The University of Chicago Press

Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth-
Century Art, Medicine, and Literature

Author(s): Sander L. Gilman
Source: Critical Inquiry, Vol. 12, No. 1, "Race," Writing, and Difference (Autumn, 1985), pp.
204-242
Published by: The University of Chicago Press
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Black Bodies, White Bodies: Toward an
Iconography of Female Sexuality in
Late Nineteenth-Century Art, Medicine, and
Literature
SanderL. Gilman
How do we organize our perceptions of the world? Recent discussions

of this age-old question have centered around the function of visual
conventions as the primary means by which we perceive and transmit
our understanding of the world about us.' Nowhere are these conventions
more evident than in artistic representations, which consist more or less
exclusively of icons. Rather than presenting the world, icons represent
it. Even with a modest nod to supposedly mimetic portrayals it is apparent
that, when individuals are shown within a work of art (no matter how
broadly defined), the ideologically charged iconographic nature of the
representation dominates. And it dominates in a very specific manner,
for the representation of individuals implies the creation of some greater
class or classes to which the individual is seen to belong. These classes
in turn are characterized by the use of a model which synthesizes our
perception of the uniformity of the groups into a convincingly homo-
geneous image. The resulting stereotypes may be overt, as in the case
of caricatures, or covert, as in eighteenth-century portraiture. But they
serve to focus the viewer's attention on the relationship between the
portrayed individual and the general qualities ascribed to the class.
Specific individual realities are thus given mythic extension through
association with the qualities of a class. These realities manifest as icons
representing perceived attributes of the class into which the individual
has been placed. The myths associated with the class, the myth of difference
from the rest of humanity, is thus, to an extent, composed of fragments
of the real world, perceived through the ideological bias of the observer.
Critical Inquiry 12 (Autumn 1985)
? 1985 by The University of Chicago. 0093-1896/85/1201-0008$01.00. All rights reserved.
204

CriticalInquiry Autumn 1985 205
These myths are often so powerful, and the associations of their conventions
so overpowering, that they are able to move from class to class without
substantial alteration. In linking otherwise marginally or totally unrelated
classes of individuals, the use of these conventions reveals perceptual
patterns which themselves illuminate the inherent ideology at work.
While the discussion of the function of conventions has helped reveal
the essential iconographic nature of all visual representation, it has mainly
been limited to a specific sphere-aesthetics. And although the definition
of the aesthetic has expanded greatly in the past decade to include every-
thing from decoration to advertising, it continues to dominate discussions
of visual conventions. Patterns of conventions are established within the
world of art or between that world and parallel ones, such as the world
of literature, but they go no farther. We maintain a special sanctity about
the aesthetic object which we deny to the conventions of representation
in other areas.
This essay is an attempt to plumb the conventions (and thus the
ideologies) which exist at a specific historical moment in both the aesthetic
and scientific ppheres. I will assume the existence of a web of conventions
within the world of the aesthetic-conventions which have elsewhere
been admirably illustrated-but will depart from the norm by examining
the synchronic existence of another series of conventions, those of medicine.
I do not mean in any way to accord special status to medical conventions.
Indeed, the world is full of overlapping and intertwined systems of con-
ventions, of which the medical and the aesthetic are but two. Medicine
offers an especially interesting source of conventions since we do tend
to give medical conventions special "scientific" status as opposed to the
"subjective" status of the aesthetic conventions. But medical icons are no
more "real"than "aesthetic" ones. Like aesthetic icons, medical icons may
(or may not) be rooted in some observed reality. Like them, they are
iconographic in that they represent these realities in a manner determined
by the historical position of the observers, their relationship to their own
time, and to the history of the conventions which they employ. Medicine
uses its categories to structure an image of the diversity of mankind; it
is as much at the mercy of the needs of any age to comprehend this
infinite diversity as any other system which organizes our perception of
the world. The power of medicine, at least in the nineteenth century,
Sander L. Gilman is professor of Humane Studies in the Departments

of German Literature and Near Eastern Studies and professor of Psychiatry
(History) in the Cornell Medical College, Cornell University. He is the
author or editor of numerous studies of European cultural history with
a focus on the history of stereotypes. In addition, he has coedited De-
generation (1985) with J. E. Chamberlin. His study Jewish Self-Hatred is
forthcoming.

206 Sander L. Gilman Black Bodies, WhiteBodies
lies in the rise of the status of science. The conventions of medicine

infiltrate other seemingly closed iconographic systems precisely because
of this status. In examining the conventions of medicine employed in
other areas, we must not forget this power.
One excellent example of the conventions of human diversity captured
in the iconography of the nineteenth century is the linkage of two seemingly
unrelated female images -the icon of the Hottentot female and the icon
of the prostitute. In the course of the nineteenth century, the female
Hottentot comes to represent the black female in nuce, and the prostitute
to represent the sexualized woman. Both of these categories represent
the creation of classes which correspondingly represent very specific
qualities. While the number of terms describing the various categories
of the prostitute expanded substantially during the nineteenth century,
all were used to label the sexualized woman. Likewise, while many groups
of African blacks were known to Europeans in the nineteenth century,
the Hottentot remained representative of the essence of the black, especially
the black female. Both concepts fulfilled an iconographic function in the
perception and the representation of the world. How these two concepts
were associated provides a case study for the investigation of patterns of
conventions, without any limitation on the "value" of one pattern over
another.
Let us begin with one of the classic works of nineteenth-century art,
a work which records the idea of both the sexualized woman and the
black woman. Edouard Manet's Olympia, painted in 1862-63 and first
exhibited in the Salon of 1865, assumes a key position in documenting
the merger of these two images (fig. 1). The conventional wisdom con-
cerning Manet's painting states that the model, Victorine Meurend, is
"obviously naked rather than conventionally nude,"2 and that her pose
is heavily indebted to classical models such as Titian's Venus of Urbino
(1538), Francisco Goya's Naked Maja (1800), and Eugene Delacroix's
Odalisque(1847), as well as other works by Manet's contemporaries, such
as Gustave Courbet.' George Needham has shown quite convincingly
that Manet was also using a convention of early erotic photography in
having the central figure directly confront the observer.4The black female
attendant, based on a black model called Laura, has been seen as a reflex
of both the classic black servant figure present in the visual arts of the
eighteenth century as well as a representation of Baudelaire's VMnus noire.5
Let us juxtapose the Olympia,with all its aesthetic and artistic analogies
and parallels, to a work by Manet which Georges Bataille, among others,
has seen as a modern "genre scene"-the Nana of 1877 (fig. 2).6 Unlike
Olympia, Nana is modern, a creature of present-day Paris, according to
a contemporary.' But like Olympia, Nana was perceived as a sexualized
female and is so represented. Yet in moving from a work with an evident
aesthetic provenance, as understood by Manet's contemporaries, to one
which was influenced by the former and yet was seen by its contemporaries

1863.Mus6ede 1'Impressionisme,
FIG.1.-Edouard Manet,Olympia, Pa

FIG.2.-Manet, Nana, 1877. Kunsthalle,Hamburg. Phot. Museum.

as modern, certain major shifts in the iconography of the sexualized

woman take place, not the least of which is the apparent disappearance
of the black female.
The figure of the black servant in European art is ubiquitous. Richard
Strauss knew this when he had Hugo von Hofmannsthal conclude their
conscious evocation of the eighteenth century, Der Rosenkavalier(1911),
with the mute return of the little black servant to reclaim the Marschallin's
forgotten gloves.8 But Hofmannsthal was also aware that one of the black
servant's central functions in the visual arts of the eighteenth and nineteenth
centuries was to sexualize the society in which he or she is found. The
forgotten gloves, for instance, mark the end of the relationship between
Octavian, the Knight of the Rose, and the Marschallin: the illicit nature
of their sexual relationship, which opens the opera, is thereby linked to
the appearance of the figure of the black servant, which closes the opera.
When one turns to the narrative art of the eighteenth century-for
example, to William Hogarth's two great cycles, A Rake'sProgress (1733-
34) and A Harlot's Progress (1731)-it is not very surprising that, as in
the Strauss opera some two centuries later, the figures of the black servants
mark the presence of illicit sexual activity. Furthermore, as in Hof-
mannsthal's libretto, they appear in the opposite sex to the central figure.
In the second plate of A Harlot's Progress, we see Moll Hackabout as the
mistress of a Jewish merchant, the first stage of her decline as a sexualized
female; also present is a young, black male servant (fig. 3). In the third
stage of Tom Rakewell's collapse, we find him in a notorious brothel,
the Rose Tavern in Covent Garden.9 The entire picture is full of references
to illicit sexual activity, all portrayed negatively; present as well is the
figure of a young female black servant.
The association of the black with concupiscence reaches back into
the Middle Ages. The twelfth-century Jewish traveler Benjamin of Tudela
wrote that
at Seba on the river Pishon ... is a people ... who, like animals,
eat of the herbs that grow on the banks of the Nile and in the fields.
They go about naked and have not the intelligence of ordinary
men. They cohabit with their sisters and anyone they can find....
And these are the Black slaves, the sons of Ham.10
By the eighteenth century, the sexuality of the black, both male and
female, becomes an icon for deviant sexuality in general; as we have
seen, the black figure appears almost always paired with a white figure
of the opposite sex. By the nineteenth century, as in the Olympia,or more
crudely in one of a series of Viennese erotic prints entitled "The Servant"
(fig. 4), the central female figure is associated with a black female in such
a way as to imply their sexual similarity. The association of figures of
the same sex stresses the special status of female sexuality. In "The Servant"

