure derived from the spectacle of other persons engaged in natural or perverse sexual actions. (Moll, Kontraere Sexualempfindung, third edition, p. 308. Moll considers that in some cases mixoscopy is related to masochism. There is, however, no necessary connection between the two phenomena.) Brothels are prepared to accommodate visitors who merely desire to look on, and for their convenience carefully contrived peepholes are provided; such visitors are in Paris termed "voyeurs." It is said by Coffignon that persons hide at night in the bushes in the Champs Elysees in the hope of witnessing such scenes between servant girls and their lovers. In England during a country walk I have come across an elderly man carefully ensconced behind a bush and intently watching through his field-glass a couple of lovers reclining on a bank, though the actions of the latter were not apparently marked by any excess of indecorum. Such impulses are only slightly abnormal, whatever may be said of them from the point of view of good taste. They are not very far removed from the legitimate curiosity of the young woman who, believing herself unobserved, turns her glass on to a group of young men bathing naked. They only become truly perverse when the gratification thus derived is sought in preference to natural sexual gratification. They are also not normal when they involve, for instance, a man desiring to witness his wife in the act of coitus with another man. I have been told of the case of a scientific man who encouraged his wife to promote the advances of a young friend of his own, in his own drawing-room, he himself remaining present and apparently taking no notice; the younger man was astonished, but accepted the situation. In such a case, when the motives that led up to the episode are obscure, we must not too hastily assume that masochism or even mixoscopy is involved. For information on some of the points mentioned above see, e.g., I. Bloch, Beitraege zur AEtiologie der Psychopathia Sexualis, Teil I, pp. 200 et seq.; Teil II, pp. 195 et seq.

Wide, however, as is the appeal of beauty in sexual selection, it cannot be said to cover by any means the whole of the visual field in its sexual relationship. Beauty in the human species is, above all, a feminine attribute, making its appeal to men. Even for women, as has already been noted, beauty is still a feminine quality, which they usually admire, and in cases of inversion worship with an ardor which equals, if it does not surpass, that experienced by normal men. But the normal woman experiences no corresponding cult for the beauty of man. The perfection of the body of man is not behind that of woman in beauty, but the study of it only appeals to the artist or the aesthetician; it arouses sexual enthusiasm almost exclusively in the male sexual invert. Whatever may be the case among animals or even among savages, in civilization the man is most successful with women is not the most handsome man, and may be the reverse of handsome.[169] The maiden, according to the old saying, who has to choose between Adonis and Hercules, will turn to Hercules.

A correspondent writes: "Men are generally attracted in the first instance by a woman's beauty, either of face or figure. Frequently this is the highest form of love they are capable of. Personally, my own love is always prompted by this. In the case of my wife there was certainly a leaven of friendship and moral sympathies but these alone would never have been translated into love had she not been young and good-looking. Moreover, I have felt intense passion for other women, in my relations with whom the elements of moral or mental sympathy have not entered. And always, as youth and beauty went, I believe I should transfer my love to some one else.

"Now, in woman I fancy this element of beauty and youth does not enter so much. I have questioned a large number of women—some married, some unmarried, young and old ladies, shopgirls, servants, prostitutes, women whom I have known only as friends, others with whom I have had sexual relations—and I cannot recollect one instance when a woman said she had fallen in love with a man for his looks. The nearest approach to any sign of this was in the instance of one, who noticed a handsome man sitting near us in a hotel, and said to me: 'I should like him to kiss me.'

"I have also noticed that women do not like looking at my body, when naked, as I like looking at theirs. My wife has, on a few occasions, put her hand over my body, and expressed pleasure at the feeling of my skin. (I have very fair, soft skin.) But I have never seen women exhibit the excitement that is caused in me by the sight of their bodies, which I love to look at, to stroke, to kiss all over."

