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Table of contents
PREFACE
TOUCH-1
TOUCH-2
TOUCH-3 (begin)
TOUCH-3 (end)
TOUCH-4 (begin)
TOUCH-4 (end)
SMELL-1
SMELL-2
SMELL-3.1
SMELL-3.2
SMELL-3.3
SMELL-3.4
SMELL-3.5
SMELL-4 (begin)
SMELL-4 (end)
SMELL-5
HEARING-1
HEARING-2
HEARING-3
VISION-1.1
VISION-1.2
VISION-1.3
VISION-2.1
VISION-2.2
VISION-2.3
VISION-2.4
VISION-3
VISION-4
VISION-5
APPENDIX A
APPENDIX B HISTORY-1
APPENDIX B HISTORY-2.1
APPENDIX B HISTORY-2.2
APPENDIX B HISTORY-2.3
APPENDIX B HISTORY-3.1
APPENDIX B HISTORY-3.2
INDEX OF AUTHORS

must be slender and active. The lower parts of the body are very 

seldom mentioned, and many poets are even too modest to mention 

the breasts. The buttocks must be rounded, one poet, indeed, 

mentions, and the thighs soft and white, the _meinel_ (mons) 

brown. The legs must be straight and narrow, the calves full, the 

feet small and narrow, with high instep. The color of the skin 

generally must be clear and of a tempered rosiness. (A. Schultz, 

_Quid de Perfecta Corporis Humani Pulchritudine Germani Soeculi 

XII et XIII Senserint_, 1866.) A somewhat similar, but shorter, 

account is given by K. Weinhold (_Die Deutschen Frauen im 

Mittelalter_, 1882, bd. 1, pp. 219 et seq.). Weinhold considers 

that, like the French, the Germans admired the mixed eye, _vair_ 

or gray. 

Adam de la Halle, the Artois _trouvere_ of the thirteenth 

century, in a piece ("Li Jus Adan ou de la feuillie") in which he 

brings himself forward, thus describes his mistress: "Her hair 

had the brilliance of gold, and was twisted into rebellious 

curls. Her forehead was very regular, white, and smooth; her 

eyebrows, delicate and even, were two brown arches, which seemed 

traced with a brush. Her eyes, bright and well cut, seemed to me 

_vairs_ and full of caresses; they were large beneath, and their 

lids like little sickles, adorned by twin folds, veiled or 

revealed at her will her loving gaze. Between her eyes descended 

the pipe of her nose, straight and beautiful, mobile when she was 

gay; on either side were her rounded, white cheeks, on which 

laughter impressed two dimples, and which one could see blushing 

beneath her veil. Beneath the nose opened a mouth with blossoming 

lips; this mouth, fresh and vermilion as a rose, revealed the 

white teeth, in regular array; beneath the chin sprang the white 

neck, descending full and round to the shoulder. The powerful 

nape, white and without any little wandering hairs, protruded a 

little over the dress. To her sloping shoulders were attached 

long arms, large or slender where they so should be. What shall I 

say of her white hands, with their long fingers, and knuckles 

without knots, delicately ending in rosy nails attached to the 

flesh by a clear and single line? I come to her bosom with its 

firm breasts, but short and high pointed, revealing the valley of 

love between them, to her round belly, her arched flanks. Her 

hips were flat, her legs round, her calf large; she had a slender 

ankle, a lean and arched foot. Such she was as I saw her, and 

that which her chemise hid was not of less worth." (Houdoy, _La 

Beaute des Femmes_, p. 125, who quotes the original of this 

passage, considers it the ideal model of the mediaeval woman.) 

 

In the twelfth century story of _Aucassin et Nicolette_, 

"Nicolette had fair hair, delicate and curling; her eyes were 


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