FIG. 3.-William Hogarth, A Harlot's Progress, pl. 2, engra

FIG. 4.-Franz von Bayros, "The Servant," ca. 1890.

the overt sexuality of the black child indicates the covert sexuality of the
white woman, a sexuality quite manifest in the other plates in the series.
The relationship between the sexuality of the black woman and that of
the sexualized white woman enters a new dimension when contemporary
scientific discourse concerning the nature of black female sexuality is
examined.
Buffon commented on the lascivious, apelike sexual appetite of the
black, introducing a commonplace of early travel literature into a "scientific"
context." He stated that this animallike sexual appetite went so far as to
lead black women to copulate with apes. The black female thus comes
to serve as an icon for black sexuality in general. Buffon's view was based
on a confusion of two applications of the great chain of being to the
nature of the black. Such a scale was employed to indicate the innate
difference between the races: in this view of mankind, the black occupied
the antithetical position to the white on the scale of humanity. This
polygenetic view was applied to all aspects of mankind, including sexuality
and beauty. The antithesis of European sexual mores and beauty is em-
bodied in the black, and the essential black, the lowest rung on the great
chain of being, is the Hottentot. The physical appearance of the Hottentot
is, indeed, the central nineteenth-century icon for sexual difference between
the European and the black-a perceived difference in sexual physiology
which puzzled even early monogenetic theoreticians such as Johann
Friedrich Blumenbach.
Such labeling of the black female as more primitive, and therefore
more sexually intensive, by writers like the Abbe Raynal would have been
dismissed as unscientific by the radical empiricists of late eighteenth- and
early nineteenth-century Europe." To meet their scientific standards, a
paradigm was needed which would technically place both the sexuality
and the beauty of the black in an antithetical position to that of the white.
This paradigm would have to be rooted in some type of unique and
observable physical difference; they found that difference in the distinction
they drew between the pathological and the normal in the medical model.
William Bynum has contended that nineteenth-century biology constantly
needed to deal with the polygenetic argument. We see the validity of his
contention demonstrated here, for the medical model assumes the poly-
genetic difference between the races.'"
It was in the work of J. J. Virey that this alteration of the mode of
discourse-though not of the underlying ideology concerning the black
female-took place. He was the author of the study of race standard in
the early nineteenth century and also contributed a major essay (the only
one on a specific racial group) to the widely cited Dictionnairedes sciences
midicales [Dictionaryof medicalsciences] (1819). 4 In this essay, Virey sum-
marized his (and his contemporaries') views on the sexual nature of black
females in terms of acceptable medical discourse. According to him, their
"voluptuousness" is "developed to a degree of lascivity unknown in our

Critical Inquiry Autumn 1985 213
climate, for their sexual organs are much more developed than those of
whites." Elsewhere, Virey cites the Hottentot woman as the epitome of
this sexual lasciviousness and stresses the relationship between her physi-
ology and her physiognomy (her "hideous form" and her "horriblyflattened
nose"). His central proof is a discussion of the unique structure of the
Hottentot female's sexual parts, the description of which he takes from
the anatomical studies published by his contemporary, Georges Cuvier.'5
According to Cuvier, the black female looks different. Her physiognomy,
her skin color, the form of her genitalia label her as inherently different.
In the nineteenth century, the black female was widely perceived as
possessing not only a "primitive" sexual appetite but also the external
signs of this temperament-"primitive" genitalia. Eighteenth-century
travelers to southern Africa, such as Frangois Le Vaillant and John
Barrow, had described the so-called Hottentot apron, a hypertrophy of
the labia and nymphae caused by the manipulation of the genitalia and
serving as a sign of beauty among certain tribes, including the Hottentots
and Bushmen as well as tribes in Basutoland and Dahomey.'6
The exhibition in 1810 of Saartjie Baartman, also called Sarah Bart-
mann or Saat-Jee and known as the "Hottentot Venus," caused a public
scandal in a London inflamed by the issue of the abolition of slavery,
since she was exhibited "to the public in a manner offensive to decency.
She ... does exhibit all the shape and frame of her body as if naked"
(fig. 5). The state's objection was as much to her lewdness as to her status
as an indentured black. In France her presentation was similar. Sarah
Bartmann was not the only African to be so displayed: in 1829 a nude
Hottentot woman, also called "the Hottentot Venus," was the prize at-
traction at a ball given by the Duchess Du Barry in Paris. A contemporary
print emphasized her physical difference from the observers portrayed
(fig. 6)."7 After more than five years of exhibition in Europe, Sarah
Bartmann died in Paris in 1815 at the age of twenty-five. An autopsy
was performed on her which was first written up by Henri de Blainville
in 1816 and then, in its most famous version, by Cuvier in 1817.18 Reprinted
at least twice during the next decade, Cuvier's description reflected de
Blainville's two intentions: the comparison of a female of the "lowest"
human species with the highest ape (the orangutan) and the description
of the anomalies of the Hottentot's "organ of generation." It is important
to note that Sarah Bartmann was exhibited not to show her genitalia but
rather to present another anomaly which the European audience (and
pathologists such as de Blainville and Cuvier) found riveting. This was
the steatopygia, or protruding buttocks, the other physical characteristic
of the Hottentot female which captured the eye of early European travelers.
Thus the figure of Sarah Bartmann was reduced to her sexual parts. The
audience which had paid to see her buttocks and had fantasized about
the uniqueness of her genitalia when she was alive could, after her death
and dissection, examine both, for Cuvier presented to "the Academy the

FIG.5.-"The HottentotVenus."GeorgesCuvier,"Extraits d'observations
faitessur le cadavred'unefemmeconnueA Pariset A Londressousle nomde
VenusHottentote," 1817.

lo
*LA
J•.•..!?
.,
--L.Yi 'I,•'
3,1 .
FIG.6.--"The Ball of the Duchess Du Barry,"popular engra

genital organs of this woman prepared in a way so as to allow one to see

the nature of the labia."'19
Sarah Bartmann's sexual parts, her genitalia and her buttocks, serve
as the central image for the black female throughout the nineteenth
century. And the model of de Blainville's and Cuvier's descriptions, which
center on the detailed presentation of the sexual parts of the black,
dominates all medical description of the black during the nineteenth
century. To an extent, this reflects the general nineteenth-century un-
derstanding of female sexuality as pathological: the female genitalia were
of interest partly as examples of the various pathologies which could
befall them but also because the female genitalia came to define the
female for the nineteenth century. When a specimen was to be preserved
for an anatomical museum, more often than not the specimen was seen
as a pathological summary of the entire individual. Thus, the skeleton
of a giant or a dwarf represented "giantism" or "dwarfism"; the head of
a criminal represented the act of execution which labeled him "criminal."20
Sarah Bartmann's genitalia and buttocks summarized her essence for the
nineteenth-century observer, or, indeed, for the twentieth-century one,
as they are still on display at the Mus&ede l'homme in Paris. Thus when
one turns to the autopsies of Hottentot females in the nineteenth century,
their description centers about the sexual parts. De Blainville (1816) and
Cuvier (1817) set the tone, which is followed by A. W. Otto in 1824,
Johannes Miiller in 1834, William H. Flower and James Murie in 1867,
and Luschka, Koch, and Gortz in 1869 (fig. 7).21 These presentations of
Hottentot or Bushman women all focus on the presentation of the genitalia
and buttocks. Flower, the editor of the Journal of Anatomyand Physiology,
included his dissection study in the opening volume of that famed journal.
His ideological intent was clear. He wished to provide data "relating to
the unity or plurality of mankind." His description begins with a detailed
presentation of the form and size of the buttocks and concludes with his
portrayal of the "remarkabledevelopment of the labia minoria, or nymphae,
which is so general a characteristic of the Hottentot and Bushman race."
These were "sufficiently well marked to distinguish these parts at once
from those of any of the ordinary varieties of the human species." The
polygenetic argument is the ideological basis for all the dissections of
these women. If their sexual parts could be shown to be inherently
different, this would be a sufficient sign that the blacks were a separate
(and, needless to say, lower) race, as different from the European as the
proverbial orangutan. Similar arguments had been made about the nature
of all blacks' (and not just Hottentots') genitalia, but almost always con-
cerning the female. Edward Turnipseed of South Carolina argued in
1868 that the hymen in black women "is not at the entrance to the vagina,
as in the white woman, but from one-and-a-half to two inches from its
entrance in the interior." From this he concluded that "this may be one
of the anatomical marks of the non-unity of the races."22His views were

r.:i I/
j? ......
'
i.
FIG.7.-The "HottentotApron."JohannesMUiler,"Ueberdie ausserenGeschlechtstheile

der Buschminninnen,"figs. 1 and 2, 1834.

