sexual history Tag Archive

Sexuality in Fashion: The Codpiece

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I am a huge fan of the 1980’s British TV series, Blackadder. Comedian Rowan Atkinson plays Edmund Blackadder with each season taking place in a different time period. A scene in the first series involves The Black Adder’s (the 15th century Blackadder) clothing choices while getting ready to attend the announcement of the new Archbishop. He chooses the most ostentatious of clothing items, most notably his codpiece called The Black Russian since it always terrifies the clergy. The reveal of his magnificent codpiece shows a large stiff upward-curving shape.

The first Blackadder’s clothing choices are not too far from what some nobles might have done back in the day. Sexual display in male dress manifests in different ways over the millennia and many a noble was keen on some sexual display. They also like to show their power and virility. One of the more impressive displays from the past is the codpiece. These ornate protuberances started out small and practical then rose to decorative prominence then fell out of favor. How men decided to make their crotch such a fashionable focal point is an interesting evolution.

Western fashion before the 15th century consisted of tunics and hose. Hose being woven cotton, not the sheer nylon we use today. It started as two separate leg coverings that attached to a linen undergarment. The undergarment and chemise (shirt worn under the tunic) covered the crotch, which was also covered by the tunic. The tunic (called a doublet by the 15th century) kept creeping up until it barely covered the bottom, thus exposing the open space between the hose. When the tunic got short enough to be a risk when sitting or getting on a horse, they came up with the idea of sewing the hose together in the back and adding a triangular piece of fabric to the front. The front covering was attached to the hose at the bottom to create a flap then tied to the hose at the top with ribbons or cord. The new style of hose now tied to the doublet. As the doublet got even shorter the triangular flap, now more exposed, got bigger and more decorative. Dubbed the codpiece, it began to bulge and grow until it was almost as big as Edmund’s Black Russian as it became a symbol of virility, sexual prowess, or just to show off

The word codpiece comes from the Old English/Germanic word for bag, pouch or husk and the Middle English word for scrotum. The codpiece reached its peak in the mid-1500s, around the 1540s. At the beginning of the 16th century, hose became divided into upper stocks and lower stocks. They were attached to each other, but the upper stocks were made to look like a separate garment. The upper stocks evolved into breeches while the codpiece became more padded and pouch-like, so it protruded between the hose. It also may have emerged as a handy dandy pocket to store items like jewels, letters, or even, as legend has it, the occasional orange.

While the codpiece growth coincides with the spread of syphilis, it may not have been used or developed because of it. According to Anthropologist Grace Q. Vicary, the codpiece was padded out so that it didn’t press against a painfully syphilitic penis or provided space for an ulcered member wrapped in bandages. The codpiece also kept the unguents from staining the garment. This does not seem to be the case as surviving codpieces were not shaped in a way to accommodate these theories. It wouldn’t be the first time venereal disease inspires fashion as this happens more often than you think.

The codpiece was mostly the fashion accessory of the rich, the ranked, and the royal. Many Henry VIII portraits show him with a fashionable protuberance. He may have been enamored with a full stuffed codpiece because of certain insecurities. Henry was unable to produce a healthy male heir despite a parade of wives. His fascination with large codpieces was a way to let people know he did not lack in the bait and tackle. The rise of the codpiece is also seen in military dress, and some surmise may have started first in armor before clothing. Metal codpieces were a popular piece of military garb, so Henry had one as part of his ceremonial armor.

The padded codpiece is found in art from Germany, Italy, Austria, France and Spain. As the codpiece increased in size, it’s resemblance to the male member in the rest of Europe increased, especially in Italy. Paintings such as Portrait of a Halberdier by Jacomo Pontmoro, Pietro Maria Rossi – Count of San Secondo by Parmigianino dated 1535-39, Guidobaldo II della Rovere by Agnolo Bronzino dated 1530-32, and Portrait of Antonio Navagero by Giovanni Battista Moroni dated 1565 show that Italy was quite fond of the upwardly mobile, highly phallic, codpiece. You can find German woodcuts and paintings with the slashed look that was fashionable at the time, as were puffed out codpieces. Portrait of a Young Man by George Pencz, a German artist, dated 1544 has quite an impressive codpiece that seems to defy gravity.