It is interesting to point out, in this connection, that the admiration of strength is not confined to the human female. It is by the spectacle of his force that the male among many of the lower animals sexually affects the female. Darwin duly allows for this fact, while some evolutionists, and notably Wallace, consider that it covers the whole field of sexual selection. When choice exists, Wallace states, "all the facts appear to be consistent with the choice depending on a variety of male characteristics, with some of which color is often correlated. Thus, it is the opinion of some of the best observers that vigor and liveliness are most attractive, and these are, no doubt, usually associated with some intensity of color, ... There is reason to believe that it is his [the male bird's] persistency and energy rather than his beauty which wins the day." (A.R. Wallace, Tropical Nature, 1898, p. 199.) In his later book, Darwinism (p. 295), Wallace reaffirms his position that sexual selection means that in the rivalry of males for the female the most vigorous secures the advantage; "ornament," he adds, "is the natural product and direct outcome of superabundant health and vigor." As regards woman's love of strength, see Westermarck, History of Marriage, p. 255.

Women admire a man's strength rather than his beauty. This statement is commonly made, and with truth, but, so far as I am aware, its meaning is never analyzed. When we look into it, I think, we shall find that it leads us into a special division of the visual sphere of sexual allurement. The spectacle of force, while it remains strictly within the field of vision, really brings to us, although unconsciously, impressions that are correlated with another sense—that of touch. We instinctively and unconsciously translate visible energy into energy of pressure. In admiring strength we are really admiring a tactile quality which has been made visible. It may therefore be said that, while through vision men are sexually affected mainly by the more purely visual quality of beauty, women are more strongly affected by visual impressions which express qualities belonging to the more fundamentally sexual sense of touch.

The distinction between the man's view and the woman's view, here pointed out, is not, it must be added, absolute. Even for a man, beauty, with all these components which we have already analyzed in it, is not the sole sexual allurement of vision. A woman is not necessarily sexually attractive in the ratio of her beauty, and with even a high degree of beauty may have a low degree of attraction. The addition of vivacity or the addition of languor may each furnish a sexual allurement, and each of these is a translated tactile quality which possesses an obscure potency from vague sexual implications.[170] But while in the man the demand for these translated pressure qualities in the visible attractiveness of a woman are not usually quite clearly realized, in a woman the corresponding craving for the visual expression of pressure energy is much more pronounced and predominant. It is not difficult to see why this should be so, even without falling back on the usual explanation that natural selection implies that the female shall choose the male who will be the most likely father of strong children and the best protector of his family. The more energetic part in physical love belongs to the man, the more passive part to the woman; so that, while energy in a woman is no index to effectiveness in love, energy in a man furnishes a seeming index to the existence of the primary quality of sexual energy which a woman demands of a man in the sexual embrace. It may be a fallacious index, for muscular strength is not necessarily correlated with sexual vigor, and in its extreme degrees appears to be more correlated with its absence. But it furnishes, in Stendhal's phrase, a probability of passion, and in any case it still remains a symbol which cannot be without its effect. We must not, of course, suppose that these considerations are always or often present to the consciousness of the maiden who "blushingly turns from Adonis to Hercules," but the emotional attitude is rooted in more or less unerring instincts. In this way it happens that even in the field of visual attraction sexual selection influences women on the underlying basis of the more primitive sense of touch, the fundamentally sexual sense.

Women are very sensitive to the quality of a man's touch, and appear to seek and enjoy contact and pressure to a greater extent than do men, although in early adolescence this impulse seems to be marked in both sexes. "There is something strangely winning to most women," remarks George Eliot, in The Mill on the Floss, "in that offer of the firm arm; the help is not wanted physically at that moment, but the sense of help—the presence of strength that is outside them and yet theirs—meets a continual want of the imagination."

Women are often very critical concerning a man's touch and his method of shaking hands. Stanley Hall (Adolescence, vol. ii, p. 8) quotes a gifted lady as remarking: "I used to say that, however much I liked a man, I could never marry him if I did not like the touch of his hand, and I feel so yet."