seconded in 1877 by C. H. Fort, who presented another six cases of this

seeming anomaly." In comparison, when one turns to the description
of the autopsies of black males from approximately the same period, the
absence of any discussion of the male genitalia whatsoever is striking.
For example, William Turner, in his three dissections of male blacks in
1878, 1879, and 1896, makes no mention at all of the genitalia.24 The
uniqueness of the genitalia and buttocks of the black is thus associated
primarily with the female and is taken to be a sign solely of an anomalous
female sexuality.
By mid-century the image of the genitalia of the Hottentot had
assumed a certain set of implications. The central view is that these
anomalies are inherent, biological variations rather than adaptions. In
Theodor Billroth's standard handbook of gynecology, a detailed presen-
tation of the "Hottentot apron" is part of the discussion of errors in
development of the female genitalia (Entwicklungsfehler).By 1877 it was
a commonplace that the Hottentot's anomalous sexual form was similar
to other errors in the development of the labia. The author of this section
links this malformation with the overdevelopment of the clitoris, which
he sees as leading to those "excesses" which "are called 'lesbian love."'
The concupiscence of the black is thus associated also with the sexuality
of the lesbian.25 In addition, the idea of a congenital error incorporates
the disease model applied to the deformation of the labia in the Hottentot,
for the model of degeneracy presumes some acquired pathology in one
generation which is the direct cause of the stigmata of degeneracy in the
next. Surely the best example for this is the concept of congenital syphilis
as captured in the popular consciousness by Henrik Ibsen's drama of
biological decay, Ghosts.Thus Billroth's "congenital failure" is presupposed
to have some direct and explicable etiology as well as a specific manifestation.
While this text is silent as to the etiology, we can see the link established
between the ill, the bestial, and the freak (pathology, biology, and medicine)
in this view of the Hottentot's genitalia.
At this point, an aside might help explain both the association of
the genitalia, a primary sexual characteristic,and the buttocks, a secondary
sexual characteristic, in their role as the semantic signs of "primitive"
sexual appetite and activity. Havelock Ellis, in volume 4 of his Studiesin
the Psychologyof Sex (1905), provided a detailed example of the great
chain of being as applied to the perception of the sexualized Other. Ellis
believed that there is an absolute scale of beauty which is totally objective
and which ranges from the European to the black. Thus men of the
lower races, according to Ellis, admire European women more than their
own, and women of lower races attempt to whiten themselves with face
powder. Ellis then proceeded to list the secondary sexual characteristics
which comprise this ideal of beauty, rejecting the "naked sexual organ[s]"
as not "aesthetically beautiful" since it is "fundamentally necessary" that
they "retain their primitive characteristics." Only people "in a low state

of culture" perceive the "naked sexual organs as objects of attraction."26

The list of secondary sexual characteristics which Ellis then gives as the
signs of a cultured (that is, not primitive) perception of the body--the
vocabulary of aesthetically pleasing signs--begins with the buttocks. This
is, of course, a nineteenth-century fascination with the buttocks as a
displacement for the genitalia. Ellis gives it the quality of a higher regard
for the beautiful. His discussions of the buttocks ranks the races by size
of the female pelvis, a view which began with Willem Vrolik's claim in
1826 that a narrow pelvis is a sign of racial superiority and is echoed by
R. Verneau's study in 1875 of the form of the pelvis among the various
races.27Verneau uses the pelvis of Sarah Bartmann to argue the primitive
nature of the Hottentot's anatomical structure. Ellis accepts this ranking,
seeing the steatopygia as "a simulation of the large pelvis of the higher
races," having a compensatory function like face powder in emulating
white skin. This view places the pelvis in an intermediary role as both a
secondary as well as a primary sexual sign. Darwin himself, who held
similar views as to the objective nature of human beauty, saw the pelvis
as a "primary [rather] than as a secondary ... character" and the buttocks
of the Hottentot as a somewhat comic sign of the primitive, grotesque
nature of the black female.28
When the Victorians saw the female black, they saw her in terms
of her buttocks and saw represented by the buttocks all the anomalies
of her genitalia. In a mid-century erotic caricature of the Hottentot
Venus, a white, male observer views her through a telescope, unable to
see anything but her buttocks (fig. 8).9 This fascination with the uniqueness
of the sexual parts of the black focuses on the buttocks over and over
again. In a British pornographic novel, published in 1899 but set in a
mythic, antebellum Southern United States, the male author indulges
his fantasy of flagellation on the buttocks of a number of white women.
When he describes the one black, a runaway slave, being shipped, the
power of the image of the Hottentot's buttocks captures him:
She would have had a good figure, only that her bottom was out
of all proportion. It was too big, but nevertheless it was fairly well
shaped, with well-rounded cheeks meeting each other closely, her
thighs were large, and she had a sturdy pair of legs, her skin was
smooth and of a clear yellow tint.so
The presence of exaggerated buttocks points to the other, hidden sexual

signs, both physical and temperamental, of the black female. This as-
sociation is a powerful one. Indeed Freud, in Three Essays on Sexuality
(1905), echoes the view that female genitalia are more primitive than
those of the male, for female sexuality is more anal than that of the
male."' Female sexuality is linked to the image of the buttocks, and the
quintessential buttocks are those of the Hottentot.

.-Poo
.L~t
IP . F Atw
FIG.8.-"The Hottentot Venus,"popular engraving,ca. 1850.

We can see in Edwin Long's painting of 1882, TheBabylonianMarriage

Market, the centrality of this vocabulary in perceiving the sexualized
woman (fig. 9). This painting was the most expensive work of contemporary
art sold in nineteenth-century London. It also has a special place in
documenting the perception of the sexualized female in terms of the
great chain of aesthetic perception presented by Ellis. Long's painting
is based on a specific text from Herodotus, who described the marriage
auction in Babylon in which maidens were sold in order of comeliness.
In the painting they are arranged in order of their attractiveness. Their
physiognomies are clearly portrayed. Their features run from the most
European and white (a fact emphasized by the light reflected from the
mirror onto the figure at the far left) to the Negroid features (thick lips,
broad nose, dark but not black skin) of the figure furthest to the observer's
right. The latter figure fulfills all of Virey's categories for the appearance
of the black. This is, however, the Victorian scale of sexualized women
acceptable within marriage, portrayed from the most to the least attractive,
according to contemporary British standards. The only black female
present is the servant-slave shown on the auction block, positioned so as
to present her buttocks to the viewer. While there are black males in the
audience and thus among the bidders, the only black female is associated
with sexualized white women as a signifier of their sexual availability.
Her position is her sign and her presence in the painting
is thus analogous to the figure of the black servant, Laura, in Manet's
Olympia. Here, the linkage between two female figures, one black and
one white, represents not the perversities of human sexuality in a corrupt
society, such as the black servants signify in Hogarth; rather, it represents
the internalization of this perversity in one specific aspect of human
society, the sexualized female, in the perception of late nineteenth-century
Europe.
In the nineteenth century, the prostitute is perceived as the essential
sexualized female. She is perceived as the embodiment of sexuality and
of all that is associated with sexuality-disease as well as passion." Within
the large and detailed literature concerning prostitution written during
the nineteenth century (most of which documents the need for legal
controls and draws on the medical model as perceived by public health
officials), the physiognomy and physiology of the prostitute are analyzed
in detail. We can begin with the most widely read early nineteenth-
century work on prostitution, that of A. J. B. Parent-Duchatelet, who
provides a documentation of the anthropology of the prostitute in his
study of prostitution in Paris (1836).3" Alain Corbin has shown how
Parent-Duchatelet's use of the public health model reduces the prostitute
to yet another source of pollution, similar to the sewers of Paris. Likewise
in Parent-Duchatelet's discussion of the physiognomy of the prostitute,
he believes himself to be providing a descriptive presentation of the
appearance of the prostitute. He presents his readers with a statistical

