appears to have preserved longer than other countries the ancient classic traditions in regard to the foot as a focus of modesty and an object of sexual attraction.  In Spanish religious pictures it was always necessary that the Virgin’s feet should be concealed, the clergy ordaining that her robe should be long and flowing, so that the feet might be covered with decent folds.  Pacheco, the master and father-in-law of Velasquez, writes in 1649 in his Arte de la Pintura:  “What can be more foreign from the respect which we owe to the purity of Our Lady the Virgin than to paint her sitting down with one of her knees placed over the other, and often with her sacred feet uncovered and naked.  Let thanks be given to the Holy Inquisition which commands that this liberty should be corrected!” It was Pacheco’s duty in Seville to see that these commands were obeyed.  At the court of Philip IV. at this time the princesses never showed their feet, as we may see in the pictures of Velasquez.  When a local manufacturer desired to present that monarch’s second bride, Mariana of Austria, with some silk stockings the offer was indignantly rejected by the Court Chamberlain:  “The Queen of Spain has no legs!” Philip V.’s, queen was thrown from her horse and dragged by the feet; no one ventured to interfere until two gentlemen bravely rescued her and then fled, dreading punishment by the king:  they were, however, graciously pardoned.  Reinach ("Pieds Pudiques,” Cultes, Mythes et Religions, pp. 105-110) brings together several passages from the Countess D’Aulnoy’s account of the Madrid Court in the seventeenth century and from other sources, showing how careful Spanish ladies were as regards their feet, and how jealous Spanish husbands were in this matter.  At this time, when Spanish influence was considerable, the fashion of Spain seems to have spread to other countries.  One may note that in Vandyck’s pictures of English beauties the feet are not visible, though in the more characteristically English painters of a somewhat later age it became usual to display them conspicuously, while the French custom in this matter is the farthest removed from the Spanish.  At the present day a well-bred Spanish woman shows as little as possible of her feet in walking, and even in some of the most characteristic Spanish dances there is little or no kicking, and the feet may even be invisible throughout.  It is noteworthy that in numerous figures of Spanish women (probably artists’ models) reproduced in Ploss’s Das Weib the stockings are worn, although the women are otherwise, in most cases, quite naked.  Max Dessoir mentions ("Psychologie der Vita Sexualis,” Zeitschrift fuer Psychiatrie, 1894, p. 954) that in Spanish pornographic photographs women always have their shoes on, and he considers this an indication of perversity.  I have seen the statement (attributed to Gautier’s Voyage en Espagne, where, however, it does not occur) that Spanish prostitutes uncover their