Among the elements of sexual attractiveness which make a special appeal to women, extreme personal cleanliness would appear to take higher rank than it takes in the eyes of a man, some men, indeed, seeming to make surprisingly small demands of a woman in this respect. If this is so we may connect it with the fact that beauty in a woman's eye is to a much greater extent than in a man's a picture of energy, in other words, a translation of pressure contracts, with which the question of physical purity is necessarily more intimately associated than it is with the picture of purely visual beauty. It is noteworthy that Ovid (Ars Amandi, lib. I) urges men who desire to please women to leave the arts of adornment and effeminacy to those whose loves are homosexual, and to practice a scrupulous attention to extreme neatness and cleanliness of body and garments in every detail, a sun-browned skin, and the absence of all odor. Some two thousand years later Brummell in an age when extravagance and effeminacy often marked the fashions of men, introduced a new ideal of unobtrusive simplicity, extreme cleanliness (with avoidance of perfumes), and exquisite good taste; he abhorred all eccentricity, and may be said to have constituted a tradition which Englishmen have ever since sought, more or less successfully to follow; he was idolized by women.

It may be added that the attentiveness of women to tactile contacts is indicated by the frequency with which in them it takes on morbid forms, as the delire du contact, the horror of contamination, the exaggerated fear of touching dirt. (See, e.g., Raymond and Janet, Les Obsessions et la Psychasthenie.)

FOOTNOTES:

[168] William Ellis, Polynesian Researches, second edition, 1832, vol. 1, p. 215.

[169] Stendhal (De l'Amour, Chapter XVIII) has some remarks on this point, and refers to the influence over women possessed by Lekain, the famous actor, who was singularly ugly. "It is passion," he remarks, "which we demand; beauty only furnishes probabilities."

[170] The charm of a woman's garments to a man is often due in part to their expressiveness in rendering impressions of energy, vivacity, or languor. This has often been realized by the poets, and notably by Herrick, who was singularly sensitive to these qualities in a woman's garments.



IV.

The Alleged Charm of Disparity in Sexual Attraction—The Admiration for High Stature—The Admiration for Dark Pigmentation—The Charm of Parity—Conjugal Mating—The Statistical Results of Observation as Regards General Appearance, Stature, and Pigmentation of Married Couples—Preferential Mating and Assortative Mating—The Nature of the Advantage Attained by the Fair in Sexual Selection—The Abhorrence of Incest and the Theories of its Cause—The Explanation in Reality Simple—The Abhorrence of Incest in Relation to Sexual Selection—The Limits to the Charm of Parity in Conjugal Mating—The Charm of Disparity in Secondary Sexual Characters.

When we are dealing with the senses of touch, smell, and hearing it is impossible at present, and must always remain somewhat difficult, to investigate precisely the degree and direction of their influence in sexual selection. We can marshal in order—as has here been attempted—the main facts and considerations which clearly indicate that there is and must be such an influence, but we cannot even attempt to estimate its definite direction and still less to measure it precisely. With regard to vision, we are in a somewhat better position. It is possible to estimate the direction of the influence which certain visible characters exert on sexual selection, and it is even possible to attempt their actual measurement, although there must frequently be doubt as to the interpretation of such measurements.

Two facts render it thus possible to deal more exactly with the influence of vision on sexual selection than with the influence of the other senses. In the first place, men and women consciously seek for certain visible characters in the persons to whom they are attracted; in other words, their "ideals" of a fitting mate are visual rather than tactile, olfactory, or auditory. In the second place, whether such "ideals" are potent in actual mating, or whether they are modified or even inhibited by more potent psychological or general biological influences, it is in either case possible to measure and compare the visible characters of mated persons.

The two visible characters which are at once most frequently sought in a mate and most easily measurable are degree of stature and degree of pigmentation. Every youth or maiden pictures the person he or she would like for a lover as tall or short, fair or dark, and such characters are measurable and have on a large scale been measured. It is of interest in illustration of the problem of sexual selection in man to consider briefly what results are at present obtainable regarding the influence of these two characters.