FIG. 9.-Edwin Long, The Babylonian Marriage Market, 1882. Royal Holloway Coll

description of the physical types of the prostitutes, the nature of their

voices, the color of their hair and eyes, their physical anomalies, and
their sexual profile in relation to childbearing and disease. Parent-
Duchatelet's descriptions range from the detailed to the anecdotal. His
discussion of the embonpointof the prostitute begins his litany of external
signs. Prostitutes have a "peculiar plumpness" which is attributed to "the
great number of hot baths which the major part of these women take"-
or perhaps to their lassitude, since they rise at ten or eleven in the
morning, "leading an animal life." They are fat as prisoners are fat, from
simple confinement. As an English commentator noted, "the grossest
and stoutest of these women are to be found amongst the lowest and
most disgusting classes of prostitutes."" These are the Hottentots on the
scale of the sexualized female.
When Parent-Duchatelet considers the sexual parts of the prostitutes,
he provides two sets of information which merge to become part of the
myth of the physical anthropology of the prostitute. The prostitute's
sexual parts are in no way directly affected by her profession. He contradicts
the "general opinion ... that the genital parts in prostitutes must alter,
and assume a particular disposition, as the inevitable consequence of
their avocation" (P, p. 42). He cites one case of a woman of fifty-one
"who had prostituted herself thirty-six years, but in whom, notwithstanding,
the genital parts might have been mistaken for those of a virgin just
arrived at puberty"(P, p. 43). Parent-Duchatelet thus rejects any Lamarckian
adaptation as well as any indication that the prostitute is inherently marked
as a prostitute. This, of course, follows from his view that prostitution is
an illness of a society rather than of an individual or group of individuals.
While he does not see the genitalia of the prostitute altering, he does
observe that prostitutes were subject to specific pathologies of their genitalia.
They are especially prone to tumors "of the great labia ... which commence
with a little pus and tumefy at each menstrual period" (P, p. 49). He
identifies the central pathology of the prostitute in the following manner:
"Nothing is more frequent in prostitutes than common abscesses in the
thickness of the labia majora" (P, p. 50). Parent-Duchatelet's two views-
first, that there is no adaption of the sexual organ and, second, that the
sexual organ is especially prone to labial tumors and abscesses-merge
in the image of the prostitute as developing, through illness, an altered
appearance of the genitalia.
From Parent-Duchatelet's description of the physical appearance of
the prostitute (a catalog which reappears in most nineteenth-century
studies of prostitutes, such as Josef Schrank's study of the prostitutes of
Vienna), it is but a small step to the use of such catalogs of stigmata as
a means of categorizing those women who have, as Freud states, "an
aptitude for prostitution" (SE, 7:191).35 The major work of nineteenth-
century physical anthropology, public health, and pathology to undertake
this was written by Pauline Tarnowsky. Tarnowsky, one of a number of

Saint Petersburg female physicians in the late nineteenth century, wrote

in the tradition of her eponymous colleague, V. M. Tarnowsky, the
author of the standard work on Russian prostitution. His study appeared
in both Russian and German and assumed a central role in the late
nineteenth-century discussions of the nature of the prostitute.36 She fol-
lowed his more general study with a detailed investigation of the phys-
iognomy of the prostitute.37 Her categories remain those of Parent-
Duchatelet. She describes the excessive weight of prostitutes, their hair
and eye color; she provides anthropometric measurements of skull size,
a catalog of their family background (as with Parent-Duchatelet, most
are the children of alcoholics), and their level of fecundity (extremely
low) as well as the signs of their degeneration. These signs deal with the
abnormalities of the face: asymmetry of features, misshapen noses, over-
development of the parietal region of the skull, and the appearance
of the so-called Darwin's ear (fig. 10). All of these signs are the signs of
the lower end of the scale of beauty, the end dominated by the Hottentot.
All of these signs point to the "primitive"nature of the prostitute's phys-
iognomy, for stigmata such as Darwin's ear (the simplification of the
convolutes of the ear shell and the absence of a lobe) are a sign of the
atavistic female.
In a later paper, Tarnowsky provided a scale of appearance of the
prostitute, in an analysis of the "physiognomy of the Russian prostitute."
At the upper end of the scale is the "Russian Helen" (fig. 11). Here,
classical aesthetics are introduced as the measure of the appearance of
the sexualized female. A bit further on is one who is "very handsome in
spite of her hard expression." Indeed, the first fifteen prostitutes on her
FIG.10.-"The Faceand Earof the Prostitute."

PaulineTarnowsky,Etudeanthropomitrique
sur les prostituteset les voleuses, pl. 5, 1889.

:k*
1~ '~,
j.
: " •. ?
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FIG.I1.-"The RussianHelen."Tarnowsky,
"Fisionomie
di FIG.12.-"The
prostituterusse,"pl. 25, 1893. omie di prostituter

scale "might pass on the street for beauties." But hidden even within
these seeming beauties are the stigmata of criminal degeneration: black,
thick hair; a strong jaw; a hard, spent glance. Some show the "wild eyes
and perturbed countenance along with facial asymmetry" of the insane
(fig. 12).38Only the scientific observer can see the hidden faults, and thus
identify the true prostitute, for prostitutes use superficial beauty as the
bait for their clients. But when they age, their
strong jaws and cheek-bones, and their masculine aspect ... [once]
hidden by adipose tissue, emerge, salient angles stand out, and the
face grows virile, uglier than a man's; wrinkles deepen into the
likeness of scars, and the countenance, once attractive, exhibits the
full degenerate type which early grace had concealed.39
Change over time affects the physiognomy of the prostitute just as it

does her genitalia, which become more and more diseased as she ages.
For Tarnowsky, the appearance of the prostitute and her sexual identity
are preestablished by heredity. What is most striking is that as the prostitute
ages, she begins to appear more and more mannish. The link between
the physical anomalies of the Hottentot and those of the lesbian appear
in Billroth's Handbuchder Frauenkrankheiten[Handbookof gynecologicaldis-
eases]; here, the link is between two further models of sexual deviancy,
the prostitute and the lesbian. Both are seen as possessing the physical
signs which set them apart from the normal.
The paper in which Tarnowsky undertook her documentation of
the appearance of the prostitute is repeated word for word in the major
late nineteenth-century study of prostitution. This study of the criminal
woman, subtitled The Prostituteand the Normal Woman,written by Cesare
Lombroso and his son-in-law, Guillaume Ferrero, was published in 1893.40
Lombroso accepts Tarnowsky's entire manner of seeing the prostitute
and articulates one further subtext of central importance in the perception
of the sexualized woman in the nineteenth century. This subtext becomes
apparent only by examining the plates in his study. Two of the plates
deal with the image of the Hottentot female and illustrate the "Hottentot
apron" and the steatopygia (figs. 13 and 14). Lombroso accepts Parent-
Duchatelet's image of the fat prostitute and sees her as similar to women
living in asylums and to the Hottentot female. He regards the anomalies
of the prostitute's labia as atavistic throwbacks to the Hottentot, if not
the chimpanzee. Lombroso deems the prostitute to be an atavistic subclass
of woman, and he applies the power of the polygenetic argument to the
image of the Hottentot to support his views. Lombroso's text, in its
offhanded use of the analogy between the Hottentot and the prostitute,
simply articulates in images a view which had been present throughout
the late nineteenth century. Adrien Charpy's essay of 1870, published
in the most distinguished Frenchjournal of dermatology and syphilology,

!
,,4
?,
.t
i"
i•.
t
FIG.13.-The "HottentotApron"(figs.a and b) and other genitalanomalies.

Cesare Lombrosoand GuillaumeFerrero,La donnadeliquente: e la
Laprostituta
donnanormale,pl. 1, 1893.

