There can be no doubt that such early familiarity with the beauty of nudity in classic art is widely needed among all social classes and in many countries. It is to this defect of our education that we must attribute the occasional, and indeed in America and England frequent, occurrence of such incidents as petitions and protests against the exhibition of nude statuary in art museums, the display of pictures so inoffensive as Leighton's "Bath of Psyche" in shop windows, and the demand for the draping of the naked personifications of abstract virtues in architectural street decoration. So imperfect is still the education of the multitude that in these matters the ill-bred fanatic of pruriency usually gains his will. Such a state of things cannot but have an unwholesome reaction on the moral atmosphere of the community in which it is possible. Even from the religious point of view, prurient prudery is not justifiable. Northcote has very temperately and sensibly discussed the question of the nude in art from the standpoint of Christian morality. He points out that not only is the nude in art not to be condemned without qualification, and that the nude is by no means necessarily the erotic, but he also adds that even erotic art, in its best and purest manifestations, only arouses emotions that are the legitimate object of man's aspirations. It would be impossible even to represent Biblical stories adequately on canvas or in marble if erotic art were to be tabooed (Rev. H. Northcote, _Christianity and Sex Problems_, Ch. XIV).
Early familiarity with the nude in classic and early Italian art should be combined at puberty with an equal familiarity with photographs of beautiful and naturally developed nude models. In former years books containing such pictures in a suitable and attractive manner to place before the young were difficult to procure. Now this difficulty no longer exists. Dr. C.H. Stratz, of The Hague, has been the pioneer in this matter, and in a series of beautiful books (notably in _Der Körper des Kindes, Die Schönheit des Weiblichen Körpers_ and _Die Rassenschönheit des Weibes_, all published by Enke in Stuttgart), he has brought together a large number of admirably selected photographs of nude but entirely chaste figures. More recently Dr. Shufeldt, of Washington (who dedicates his work to Stratz), has published his _Studies of the Human Form_ in which, in the same spirit, he has brought together the results of his own studies of the naked human form during many years. It is necessary to correct the impressions received from classic sources by good photographic illustrations on account of the false conventions prevailing in classic works, though those conventions were not necessarily false for the artists who originated them. The omission of the pudendal hair, in representations of the nude was, for instance, quite natural for the people of countries still under Oriental influence are accustomed to remove the hair from the body. If, however, under quite different conditions, we perpetuate that artistic convention to-day, we put ourselves into a perverse relation to nature. There is ample evidence of this. "There is one convention so ancient, so necessary, so universal," writes Mr. Frederic Harrison (_Nineteenth Century and After_, Aug., 1907), "that its deliberate defiance to-day may arouse the bile of the least squeamish of men and should make women withdraw at once." If boys and girls were brought up at their mother's knees in familiarity with pictures of beautiful and natural nakedness, it would be impossible for anyone to write such silly and shameful words as these.