sex and reproductive organs that many of the Conclusion marriage manuals contain.

Other societies, however, are more imaginative and wide-ranging in their use of art for sex education. For centuries, the Japanese "pillow books," which consist of sex manuals illustrated in the most concrete ways, have been given to married couples for use on their wedding nights and subsequent occasions. In New Guinea, Mantegazza (1935) informs us, erotic scenes showing the mingling of men with gods, with the genitals of the portrayed individuals purposely enlarged, are employed to educate young people in sexual pursuits. Recumbent wooden figures four feet long which can be made to move and simulate intercourse are also employed.

In China, as in Japan, illustrated sex picture books have been used for centuries. In Italy, during the Renaissance, Augusto and Annibale Carraci made a series of so-called "figures," showing positions of intercourse, which were sometimes used for sex education. And in the twentieth century the famous gynecologist and artist, Robert L. Dickinson, published his Human Sex Anatomy (1933), which was probably the first modern book of repute that con. tained illustrations of sex positions. In the early

editions of this work, these illustrations were published separately, since the publisher was not certain that they would be allowed to circulate through the mails. In later editions, the illustrations were published as an integral part of the book.

Havelock Ellis (1938) believed that art could be very useful in the sex education of children. "Children," he wrote, "cannot be too early familiarized with the representations of the nude in ancient sculpture and in the paintings of the old masters of the Italian school.... Early familiarity with nudity in art is at the same time an aid to the attainment of a proper attitude towards purity in nature."

In regard to the use of art in the sex educa: tion of adults, most modern writers are still too squeamish to explore the possibilities of the use of erotic art to arouse sex partners who may normally have difficulties in becoming aroused or in achieving orgasm. Some material on this subject, however, is contained in the present author's Art and Science of Love (1960b).

Human sexuality is an exceptionally important facet of life. As such, it would be most

unusual if it did not play an important role in and have a significant amount of influence over artistic creativity in general and the production of painting, drawing, and sculpture in particular. Although the classical Freudian theory of art and its origins in sex sublimation seems to be both too narrow and too overgenerally applied, there does appear to be some measure of truth in it. It would be more accu-

rate, however, to point out that sexuality seeps into art directly and indirectly, consciously and unconsciously; and there would seem to be no special or unique way in which it affects artists or the viewers of their creative productions. Also to the point: unless the word sexual is indiscriminately employed to cover virtually all of life's energizing forces, it would appear that artistic endeavor is significantly nonsexual as well as sexual and that any theory that would truly explain why artists create and why members of their audience find their works immensely satisfying must take into account multifactor hypotheses that cannot be condensed into any pat formula. Art is art and sex is sex; and never the twain shall completely merge.

(The author wishes to thank Tore Hakansson, Leon Kroll, and Rhoda Winter Russell for their helpful criticism on the original manuscript of this article, but to implicate them in no way for the final views expressed in the article.)

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