I
l?
Aigi
FIG.14.-The Hottentotbuttocks(figs.b and c) and an Ethiopianprostitute

(fig. a). Lombrosoand Ferrero,La donnadeliquente,pl. 2, 1893.

presented an analysis of the external form of the genitalia of 800 prostitutes

examined at Lyons.4"Charpy merged Parent-Duchatelet's two contradictory
categories by describing all of the alterations as either pathological or
adaptive. The initial category of anomalies is that of the labia; he begins
by commenting on the elongation of the labia majora in prostitutes,
comparing this with the apron of the "disgusting" Hottentots. The image
comes as a natural one to Charpy, as it did to Lombroso two decades
later. The prostitute is an atavistic form of humanity whose "primitive"
nature can be observed in the form of her genitalia. What Tarnowsky
and Lombroso add to the equation is the parallel they draw between the
seemingly beautiful physiognomy and this atavistic nature. Other signs
were quickly found. Ellis saw, as one of the secondary sexual characteristics
which determine the beautiful, the presence in a woman of a long second
toe and a short fifth toe (see SPS, p. 164). The French physician L. Jullien
presented clinical material concerning the antithetical case, the foot of
the prostitute, which Lombroso in commenting on the paper immediately
labeled as prehensile.42 The ultimate of the throwbacks was, of course,
the throwback to the level of the Hottentot or the Bushman-to the
level of the lasciviousness of the prostitute. Ferrero, Lombroso's coauthor,
described prostitution as the rule in primitive societies and placed the
Bushman at the nadir of the scale of primitive lasciviousness: adultery
has no meaning for them, he asserted, nor does virginity; the poverty
of their mental universe can be seen in the fact that they have but one
word for "girl, woman, or wife."4"The primitive is the black, and the
qualities of blackness, or at least of the black female, are those of the
prostitute. The work of a student of Lombroso's, Abele de Blasio, makes
this grotesquely evident: he published a series of case studies on steatopygia
in prostitutes in which he perceives the prostitute as being, quite literally,
the Hottentot (fig. 15)."
The perception of the prostitute in the late nineteenth century thus
merged with the perception of the black. Both categories are those of
outsiders, but what does this amalgamation imply in terms of the perception
of both groups? It is a commonplace that the primitive was associated
with unbridled sexuality. This was either condemned, as in Thomas Jef-
ferson's discussions of the nature of the black in Virginia, or praised, as
in the fictional supplement written by Denis Diderot to Bougainville's
voyages. It is exactly this type of uncontrolled sexuality, however, which
is postulated by historians such as J. J. Bachofen as the sign of the
"swamp," the earliest stage of human history. Blacks, if both G. W. F.
Hegel and Arthur Schopenhauer are to be believed, remained at this
most primitive stage, and their presence in the contemporary world
served as an indicator of how far mankind had come in establishing
control over his world and himself. The loss of control was marked by
a regression into this dark past-a degeneracy into the primitive expression

FIG.15.-An ItalianProstitute.Abelede Blasio,"Staetopigia
in prostitute,"pl. 1, 1905.

of emotions in the form of either madness or unrestrained sexuality.

Such a loss of control was, of course, viewed as pathological and thus
fell into the domain of the medical model. For the medical model, especially
as articulated in the public health reforms of the mid- and late nineteenth
century, had as its central preoccupation the elimination of sexually
transmitted disease through the institution of social controls; this was
the project which motivated writers such as Parent-Duchatelet and Tar-
nowsky. The social controls which they wished to institute had existed
in the nineteenth century but in quite a different context. The laws
applying to the control of slaves (such as the 1685 French code noir and
its American analogues) had placed great emphasis on the control of the
slave as sexual object, both in terms of permitted and forbidden sexual
contacts as well as by requiring documentation as to the legal status of
the offspring of slaves. Sexual control was thus well known to the late
eighteenth and early nineteenth century.
The linkage which the late nineteenth century established between
this earlier model of control and the later model of sexual control advocated
by the public health authorities came about through the association of
two bits of medical mythology. The primary marker of the black is his
or her skin color. Medical tradition has a long history of perceiving this
skin color as the result of some pathology. The favorite theory, which
reappears with some frequency in the early nineteenth century, is that
the skin color and attendant physiognomy of the black are the result of
congenital leprosy.45 It is not very surprising, therefore, to read in the
late nineteenth century-after social conventions surrounding the abolition
of slavery in Great Britian and France, as well as the trauma of the
American Civil War, forbade the public association of at least skin color
with illness-that syphilis was not introduced into Europe by Christopher
Columbus' sailors but rather that it was a form of leprosy which had
long been present in Africa and had spread into Europe in the Middle
Ages.46 The association of the black, especially the black female, with the
syphilophobia of the late nineteenth century was thus made manifest.
Black females do not merely represent the sexualized female, they also
represent the female as the source of corruption and disease. It is the
black female as the emblem of illness who haunts the background of
Manet's Olympia.
For Manet's Olympiastands exactly midway between the glorification
and the condemnation of the sexualized female. She is the antithesis of
the fat prostitute. Indeed, she was perceived as thin by her contemporaries,
much in the style of the actual prostitutes of the 1860s. But Laura, the
black servant, is presented as plump, which can be best seen in Manet's
initial oil sketch of her done in 1862-63. Her presence in both the sketch
and in the final painting emphasizes her face, for it is the physiognomy
of the black which points to her own sexuality and to that of the white

female presented to the viewer unclothed but with her genitalia demurely
covered. The association is between these hidden genitalia and the signifier
of the black. Both point to potential corruption of the male viewer by
the female. This is made even more evident in that work which art
historians have stressed as being heavily influenced by Manet's Olympia,
his portrait Nana. Here the associations would have been quite clear to
the contemporary viewer. First, the model for the painting was Henriette
Hauser, called Citron, the mistress of the prince of Orange. Second,
Manet places in the background of the painting a Japanese crane, for
which the French word (grue) was a slang term for prostitute. He thus
labels the figure as a sexualized female. Unlike the classical pose of the
Olympia,Nana is presented being admired by a well-dressed man-about-
town (aflineur). She is not naked but partially clothed. What Manet can
further draw upon is the entire vocabulary of signs which, by the late
nineteenth century, were associated with the sexualized female. Nana is
fulsome rather than thin. Here Manet employs the stigmata of fatness
to characterize the prostitute. This convention becomes part of the vis-
ualization of the sexualized female even while the reality of the idealized
sexualized female is that of a thin female. Constantin Guys presents a
fat, reclining prostitute in 1860, while Edgar Degas' Madam's Birthday
(1879) presents an entire brothel of fat prostitutes. At the same time,
Napoleon III's mistress, Marguerite Bellanger, set a vogue for slenderness.
She was described as "below average in size, slight, thin, almost skinny."47
This is certainly not Nana. Manet places her in a position vis-a-vis the
viewer (but not the male observer in the painting) which emphasizes the
line of her buttocks, the steatopygia of the prostitute. Second, Nana is
placed in such a way that the viewer (but again not thefldneur) can observe
her ear. It is, to no one's surprise, Darwin's ear, a sign of the atavistic
female. Thus we know where the black servant is hidden in Nana-within
Nana. Even Nana's seeming beauty is but a sign of the black hidden
within. All her external stigmata point to the pathology within the sexualized
female.
Manet's Nana thus provides a further reading of his Olympia,a reading
which stresses Manet's debt to the pathological model of sexuality present
during the late nineteenth century. The black hidden within Olympia
bursts forth in Pablo Picasso's 1901 version of the painting: Olympia is
presented as a sexualized black, with broad hips, revealed genitalia, gazing
at the nudefldneur bearing her a gift of fruit, much as Laura bears a gift
of flowers in Manet's original (fig. 16). But, unlike Manet, the artist is
himself present in this work, as a sexualized observer of the sexualized
female. Picasso owes part of his reading of the Olympiato the polar image
of the primitive female as sexual object, as found in the lower-class
prostitutes painted by Vincent van Gogh or the Tahitian maidens t la
Diderot painted by Paul Gauguin. Picasso saw the sexualized female as
the visual analogue of the black. Indeed, in his most radical break with

//ctfI"
FIG.16.-Pablo Picasso,Olympia,1901, New York.