As we enter into the Elizabethan era, from the mid to late 1500s, we see the codpiece start of whither. Well, not exactly whither but get overshadowed by other pieces of clothing. Emphasis goes away from the codpiece as the peascod belly doublet rises. The peascod belly, or goose belly, is a doublet padded in a way that resembles the chest of a bird. There is even peascod shaped armor. The puffed and padded doublet extended downward with most of the padding at or below the waist. Trunk hose now separate from the hose covering the leg, billowed out so that the fullness obscured the codpiece. Between the full belly and the full breeches, the codpiece faded into obscurity by the end of the 16th century.

Emphasis on genitalia in some way persisted until we get to the staid Victorian era. Around the 1920’s, fashion brought attention back to the body. The codpiece was resurrected in the 20th century, as seen in A Clockwork Orange, Kiss, and Cameo. We can still see it as a symbol of sexual voraciousness and the well endowed in the entertainment industry as bands from a variety of genres like heavy metal, alternative, and R&B sport modern codpieces. The prevalence for codpieces in Renaissance armor is seen on Star Wars characters and superheroes. It hasn’t made its way back into everyday clothing, but every once in a while it shows up on the runways. As a culture, we’re still obsessed with size and virility, except nowadays it’s more about pleasure than progeny.

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Oskar Kokoschka and The Silent Woman

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Some people just can’t get over a breakup. They pine for their former lover, taking out old photographs, memorabilia from their time together, maybe even going to their old favorite places. Or just stalking them and harassing them with repeated plaintive texts. Some people go to great lengths in their refusal to let go of their ex. Austrian artist Oskar Kokoschka went that extra mile; he had a doll made of the girlfriend who jilted him.

Oskar Kokoschka was an artist, poet, and playwright. In 1912 he started a relationship with socialite and composer Alma Mahler, the widow of composer Gustav Mahler. They only lasted about two years together as in that time Oskar became more obsessed and enthralled with her while Alma’s feelings for Oskar became a bit more “meh.” Oskar volunteered for the Austrian army at the beginning of WW1 in 1914. While he is away, he gets nearly fatally wounded and returns home in 1915 after his recovery. He is wounded again, but this time with a broken heart. Alma had taken up with a former lover, Walter Gropius, and married him while Oskar was away. He deals with the breakup by finding a way to keep Alma with him. He commissions a doll maker to recreate Alma in life size doll form. One that looks and feels like her in every way.

Oskar contacted doll maker Hermine Moos with a detailed description of how he wanted the doll to look and feel. He sent all of Alma’s measurements along with a life-sized drawing and instructions to not only make the doll to the exact measurements but pay close attention to the dimensions of the head, neck, ribcage, rump and limbs. He wrote, “Please permit my sense of touch to take pleasure in those places where layers of fat and muscle suddenly give way to a sinewy covering of skin.” He wanted to transform her into reality, an experience he can embrace. He even gave examples for the main body stuffing and different stuffing for her breast and buttocks. All this detail was so time consuming, it took Hermine six, excruciatingly long for Oskar, months to finish.

The doll is indeed quite lifelike except for one disconcerting detail; its skin was made of feathers. The doll actually looks furry, though seems to be covered with small downy feathers. My guess is that Hermine took the idea of soft skin a bit too much to heart and found the softest thing she could find. Oskar was impressed with the look of the doll but not the fluffy body. He was upset that it made it extremely difficult to dress her in the fine Parisian clothing and undergarments he had bought. He said it was like she was covered in polar bear fur which made it difficult to even get a stocking on much less the clothing and delicate robes he wanted to dress her in. Despite the unnatural plushie quality of her skin, he did seem happy to see the likeness of his love and tried to make the best of it. Unfortunately, it never lived up to his expectations

Oskar spent most of his time sketching and painting the doll, something he had done often with Alma. There were rumors that he took the doll on carriage rides and to the opera, there may have even been sexual relations with it. There was no evidence that he actually did these things and may have been purposely spread by Hulda, whom he was involved with at this time, at his request. He had first thought of this doll as Eurydice returned to Orpheus from the dead. Instead of fueling his addiction, it cured him of it. After all the posing, sketching and painting, he had lost that loving feeling.