It has long been a widespread belief that short people are sexually attracted to tall people, and tall people to short; that in the matter of stature men and women are affected by what Bain called the "charm of disparity." It has not always prevailed. Many centuries ago Leonardo da Vinci, whose insight at so many points anticipated our most modern discoveries, affirmed clearly and repeatedly the charm of parity. After remarking that painters tend to delineate the figures that resemble themselves he adds that men also fall in love with and marry those who resemble themselves; "chi s'innamora voluntieri s'innamorano de cose a loro simiglianti," he elsewhere puts it.[171] But from that day to this, it would seem Leonardo's statements have remained unknown or unnoticed. Bernardin de Saint-Pierre said that "love is the result of contrasts," and Schopenhauer affirmed the same point very decisively; various scientific and unscientific writers have repeated this statement.[172]

So far as stature is concerned, there appears to be very little reason to suppose that this "charm of disparity" plays any notable part in constituting the sexual ideals of either men or women. Indeed, it may probably be affirmed that both men and women seek tallness in the person to whom they are sexually attracted. Darwin quotes the opinion of Mayhew that among dogs the females are strongly attracted to males of large size.[173] I believe this is true, and it is probably merely a particular instance of a general psychological tendency.

It is noteworthy as an indication of the direction of the sexual ideal in this matter that the heroines of male novelists are rarely short and the heroes of female novelists almost invariably tall. A reviewer of novels addressing to lady novelists in the Speaker (July 26, 1890) "A Plea for Shorter Heroes," publishes statistics on this point. "Heroes," he states, "are longer this year than ever. Of the 192 of whom I have had my word to say since October of last year, 27 were merely tall, and 11 were only slightly above the middle height. No less than 85 stood exactly six feet in their stocking soles, and the remainder were considerably over the two yards. I take the average to be six feet three."

As a slight test alike of the supposed "charm of disparity" as well as of the general degree in which tall and short persons are sought as mates by those of the opposite sex I have examined a series of entries in the Round-About, a publication issued by a club, of which the president is Mr. W.T. Stead, having for its object the purpose of promoting correspondence, friendship, and marriage between its members. There are two classes, of entries, one inserted with a view to "intellectual friendship," the other with a view to marriage. I have not thought it necessary to recognize this distinction here; if a man describes his own physical characteristics and those of the lady he would like as a friend, I assume that, from the point of view of the present inquiry, he is much on the same footing as the man who seeks a wife. In the series of entries which I have examined 35 men and women state approximately the height of the man or woman they seek to know; 30 state in addition their own height. The results are expressed in the table on the following page.

Although the cases are few, the results are, in two main respects, sufficiently clear without multiplication of data. In the first place, those who seek parity, whether men or women, are in a majority over those who seek disparity. In the second place, the existence of any disparity at all is due only to the universal desire to find a tall person. Not one man or woman sets down shortness as his or her ideal. The very fact that no man in these initial announcements ventures to set himself down as short (although a considerable proportion describe themselves as tall) indicates a consciousness that shortness is undesirable, as also does the fact that the women very frequently describe themselves as tall.

The same charm of disparity which has been supposed to rule in selective attraction as regards stature has also been assumed as regards pigmentation. The fair, it is said, are attracted to the dark, the dark to the fair. Again, it must be said that this common assumption is not confirmed either by introspection or by any attempt to put the matter on a statistical basis.[174]

WOMEN. MEN. TOTALS.