the impressionist tradition, Les Demoisellesd'Avignon(1907), he linked the

inmates of the brothel with the black by using the theme of African
masks to characterize their appearance. The figure of the male represents
the artist as victim. Picasso's parody points toward the importance of
seeing Manet's Nana in the context of the medical discourse concerning
the sexualized female which dominated the late nineteenth century.
The portrait of Nana is also embedded in a complex literary matrix
which provides many of the signs needed to illustrate the function of
the sexualized female as the sign of disease. The figure of Nana first
appeared in Emile Zola's novel L'Assommoir(1877) in which she was
presented as the offspring of the alcoholic couple who are the central
figures of the novel.48 Her heredity assured the reader that she would
eventually become a sexualized female-a prostitute-and, indeed, by
the close of the novel she has run off with an older man, the owner of
a button factory, and has begun her life as a sexualized female. Manet
was captivated by the figure of Nana (as was the French reading public),
and his portrait of her symbolically reflected her sexual encounters pre-
sented during the novel. Zola then decided to build the next novel in
his Rougon-Macquart cycle about the figure of Nana as a sexualized
female. Thus in Zola's Nana the reader is presented with Zola's reading
of Manet's portrait of Nana. Indeed, Zola uses the portrait of the fldneur
observing the half-dressed Nana as the centerpiece for a scene in the
theater in which Nana seduces the simple Count Muffat. Immediately
before this meeting, Zola presents Nana's first success in the theater (or,
as the theater director calls it, his brothel). She appears in a revue, unable
to sing or dance, and becomes the butt of laughter until, in the second
act of the revue, she appears unclothed on stage:
Nana was in the nude: naked with a quiet audacity, certain of the
omnipotence of her flesh. She was wrapped in a simple piece of
gauze: her rounded shoulders, her Amazon's breasts of which the
pink tips stood up rigidly like lances, her broad buttocks which
rolled in a voluptuous swaying motion, and her fair, fat hips: her
whole body was in evidence, and could be seen under the light
tissue with its foamy whiteness.49
What Zola describes are the characteristics of the sexualized woman, the
"primitive" hidden beneath the surface: "all of a sudden in the comely
child the woman arose, disturbing, bringing the mad surge of her sex,
inviting the unknown element of desire. Nana was still smiling: but it
was the smile of a man-eater." Nana's atavistic sexuality, the sexuality of
the Amazon, is destructive. The sign of this is her fleshliness. And it is
this sign which reappears when she is observed by Muffat in her dressing
room, the scene which Zola found in Manet's painting:

Then calmly, to reach her dressing-table, she walked in her drawers

through that group of gentlemen, who made way for her. She had
large buttocks, her drawers ballooned, and with breast well forward
she bowed to them, giving her delicate smile. [N, p. 135]
Nana's childlike face is but a mask which conceals the hidden disease
buried within, the corruption of sexuality. Thus Zola concludes the novel
by revealing the horror beneath the mask: Nana dies of the pox. (Zola's
pun works in French as well as in English and is needed because of the
rapidity of decay demanded by the moral implication of Zola's portrait.
It would not do to have Nana die slowly over thirty years of tertiary
syphilis. Smallpox, with its play on "the pox," works quickly and gives
the same visual icon of decay.) Nana's death reveals her true nature:
Nana remained alone, her face looking up in the light from the
candle. It was a charnel-house scene, a mass of tissue-fluids and
blood, a shovelful of putrid flesh thrown there on a cushion. The
pustules had invaded the entire face with the pocks touching each
other; and, dissolving and subsiding with the greyish look of mud,
there seemed to be already an earthy mouldiness on the shapeless
muscosity, in which the features were no longer discernible. An
eye, the left one, had completely subsided in a soft mass of purulence;
the other, half-open, was sinking like a collapsing hole. The nose
was still suppurating. A whole reddish crust was peeling off one
cheek and invaded the mouth, distorting it into a loathsome grimace.
And on that horrible and grotesque mask, the hair, that beautiful
head of hair still preserving its blaze of sunlight, flowed down in a
golden trickle. Venus was decomposing. It seems as though the
virus she had absorbed from the gutters and from the tacitly permitted
carrion of humanity, that baneful ferment with which she had poi-
soned a people, had now risen to her face and putrefied it. [N, pp.
464-65]
The decaying visage is the visible sign of the diseased genitalia through
which the sexualized female corrupts an entire nation of warriors and
leads them to the collapse of the French Army and the resultant German
victory at Sedan. The image is an old one, it is Frau Welt, Madam World,
who masks her corruption, the disease of being a woman, through her
beauty. It reappears in the vignette on the title page of the French
translation (1840) of the Renaissance poem Syphilis (fig. 17).50 But it is
yet more, for in death Nana begins to revert to the blackness of the earth,
to assume the horrible grotesque countenance perceived as belonging to
the world of the black, the world of the "primitive,"the world of disease.
Nana is, like Olympia, in the words of Paul Valery, "pre-eminently un-
clean." 1

FIG.17.-Frontispiece. August Barthelemy,Syphilis,1840.

It is this uncleanliness, this disease, which forms the final link between
two images of woman, the black and the prostitute. Just as the genitalia
of the Hottentot were perceived as parallel to the diseased genitalia of
the prostitute, so too the power of the idea of corruption links both
images. Thus part of Nana's fall into corruption comes through her
seduction by a lesbian, yet a further sign of her innate, physical degeneracy.
She is corrupted and corrupts through sexuality. Miscegenation was a
fear (and a word) from the late nineteenth-century vocabulary of sexuality.
It was a fear not merely of interracial sexuality but of its results, the
decline of the population. Interracial marriages were seen as exactly
parallel to the barrenness of the prostitute; if they produced children at
all, these children were weak and doomed. Thus Ellis, drawing on his
view of the objective nature of the beauty of mankind, states that "it is
difficult to be sexually attracted to persons who are fundamentally unlike
ourselves in racial constitution" (SPS, p. 176). He cites Abel Hermant to
substantiate his views:
Differences of race are irreducible 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.52
It is thus the inherent fear of the difference in the anatomy of the Other
which lies behind the synthesis of images. The Other's pathology is revealed
in anatomy. It is the similarity between the black and the prostitute-as
bearers of the stigmata of sexual difference and, thus, pathology-which
captured the late nineteenth century. Zola sees in the sexual corruption
of the male the source of political impotence and projects what is basically
an internal fear, the fear of loss of power, onto the world.5"
The "white man's burden" thus becomes his sexuality and its control,
and it is this which is transferred into the need to control the sexuality
of the Other, the Other as sexualized female. The colonial mentality
which sees "natives"as needing control is easily transferred to "woman"-
but woman as exemplified by the caste of the prostitute. This need for
control was a projection of inner fears; thus, its articulation in visual
images was in terms which described the polar opposite of the European
male.
The roots of this image of the sexualized female are to be found in
male observers, the progenitors of the vocabulary of images through
which they believed themselves able to capture the essence of the Other.
Thus when Freud, in his Essayon LayAnalysis(1926), discusses the ignorance

of contemporary psychology concerning adult female sexuality, he refers

to this lack of knowledge as the "dark continent" of psychology (SE,
20:212).5 In using this phrase in English, Freud ties the image of female
sexuality to the image of the colonial black and to the perceived relationship
between the female's ascribed sexuality and the Other's exoticism and
pathology. It is Freud's intent to explore this hidden "dark continent"
and reveal the hidden truths about female sexuality, just as the anthro-
pologist-explorers (such as Lombroso) were revealing the hidden truths
about the nature of the black. Freud continues a discourse which relates
the images of male discovery to the images of the female as object of
discovery. The line from the secrets possessed by the "Hottentot Venus"
to twentieth-century psychoanalysis runs reasonably straight.
1. The debate between E. H. Gombrich, The Image and the Eye (Ithaca, N.Y., 1982)
and Nelson Goodman, Waysof Worldmaking(Hassocks, 1978) has revolved mainly around
the manner by which conventions of representation create the work of art. Implicit in their
debate is the broader question of the function of systems of conventions as icons within
the work of art itself. On the limitation of the discussion of systems of conventions to
aesthetic objects, see the extensive bibliography compiled in Ulrich Weisstein, "Bibliography
of Literature and the Visual Arts, 1945-1980," ComparativeCriticism4 (1982): 324-34, in
which the special position of the work of art as separate from other aspects of society can
be seen. This is a holdover from the era of Geistesgeschichtein which special status was given
to the interaction between aesthetic objects.
This can be seen in the alternative case of works of aesthetic provenance which are,
however, part of medical discourse. One thinks immediately of the anatomical works of
Leonardo or George Stubbs or of paintings with any medical reference such as Rembrandt's
Dr. Tulp or Theodore G6ricault's paintings of the insane. When the literature on these
works is examined, it is striking how most analysis remains embedded in the discourse of
aesthetic objects, i.e., the anatomical drawing as a "subjective" manner of studying human
form or, within medical discourse, as part of a "scientific"history of anatomical illustration.
The evident fact that both of these modes of discourse exist simultaneously in the context
of social history is lost on most critics. An exception is William Schupbach, The Paradox of
Rembrandt's"Anatomyof Dr. Tulp," Medical History, supp. 2 (London, 1982).
2. George Heard Hamilton, Manet and His Critics (New Haven, Conn., 1954), p. 68.
I am ignoring here George Mauner's peculiar position that "we may conclude that Manet
makes no comment at all with this painting, if by comment we understand judgment or
criticism" (Manet: Peintre-Philosophe:A Study of the Painter's Themes [University Park, Pa.,
1975], p. 99).
3. For my discussion of Manet's works, I draw especially on Theodore Reff, Manet:
"Olympia"(London, 1976), and Werner Hofmann, Nana: Mythosund Wirklichkeit(Cologne,
1973); neither of these studies examines the medical analogies. See also Eunice Lipton,
"Manet: A Radicalized Female Imagery," Artforum 13 (Mar. 1975): 48-53.
4. See George Needham, "Manet, Olympia,and Pornographic Photography," in Woman
as Sex Object,ed. Thomas Hess and Linda Nochlin (New York, 1972), pp. 81-89.
5. See Philippe Rebeyrol, "Baudelaire et Manet," Les Temps modernes5 (Oct. 1949):
707-25.
6. Georges Bataille, Manet, trans. A. Wainhouse andJames Emmons (New York, 1956),
p. 113. And see Hofmann, Nana.