Once he had moved on from his obsession he decided to throw a party for The Silent Woman, the name he and Hulda called his ersatz Eurydice. The party got pretty wild. The next morning the police arrived and woke the sleeping post party participants along with Oskar with a report of a murder. When they went out into the garden the doll was found covered in what looked like blood. She was also missing its head. The blood turned out to be red wine. In his drunken state, he beheaded the doll and broke a bottle of red wine over its head. Apparently, he had been cured of his passion and was ready to move on.

Photos still exist of Kokoschka’s Silent Woman, as do the paintings and his original sketches and instructions to Moos. Perhaps Oskar would not have been so disappointed had he been around in modern times. He could have commissioned a RealDoll version of his beloved Alma. I’m sure there would be no risk of dressing his RealDoll feeling like wrestling with a polar bear. Those expensive Parisian fashions would have looked lovely on high-quality silicone.

Photo: Henriette Moos, Oskar Kokoschkas Alma-Puppe als Venus, 1919 © Privatsammlung, Courtesy Richard Nagy Ltd., London

 

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The Birth of the Butt Plug

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Humans have been carving and using many different devices for pleasure since the beginning of time. We not only learned how to use tools to create shelter, clothing, works of art, and weapons as we evolved but used those tools to make sex toys. The dildo is as old as, well, dirt but I was surprised to find that other sex toys weren’t fully fleshed out until the 19th century. One such item is the butt plug.

I was hard pressed to find much evidence of butt plugs before the 1800s. I’m surprised because I can’t imagine the concept of toys for anal play just sprung into someone’s mind a little over a century ago. Anal pleasure seems to have been limited to manual, genital, and dildo penetration. A flanged base was nowhere to be seen as far as I could tell. The only prehistory I could find was the practice of “Figging” which is the practice of peeling ginger into a butt plug shape then inserted vaginally or anally. Figging was a form of punishment or torture. Today it is used in consensual BDSM play.

Just to be clear, a butt plug is a device that has a cone shaped or anatomically correct shaped end that is inserted into the anus. It has a flanged base to keep it from slipping further inside thus rendering it irretrievable by any means not requiring a trip to the emergency room. The area between the flanged base and the central part of the plug curves in sharply to prevent the butt plug from slipping out. A butt plug is different than an anal plug for medical use. A medical anal plug does not have a cone shape but a disc or plug shape to prevent fecal incontinence. A butt plug can be worn for added pleasure during sex, during masturbation or even worn during the course of the day for continual sexual stimulation. Modern butt plugs vary in width, length, and shape. They also come in a rainbow of colors and a variety of materials. But where are the butt plugs of the past?

The earliest example of a butt plug I could find were rectal dilators used to help with constipation and hemorrhoids, also known as piles. The most famous dilators were a set sold as Dr. Young’s Ideal Rectal Dilators from 1893 to 1940. Dr. Frank E. Young of Canton, Ohio patented his rectal dilators in 1892. Advertisement for Dr. Young’s patented rectal dilators can be seen by 1893. The package includes several dilators of increasing sizes in a somewhat familiar butt plug shape of today; olive-shaped tip with a straight shaft and flanged end. They were originally made of rubber, and the instructions suggested they be used with either Dr. Young’s Piloment lubrication or vaseline. One would gradually insert the dilator then as one adjusted to the size, would move up to the bigger size. The dilator relaxed and stretched the rectum to either relieve constipation or to allow hemorrhoids to heal. This treatment is still used today. One surprising recommendation for use back in the late 19th century was to prevent or treat insanity. Thankfully something the dilators are not used for today.

