An examination of my Histories reveals the interesting fact that 45 of the subjects, or in the proportion of 56 per cent., possess artistic aptitudes of varying degree.  Galton found, from the investigation of nearly 1000 persons, that the average showing artistic tastes in England was only about 30 per cent.  It must also be said that my figures are probably below the truth, as no special point was made of investigating the matter, and also that in some cases the artistic ability is of high order.

It is suggested that Adler’s theory of Minderwertigkeit—­according to which we react strenuously against our congenital organic defects and fortify them into virtues—­may be applied to the invert’s acquirement of artistic abilities (G.  Rosenstein, “Die Theorien der Organminderwertigkeit und die Bisexualitaet,” Jahrbuch fuer Psychoanalytische Forschungen, vol. ii, 1910, p. 398).  This theory is in some cases of valuable application, but it seems doubtful to me whether it is very profitable in the present connection.  The artistic aptitudes of inverts may better be regarded as part of their organic tendencies than as a reaction against those tendencies.  In this connection I may quote the remarks of an American correspondent, himself homosexual:  “Regarding the connection between inversion and artistic capacity, so far as I can see, the temperament of every invert seems to strive to find artistic expression—­crudely or otherwise.  Inverts, as a rule, seek the paths of life that lie in pleasant places; their resistance to opposing obstacles is elastic, their work is never strenuous (if they can help it), and their accomplishments hardly ever of practical use.  This is all true of the born artist, as well.  Both inverts and artists are inordinately fond of praise; both yearn for a life where admiration is the reward for little energy.  In a word, they seem to be ‘born tired,’ begotten by parents who were tired, too.”

Hirschfeld (Die Homosexualitaet, p. 66) gives a list of pictures and sculptures which specially appeal to the homosexual.  Prominent among them are representations of St. Sebastian, Gainsborough’s Blue Boy, Vandyck’s youthful men, the Hermes of Praxiteles, Michelangelo’s Slave, Rodin’s and Meunier’s working-men types.

As regards music, my cases reveal the aptitude which has been remarked by others as peculiarly common among inverts.  It has been extravagantly said that all musicians are inverts; it is certain that various famous musicians, among the dead and the living, have been homosexual.  Ingegnieros speaks of a “genito-musical synaesthesia,” analogous to color-hearing, in this connection.  Calesia states (Archivio di Psichiatria, 1900, p. 209) that 60 per cent, inverts are musicians.  Hirschfeld (Die Homosexualitaet, p. 500) regards this estimate as excessive, but he himself elsewhere states (p. 175) that 98 per cent, of male inverts are