7. See Edmund Bazire, quoted in Anne Coffin Hanson, Manet and the Modern Tradition
(New Haven, Conn., 1977), p. 130.
8. See my On BlacknesswithoutBlacks:Essayson theImage of theBlack in Germany(Boston,
1982). On the image of the black, see Ladislas Bugner, ed., L'Image du noir dans l'art
occidental, 3 vols. (Paris, 1976-); the fourth volume, not yet published, will cover the post-
Renaissance period.
9. See the various works on Hogarth by Ronald Paulson, such as Hogarth: His Life,
Art, and Times, 2 vols. (New Haven, Conn., 1971) and Hogarth's GraphicWorks,2 vols. (New
Haven, Conn., 1970); and see Ross E. Taggert, "A Tavern Scene: An Evening at the Rose,"
Art Quarterly 19 (Autumn 1956): 320-23.
10. M. N. Adler, trans., The Itineraryof Benjamin of Tudela (London, 1907), p. 68.
11. See John Herbert Eddy, Jr., "Buffon, Organic Change, and the Races of Man"
(Ph.D. diss., University of Oklahoma, 1977), p. 109. See also Paul Alfred Erickson, "The
Origins of Physical Anthropology" (Ph.D. diss., University of Connecticut, 1974) and Werner
Krauss, Zur Anthropologiedes achtzehntenJahrhunderts:Die Friihgeschichteder Menschheit im
Blickpunktder Aujklirung, ed. Hans Kortum and Christa Gohrisch (Munich, 1979).
12. See Guillaum-Thomas Raynal, Histoire philosophiqueet politique des itablissemenset
du commercedes Europdensdans les deux Indes, 10 vols. (Geneva, 1775), 2:406-7.
13. See William F. Bynum, "The Great Chain of Being after Forty Years: An Appraisal,"
History of Science 13 (1975): 1-28, and "Time's Noblest Offspring: The Problem of Man in
British Natural Historical Sciences" (Ph.D. diss., Cambridge, 1974).
14. See J. J. Virey, "Negre," Dictionnaire des sciences midicales, 41 vols. (Paris, 1819),
35:398-403.
15. See Virey, Histoire naturelle du genre humaine, 2 vols. (Paris, 1824), 2:151.
16. See George M. Gould and Walter L. Pyle, Anomalies and Curiosities of Medicine
(Philadelphia, 1901), p. 307, and Eugen Hollinder, Aeskulap und Venus: Eine Kultur- und
Sittengeschichteim Spiegel des Arztes (Berlin, 1928). Much material on the indebtedness of
the early pathologists to the reports of travelers to Africa can be found in the accounts of
the autopsies I will discuss below.
One indication of the power which the image of the Hottentot still possessed in the
late nineteenth century can be found in George Eliot, Daniel Deronda, ed. Barbara Hardy
(1876; Harmondsworth, 1967). On its surface the novel is a hymn to racial harmony and
an attack on British middle-class bigotry. Eliot's liberal agenda is nowhere better articulated
than in the ironic debate concerning the nature of the black in which the eponymous hero
of the novel defends black sexuality (see p. 376). This position is attributed to the hero
not a half-dozen pages after the authorial voice of the narrator introduced the description
of this very figure with the comparison: "And one man differs from another, as we all
differ from the Bosjesman" (p. 370). Eliot's comment is quite in keeping with the underlying
understanding of race in the novel. For just as Deronda is fated to marry a Jewess and
thus avoid the taint of race mixing, so too is the Bushman, a Hottentot surrogate in the
nineteenth century, isolated from the rest of mankind. The ability of Europeans to hold
simultaneously a polygenetic view of race and a liberal ideology is evident as far back as
Voltaire. But in Eliot's novel the Jew is contrasted to the Hottentot, and, as we have seen,
it is the Hottentot who serves as the icon of pathologically corrupted sexuality. Can Eliot
be drawing a line between outsiders such as the Jew or the sexualized female in Western
society and the Hottentot? The Hottentot comes to serve as the sexualized Other onto
whom Eliot projects the opprobrium with which she herself was labeled. For Eliot, the
Hottentot remains beyond the pale; even in the most whiggish text, the Hottentot remains
the essential Other.
17. Paul Edwards and James Walvin, Black Personalities in the Era of the Slave Trade
(Baton Rouge, La., 1983), pp. 173, 175. A print of the 1829 ball in Paris with the nude
"Hottentot Venus" is reproduced in IllustrierteGeschichteder Medizin, ed. Richard Toellner,
9 vols. (Salzburg, 1980), 4:1319; this is a German reworking of Jacques Vie et al., Histoire
de la mddecine,8 vols. (Paris, 1977).

18. See Henri de Blainville, "Sur une femme de la race hottentote," Bulletin des sciences
par la sociiti philomatiquede Paris (1816): 183-90. This early version of the autopsy seems
to be unknown to William B. Cohen, The French Encounter with Africans: WhiteResponseto
Blacks, 1530-1880 (Bloomington, 1980), esp. pp. 239-45. See also Stephen Jay Gould,
"The Hottentot Venus," Natural History 91 (1982): 20-27.
19. Georges Cuvier, "Extraits d'observations faites sur le cadavre d'une femme connue
a Paris et a Londres sous le nom de Venus Hottentote," Memoires du Museum d'histoire
naturelle 3 (1817): 259-74; rpt. with plates in Geoffrey Saint-fHilaire and Frederic Cuvier,
Histoire naturelle des mammiferesavec desfigures originales, 2 vols. (Paris, 1824), 1:1-23. The
substance of the autopsy is reprinted again by Flourens in the Journal complhmentairedu
dictionnairedes sciencesmidicales 4 (1819): 145-49, and by Jules Cloquet, Manuel d'anatomie
de l'hommedescriptivedu corps humaine (Paris, 1825), pl. 278. Cuvier's presentation of the
"Hottentot Venus" forms the major signifier for the image of the Hottentot as sexual
primitive in the nineteenth century.
20. See, e.g., Walker D. Greer, "John Hunter: Order out of Variety," Annals of the
Royal College of Surgeons of England 28 (1961): 238-51. See also Barbara J. Babiger, "The
Kunst- und Wunderkammern:A catalogue raisonne of Collecting in Germany, France and
England, 1565-1750" (Ph.D. diss., University of Pittsburgh, 1970).
21. See Adolf Wilhelm Otto, SelteneBeobachtungenzur Anatomie,Physiologie,und Pathologie
gehorig (Breslau, 1816), p. 135; Johannes Miiller, "Ueber die iusseren Geschlechtstheile
der Buschminninnen," Archivfiir Anatomie,Physiologie,und wissenschaftlicheMedizin (1834),
pp. 319-45; W. H. Flower and James Murie, "Account of the Dissection of a Bushwoman,"
Journal of Anatomyand Physiology 1 (1867): 189-208; and Hubert von Luschka, A. Koch,
and E. G6rtz, "Die iusseren Geschlechtstheile eines Buschweibes,"MonatsschriftfiirGeburtskunde
32 (1868): 343-50. The popularity of these accounts can be seen by their republication
in extract for a lay audience. These extracts also stress the sexual anomalies described. See
AnthropologicalReview 5 (July, 1867): 319-24, and AnthropologicalReview 8 (Jan., 1870):
89-318.
22. Edward Turnipseed, "Some Facts in Regard to the Anatomical Differences between
the Negro and White Races," AmericanJournal of Obstetrics10 (1877): 32, 33.
23. See C. H. Fort, "Some Corroborative Facts in Regard to the Anatomical Difference
between the Negro and White Races,"AmericanJournal of Obstetrics10 (1877): 258-59. Paul
Broca was influenced by similar American material (which he cites from the New YorkCity
Medical Record, 15 Sept. 1868) concerning the position of the hymen; see his untitled note
in the Bulletins de la sociitd d'anthropologiede Paris 4 (1869): 443-44. Broca, like Cuvier
before him, supported a polygenetic view of the human races.
24. See William Turner, "Notes on the Dissection of a Negro,"Journal of Anatomyand
Physiology 13 (1878): 382-86; "Notes on the Dissection of a Second Negro," Journal of
Anatomyand Physiology14 (1879): 244-48; and "Notes on the Dissection of a Third Negro,"
Journal of Anatomyand Physiology31 (1896): 624-26. This was not merely a British anomaly.
Jefferies Wyman reports the dissection of a black suicide (originally published in Proceed-
ings of the Boston Society of Natural History, 2 Apr. 1862 and 16 Dec. 1863) and does not
refer to the genitalia of the male Hottentot at all; see AnthropologicalReview 3 (1865): 330-
35.
25. H. Hildebrandt, Die Krankheitender diusserenweiblichenGenitalien, in Handbuch der
Frauenkrankheiten3, ed. Theodor Billroth, 3 vols. (Stuttgart, 1885-86), pp. 11-12. See also
Thomas Power Lowry, ed., The Classic Clitoris: Historic Contributionsto Scientific Sexuality
(Chicago, 1978).
26. Havelock Ellis, Studies in the Psychologyof Sex, vol. 4, Sexual Selectionin Man (Phil-
adelphia, 1920), p. 158; all further references to this work, abbreviated SPS, will be included
in the text.
27. See Willem Vrolik, Considerationssur la diversiti du bassindes diffirentesraceshumaines
(Amsterdam, 1826) and R. Verneau, Le bassin dans les sexes et dans les races (Paris, 1875),
pp. 126-29.