Dr. Young was not the only person to recommend the use of rectal dilators. There were others who came up with their own versions.

George Starr White used a method he called The Finer Forces of Nature to “… diagnose and treat all manner of unhealth.” He started his research on his particular form of medical treatments as early as 1881. One of the devices he sold was the Valens Bio-Dynamo Prostatic and Rectal Normalizer around 1928. White wrote many books about his cures and methods of diagnosis, many of which rely on natural remedies. 1931. His theories about chromotherapy and “The Golden Planet” of his true origin, remind me of an early L. Ron Hubbard. The Federal Trade Commission forced him to discontinue advertising his prostate treatment in 1931.

The Recto Rotor looks longer than most of the rectal dilators I’ve seen but was marketed for the same conditions; piles, constipation, and prostate trouble. Its extended length gave it access to the prostate, and it bills itself as “… the only device that reaches the Vital Spot effectively.” This product may be trying to do too many things at once since it also has vent holes to apply lubrication, or as the ad description says, “… through which the undulant inserted in the chamber below may be forced out by turning the knurled cap.” Everything about the Recto Rotor makes Young’s dilators look tame. The “knurled cap” doesn’t look like it’s flanged in any way so I can’t tell if this is supposed to be left in or just held by the user.

Some products were variations on Dr. Young’s rectal dilators such as Whitehead’s Dilator from the 1870’s and Thebaud’s sphincter-ani dilator from the 1880’s. Curvlite made glass rectal dilators and were around until about 1950’s. These look a bit more like the spawn of a standard butt plug and a chandelier light bulb than the straight-sided bulb tipped Dr. Young version. The bulbous main body of the plug has an extension at the tip that makes it look a bit gentler than Young’s. Just like Young’s dilators, these come in various widths so you can “gradually” increase the girth. I saw a set similar to the Curvilite glass set but made out of bakelite. It was on an online auction site, so there wasn’t much info but they seemed to have many early 20th to mid-century dilators mostly culled from eBay. I even found a company called Klystra (an enema supply company) that had a self-proclaimed takeoff on Young’s dilators complete with replica packaging. Unfortunately, Klystra has gone out of business so you can’t actually order one.

I found only one device that had a unique shape. The box is labeled The Talisman and has an entirely different shape that the ones I previously mentioned. It has a curved shape before ending at the olive-shaped tip. The auction house that was advertising it labeled it as a 19th-century medical vulcanite rectal dilator but the narrow shaft and curved angle looks more like it’s intent is to put pressure on the prostate. It looks more built for pleasure than for medical purposes, but since companies couldn’t advertise their products as pleasurable until relatively recently, we may never know the creators intent. It’s difficult to determine when these dilators turned from medicinal to pleasurable. While I’m sure someone had to look at them and think “oooh, that looks like fun,” no one was going to put that publicly in a catalog or advertisement for quite some time.

There had to be someone to who sold butt plugs for pleasure, but I have yet to find who that is. The first official brick and mortar sex shop, Beate Uhse’s Specialty Store for Marital Hygiene, was opened up in Germany in the 1960’s. Before that, Beate sold her products along with contraception advice through a catalog. I’m hoping to find some surviving examples of early catalogs like Beate Uhse’s to the first distributor. I look forward to having more info for the next Anal August

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Mughal Painting: Dildos, Sex Doll and Anal Sex

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In my travels around the internet to find interesting (well at least to me) pieces of sexual history, I’ve come across some things that I don’t seem to be able to fit in anywhere else. They just need to stand alone and be admired, discussed or pondered over. One such thing is one particular photo I found while researching sex dolls. The painting shows a copulating couple using some sort of improvised sex toy or machine. The first thing I notice is the two dildos are attached to a board, and one of them is being used for anal sex. Upon closer inspection, I see that the woman is headless. I find the same thing every time I search for more info about this painting, an article using it as evidence of sex doll use in early Persian culture. But is it really a sex doll? Is it really from early Persian culture? This painting was a mystery I just had to solve.

