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_Studies_, where this question of the relationship of nakedness to modesty
is fully discussed.
 C.H. Stratz, _Die Koerperformen in Kunst und Leben der Japaner_,
Second edition, Ch. III; id., _Frauenkleidung_, Third edition, pp. 22, 30.
 I have not considered it in place here to emphasize the aesthetic
influence of familiarity with nakedness. The most aesthetic nations
(notably the Greeks and the Japanese) have been those that preserved a
certain degree of familiarity with the naked body. "In all arts,"
Maeterlinck remarks, "civilized peoples have approached or departed from
pure beauty according as they approached or departed from the habit of
nakedness." Ungewitter insists on the advantage to the artist of being
able to study the naked body in movement, and it may be worth mentioning
that Fidus (Hugo Hoeppener), the German artist of to-day who has exerted
great influence by his fresh, powerful and yet reverent delineation of the
naked human form in all its varying aspects, attributes his inspiration
and vision to the fact that, as a pupil of Diefenbach, he was accustomed
with his companions to work naked in the solitudes outside Munich which
they frequented (F. Enzensberger, "Fidus," _Deutsche Kultur_, Aug., 1906).
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