28. Charles Darwin, The Descentof Man and Selectionin Relation to Sex (Princeton, N.J.,
1981), 2:317, and see 2:345-46.
29. See John Grand-Carteret, Die Erotik in derfranz6sischenKarikatur,trans. Cary von
Karwarth and Adolf Neumann (Vienna, 1909), p. 195.
30. [Hugues Rebell?], The Memoriesof Dolly Morton: The Story of a Woman'sPart in the
Struggle to Free the Slaves: An Account of the Whippings,Rapes, and ViolencesThat Precededthe
Civil War in Americawith Curious AnthropologicalObservationson the Radical Diversities in the
Conformationof the Female Bottom and the Way Different WomenEndure Chastisement(Paris,
1899), p. 207.
31. See Sigmund Freud, The Standard Edition of the CompletePsychological Works of
Sigmund Freud, ed. and trans. James Strachey, 24 vols. (London, 1953-74), 7:186-87, esp.
n. 1; all further references to this work, abbreviated SE and with volume and page numbers,
will be included in the text.
32. The best study of the image of the prostitute is Alain Corbin, Lesfilles de noce:
Misere sexuelle et prostitution (dix-neuviime et vingtiime siecles) (Paris, 1978). On the black
prostitute, see Khalid Kishtainy, The Prostitutein ProgressiveLiterature(London, 1982), pp.
74-84. On the iconography associated with the pictorial iepresentation of the prostitute
in nineteenth-century art, see Hess and Nochlin, Womanas Sex Object;Nochlin, "Lost and
Found: Once More the Fallen Woman," Art Bulletin 60 (Mar. 1978): 139-53; and Lynda
Nead, "Seduction, Prostitution, Suicide: On theBrink by Alfred Elmore," Art History 5 (Sept.
1982): 310-22. On the special status of medical representations of female sexuality, see
the eighteenth-century wax models of female anatomy in the Museo della Specola, Florence,
and reproduced in Mario Bucci, Anatomia comearte (Florence, 1969), esp. pl. 8.
33. See A. J. B. Parent-Duchatelet, De la prostitutiondans la ville de Paris, 2 vols. (Paris,
1836), 1:193-244.
34. Parent-Duchatelet, On Prostitution in the City of Paris, (London, 1840), p. 38; all
further references to this work, abbreviated P, will be included in the text. It is exactly the
passages on the physiognomy and appearance of the prostitute which this anonymous
translator presents to his English audience as the essence of Parent-Duchatelet's work.
35. See my "Freud and the Prostitute: Male Stereotypes of Female Sexuality infin de
siecle Vienna,"Journal of the AmericanAcademyof Psychoanalysis9 (1981): 337-60.
36. See V. M. Tarnowsky, Prostitutsijai abolitsioniszm(Petersburg, 1888) and Prostitution
und Abolitionismus(Hamburg, 1890).
37. See Pauline Tarnowsky, Etude anthropometrique sur lesprostitueeset les voleuses(Paris,
1889).
38. Tarnowsky, "Fisiomie di prostitute russe," Archivio di psichiatria, scienze penali e
antropologiacriminale 14 (1893): 141-42; my translation.
39. Ibid., p. 141; my translation.
40. See Cesare Lombroso and Guillaume Ferrero, La donna deliquente:La prostitutae
la donna normale (Turin, 1893), esp. pp. 349-50, 361-62, and 38.
41. See Adrien Charpy, "Des organes genitaux externes chez les prostitutes," Annales
des dermatologie3 (1870-71): 271-79.
a
42. See L. Jullien, "Contribution l'atude de la morphologie des prostitutes," in
Congris international d'anthropologiecriminelle, 1896 (Geneva, 1897), pp. 348-49.
Quatrinme
43. See Ferrero, "L'atavisme de la prostitution," Revue scientifique(1892): 136-41.
44. See A. de Blasio, "Staetopigia in prostitute," Archivio di psichiatria 26 (1905):
257-64.
45. See Winthrop D. Jordan, WhiteoverBlack:AmericanAttitudestowardtheNegro, 1550-
1812 (New York, 1977), pp. 3-43.
46. See Iwan Bloch, Der Ursprung der Syphilis;Eine medizinischeund kulturgeschichtliche
Untersuchung, 2 vols. (Jena, 1901-11).
47. Reff, Manet: "Olympia,"p. 58; see also p. 118.
48. See Theodore Lascaris [Auriant], La vdritablehistoirede "Nana"(Paris, 1942). See
also Demetra Palamari, "The Shark Who Swallowed His Epoch: Family, Nature, and Society

in the Novels of Emile Zola," in Changing Images of the Family, ed. Virginia Tufte and
Barbara Myerhoff (New Haven, Conn., 1979), pp. 155-72.
49. Emile Zola, Nana, trans. Charles Duff (London, 1953), p. 27; all further references
to this work, abbreviated N, will be included in the text.
50. See August Barthelemy, trans., Syphilis:Poeme en deux chants (Paris, 1840). This is
a translation of a section of Fracastorius' Latin poem on the nature and origin of syphilis.
The French edition was in print well past mid-century.
51. Paul Valery, quoted in Bataille, Manet, p. 65.
52. Abel Hermant, quoted in Ellis, Studies in the Psychologyof Sex, 4:176 n. 1.
53. See Joachim Hohmann, ed., Schonauf den erstenBlick: Lesebuchzur Geschichteunserer
Feindbilder(Darmstadt, 1981).
54. See Renate Schlesier, Konstruktionder Weiblichkeitbei Sigmund Freud (Frankfurt,
1981), pp. 35-39.


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Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth-

Century Art, Medicine, and Literature

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How do we organize our perceptions of the world? Recent discussions

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Sander L. Gilman is professor of Humane Studies in the Departments

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lies in the rise of the status of science. The conventions of medicine

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as modern, certain major shifts in the iconography of the sexualized

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FIG.6.--"The Ball of the Duchess Du Barry,"popular engra

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genital organs of this woman prepared in a way so as to allow one to see

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FIG.7.-The "HottentotApron."JohannesMUiler,"Ueberdie ausserenGeschlechtstheile

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seconded in 1877 by C. H. Fort, who presented another six cases of this

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of culture" perceive the "naked sexual organs as objects of attraction."26

The presence of exaggerated buttocks points to the other, hidden sexual

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FIG.8.-"The Hottentot Venus,"popular engraving,ca. 1850.

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We can see in Edwin Long's painting of 1882, TheBabylonianMarriage

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description of the physical types of the prostitutes, the nature of their

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Saint Petersburg female physicians in the late nineteenth century, wrote

FIG.10.-"The Faceand Earof the Prostitute."

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??•, ..,. • .. :':. ? i• .... .,.;',:"•

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Change over time affects the physiognomy of the prostitute just as it

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FIG.13.-The "HottentotApron"(figs.a and b) and other genitalanomalies.

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FIG.14.-The Hottentotbuttocks(figs.b and c) and an Ethiopianprostitute

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presented an analysis of the external form of the genitalia of 800 prostitutes

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of emotions in the form of either madness or unrestrained sexuality.

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FIG.16.-Pablo Picasso,Olympia,1901, New York.

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the impressionist tradition, Les Demoisellesd'Avignon(1907), he linked the

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Then calmly, to reach her dressing-table, she walked in her drawers

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