Beauty is thus the chief, but it is not the sole, element in the sexual appeal of vision.  In all parts of the world this has always been well understood, and in courtship, in the effort to arouse tumescence, the appeals to vision have been multiplied and at the same time aided by appeals to the other senses.  Movement, especially in the form of dancing, is the most important of the secondary appeals to vision.  This is so well recognized that it is scarcely necessary to insist upon it here; it may suffice to refer to a single typical example.  The most decent of Polynesian dances, according to William Ellis, was the hura, which was danced by the daughters of chiefs in the presence of young men of rank with the hope of gaining a future husband.  “The daughters of the chiefs, who were the dancers on these occasions, at times amounted to five or six, though occasionally only one exhibited her symmetry of figure and gracefulness of action.  Their dress was singular, but elegant.  The head was ornamented with a fine and beautiful braid of human hair, wound round the head in the form of a turban.  A triple wreath of scarlet, white, and yellow flowers adorned the head-dress.  A loose vest of spotted cloth covered the lower part of the bosom.  The tihi, of fine white stiffened cloth frequently edged with a scarlet border, gathered like a large frill, passed under the arms and reached below the waist; while a handsome fine cloth, fastened round the waist with a band or sash, covered the feet.  The breasts were ornamented with rainbow-colored mother-of-pearl shells, and a covering of curiously wrought network and feathers.  The music of the hura was the large and small drum and occasionally the flute.  The movements were generally slow, but always easy and natural, and no exertion on the part of the performers was wanting to render them graceful and attractive."[168] We see here, in this very typical example, how the extraneous visual aids of movement, color, and brilliancy are invoked in conjunction with music to make the appeal of beauty more convincing in the process of sexual selection.

It may be in place here to mention, in passing, the considerable place which vision occupies in normal and abnormal methods of heightening tumescence under circumstances which exclude definite selection by beauty.  The action of mirrors belongs to this group of phenomena.  Mirrors are present in profusion in high-class brothels—­on the walls and also above the beds.  Innocent youths and girls are also often impelled to contemplate themselves in mirrors and sometimes thus, produce the first traces of sexual excitement.  I have referred to the developed forms of this kind of self-contemplation in the Study of Auto-erotism, and in this connection have alluded to the fable of Narcissus, whence Naecke has since devised the term Narcissism for this group of phenomena.  It is only necessary to mention the enormous production of photographs, representing normal and abnormal sexual