Tall women seek tall men.. 8 Tall men seek tall women.. 6 14 Short women seek short men 0 Short men seek short women 0 0 Medium-sized women seek Medium-sized men seek medium-sized men ....... 0 medium-sized women .... 3 3

Seek parity........... 8 Seek parity........... 9 17

Tall women seek short men. 0 Tall men seek short women. 0 0 Short women seek tall men. 4 Short men seek tall women. 0 4 Medium-sized woman seeks Medium-sized men seek tall tall man................ 1 women .................. 8 9

Seek disparity........ 5 Seek disparity........ 8 13

Men of unknown height seek tall women.............. 5 5

Most people who will carefully introspect their own feelings and ideals in this matter will find that they are not attracted to persons of the opposite sex who are strikingly unlike themselves in pigmentary characters. Even when the abstract ideal of a sexually desirable person is endowed with certain pigmentary characters, such as blue eyes or darkness,—either of which is liable to make a vaguely romantic appeal to the imagination,—it is usually found, on testing the feeling for particular persons, that the variation from the personal type of the subject is usually only agreeable within narrow limits, and that there is a very common tendency for persons of totally opposed pigmentary types, even though they may sometimes be considered to possess a certain aesthetic beauty, to be regarded as sexually unattractive or even repulsive. With this feeling may perhaps be associated the feeling, certainly very widely felt, that one would not like to marry a person of foreign, even though closely allied, race.

From the same number of the Round-About from which I have extracted the data on stature, I have obtained corresponding data on pigmentation, and have embodied them in the following table. They are likewise very scanty, but they probably furnish as good a general indication of the drift of ideals in this matter as we should obtain from more extensive data of the same character.

WOMEN. MEN. TOTALS.

Fair women seek fair men. 2 Fair men seek fair women 2 4 Dark woman seeks dark man 1 Dark men seek dark women 7 8

Seek parity.......... 3 Seek parity......... 9 12

Fair women seek dark men. 4 Fair men seek dark women 3 7 Dark woman seeks fair man 1 Dark men seek fair women 4 5 Medium-colored man seeks Seek disparity....... 5 dark woman ........... 1 1 Medium-colored man seeks fair woman ........... 1 1

Seek disparity...... 9 14

Men of unknown color seek dark women ........... 3 3

It will be seen that in the case of pigmentation there is not as in the case of stature a decided charm of parity in the formation of sexual ideals. The phenomenon, however, remains essentially analogous. Just as in regard to stature there is without exception an abstract admiration for tall persons, so here, though to a less marked extent, there is a general admiration for dark persons. As many as 6 out of 8 women and 14 out of 21 men seek a dark partner. This tendency ranges itself with the considerations already brought forward (p. 182), leading us to believe that, in England at all events, the admiration of fairness is not efficacious to promote any sexual selection, and that if there is actually any such selection it must be put down to other causes. No doubt, even in England the abstract aesthetic admiration of fairness is justifiable and may influence the artist. Probably also it influences the poet, who is affected by a long-established convention in favor of fairness, and perhaps also by a general tendency on the part of our poets to be themselves fair and to yield to the charm of parity,—the tendency to prefer the women of one's own stock,—which we have already found to be a real force.[175] But, as a matter of fact, our famous English beauties are not very fair; probably our handsomest men are not very fair, and the abstract sexual ideals of both our men and our women thus go out toward the dark.

The formation of a sexual ideal, while it furnishes a predisposition to be attracted in a certain direction, and undoubtedly has a certain weight in sexual choice, is not by any means the whole of sexual selection. It is not even the whole of the psychic element in sexual selection. Let us take, for instance, the question of stature. There would seem to be a general tendency for both men and women, apart from and before experience, to desire sexually large persons of the opposite sex. It may even be that this is part of a wider zooelogical tendency. In the human species it shows itself also on the spiritual plane, in the desire for the infinite, in the deep and unreasoning feeling that it is impossible to have too much of a good thing. But it not infrequently happens that a man in whose youthful dreams of love the heroine has always been large, has not been able to calculate what are the special nervous and other characteristics most likely to be met in large women, nor how far these correlated characteristics would suit his own instinctive demands. He may, and sometimes does, find that in these other demands, which prove to be more important and insistent than the desire for stature, the tall women he meets are less likely to suit him than the medium or short women.[176] It may thus happen that a man whose ideal of woman has always been as tall may yet throughout life never be in intimate relationship with a tall woman because he finds that practically he has more marked affinities in the case of shorter women. His abstract ideals are modified or negatived by more imperative sympathies or antipathies.