I’ve done some investigating but so far haven’t found out anything that relates to this particular artwork. Not even Wellcome Library in London which houses the actual manuscript page in its collections has any more information other than a possible date. Wellcome has it dated as 19th century, which means it’s not a painting from the heydays of Mughal paintings. It would have to be from the 15th-17th centuries. The piece looks to be part of a manuscript, and there are several other pages done in a style that appear to be part of a series. The other pages have similar looking backgrounds and the same man playing a reoccurring role in them. The manuscript pages seem more like a catalog of sins than a sex manual like the Kama Sutra. The other paintings show the same man copulating with a deer, having anal sex with what looks like a demon or the devil, a crocodile performing cunnilingus on a female demon, women masturbating with vegetables, and more. It’s possible that the subject matter is influenced by the time period. The 19th century found India becoming much more conservative about sex.

There have been several centuries of evolution in Mughal painting before we get to the time of this painting. The Mughal’s Muslim Persianate empire started in the 16th century. The Empire peaked in the mid 17th century, which was a golden age for architecture that included the Taj Mahal. By the mid 18th century, the Mughal’s influence started to decline and was given over entirely to the British Empire by the mid 19th century. During that time, the empire was known not only for its art and architecture but also for science and technology. Mughal paintings were often about the lives of royalty, including their sex lives. The sex portrayed in these paintings is quite explicit, even if the body positioning is painfully unrealistic. Erotic Hindu art greatly influenced Mughal art. Sex was shown as natural and commonplace, even if those practicing it are Mughal kings with their large harems or gods and goddesses. The tone of this painting and the others that seem to be from the same manuscript is entirely different than the ones from the three centuries before it. The sex depicted here is distinctly taboo. It has 19th-century Victorian moral hangups written all over it.

Knowing that this painting is from the 19th century also means that it’s not proof of the early use of sex dolls. I also find that the “headless model,” as Wellcome refers to the figure the man is copulating with, doesn’t look much like a doll. It has pubic hair, and henna on the hands and feet. Perhaps it’s more of a depiction of a headless woman, a way of further dehumanizing the already extremely dehumanized women of the Mughal dynasty. Another possibility is that the figure is a headless goddess, something not uncommon among Hindu deities. The most notable is the tantric goddess, Chinnamasta. She is often shown holding her head while blood gushes in three streams from her neck. This makes it unlikely that the figure in this painting is her specifically. It could be just a random headless goddess. And as if having sex with a headless goddess/doll wasn’t edgy enough, there is the double dildo contraption behind him.

The two realistic dildos, including hair covered scrotum, appear to be attached to a swinging board. I’d bet you dollars to donuts that he can push back on the bottom of that board and have the top part push forward to penetrate himself anally. He may not have all the cast members for an official threesome present, but he’s MacGyvered a sex doll and dildo board for a DIY threeway. We’re talking major maker innovation here.

I still can’t quite figure out where that second dildo is going. Perhaps he borrowed this from someone who uses it for double penetration. Or maybe there’s another painting where headless goddess sex doll is going airtight.

Perhaps I have thought way too long about this painting.

I can’t tell what was the purpose behind these manuscript pages. Were they part of someone’s kinky manuscript of sexy perversions that were meant to titillate or Victorian Christian propaganda trying to make this Mughal king look like the host of a satanically influenced sex party that includes demons, root vegetable dildos, crocodiles, and vagina birds? Yes, vagina birds.

Most of these paintings have some writing at the top, as this one does. I couldn’t find any translations and an email to Wellcome about the text has yet to yield an answer. The writing is in Urdu, which I would love to get translated at some point. I didn’t want to wait until I got a translation to write about this painting. Lakeside anal dildo sex seemed the perfect thing to share with you before Anal August is over. I’m going to continue looking into the mystery of 19th-century pseudo-erotic Mughal paintings. Look forward to sharing what I’ve learned with you.

Here is the full image:

Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://wellcomeimages.org

Credit: Wellcome Library, London. Wellcome Images
images@wellcome.ac.uk
http://wellcomeimages.org

 

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