In one field such sympathies have long been recognized, especially by alienists, as leading to sexual unions of parity, notwithstanding the belief in the generally superior attraction of disparity. It has often been pointed out that the neuropathic, the insane and criminal, "degenerates" of all kinds, show a notable tendency to marry each other. This tendency has not, however, been investigated with any precision.[177]

The first attempt on a statistical basis to ascertain what degree of parity or disparity is actually attained by sexual selection was made by Alphonse de Candolle.[178] Obtaining his facts from Switzerland, North Germany, and Belgium, he came to the conclusion that marriages are most commonly contracted between persons with different eye-colors, except in the case of brown-eyed women, who (as Schopenhauer stated, and as is seen in the English data of the sexual ideal I have brought forward) are found more attractive than others.

The first series of serious observations tending to confirm the result reached by the genius of Leonardo da Vinci and to show that sexual selection results in the pairing of like rather than of unlike persons was made by Hermann Fol, the embryologist.[179] He set out with the popular notion that married people end by resembling each other, but when at Nice, which is visited by many young married couples on their honeymoons, he was struck by the resemblances already existing immediately after marriage. In order to test the matter he obtained the photographs of 251 young and old married couples not personally known to him. The results were as follows:

RESEMBLANCES NONRESEMBLANCES COUPLES. (PERCENTAGE). (PERCENTAGE). TOTAL.

Young.............. 132, about 66,66 66, about 33.33 198 Old ................ 38, about 71.70 15, about 28.30 53

He concluded that in the immense majority of marriages of inclination the contracting parties are attracted by similarities, and not by dissimilarities, and that, consequently, the resemblances between aged married couples are not acquired during conjugal life. Although Fol's results were not obtained by good methods, and do not cover definite points like stature and eye-color, they represented the conclusions of a highly skilled and acute observer and have since been amply confirmed.

Galton could not find that the average results from a fairly large number of cases indicated that stature, eye-color, or other personal characteristics notably influenced sexual selection, as evidenced by a comparison of married couples.[180] Karl Pearson, however, in part making use of a large body of data obtained by Galton, referring to stature and eye-color, has reached the conclusion that sexual selection ultimately results in a marked degree of parity so far as these characters are concerned.[181] As regards stature, he is unable to find evidence of what he terms "preferential mating"; that is to say, it does not appear that any preconceived ideals concerning the desirability of tallness in sexual mates leads to any perceptibly greater tallness of the chosen mate; husbands are not taller than men in general, nor wives than women in general. In regard to eye-color, however, there appeared to be evidence of preferential mating. Husbands are very decidedly fairer than men in general, and though there is no such marked difference in women, wives are also somewhat fairer than women in general. As regards "assortative mating" as it is termed by Pearson,—the tendency to parity or to disparity between husbands and wives,—the result were in both cases decisive. Tall men marry women who are somewhat above the average in height; short men marry women who are somewhat below the average, so that husband and wife resemble each other in stature as closely as uncle and niece. As regards eye-color there is also a tendency for like to marry like; the light-eyed men tend to marry light-eyed women more often than dark-eyed women; the dark-eyed men tend to marry dark-eyed women more often than light-eyed. There remains, however, a very considerable difference in the eye-color of husband and wife; in the 774 couples dealt with by Pearson there are 333 dark-eyed women to only 251 dark-eyed men, and 523 light-eyed men to only 441 light-eyed women. The women in the English population are darker-eyed than the men;[182] but the difference is scarcely so great as this; so that even if wives are not so dark-eyed as women generally it would appear that the ideal admiration for the dark-eyed may still to some extent make itself felt in actual mating.