Woe unto him that giveth his neighbour drink, that puttest thy bottle to him, and makest him drunken also, that thou mayest look on their nakedness. There may well be more in high places in France: A similar irrational phenomenon is when, at the conclusion of a sporting event, a woman may flash her breasts while sitting atop someone's shoulders in a dense crowd of people. Woe to him that buildeth a town with blood, and stablisheth a city by iniquity. The carving of an exhibitionist male or female or any daring or dodgy motif on a corbel-table might well have been the culmination of the apprenticeship of a sculptor, literally a licence granted to him by his fellow-sculptors who certainly were the inspiration of the Freemasons in their confraternity. And both are frequently enigmatic, ambivalent. Since writing the last sentence I discovered a fine male exhibitionist gargoyle, probably from the abbey of Saint-Antonin, at Bruniquel. Some very few might have had to be placed very high or out of sight to avoid local trouble. A hairy and of course bearded Greek Satyr with fantastic cock and balls.
Until I had thought that there were no post-Romanesque exhibitionists in France apart from a female at Cleyrac which might even be Romanesque, though it doesn't look it , and a pair at Saint-Antonin-Noble-Val on a 16th century window. Both mix the 'sacred' with the 'profane' - a very variable and sometimes ambiguous dichotomy. Similarly, and closer to the 12th century is Carmina Burana, which, according to Wikipedia, is "a manuscript of poems and dramatic texts mostly from the 11th or 12th century, although some are from the 13th century. Again, the classical and rigid concept paints with a broad brush and states, "Flashing is done as a momentary "thrill" to inflate the ego of the flasher while having the 'added bonus' of increasing the sexual arousal of the recipient s. However, my colleague Jacques Martin sent me a photograph of a very fine male exhibitionist apparently contemporaneous with the early 14th-century House of the Master of Venery at Cordes-sur-Ciel Tarn not far from Saint-Antonin. Modern minds, however, find it difficult to understand why the highly-exaggerated corbel-carvings were put up on churches - pieces of sculpture sometimes far more graphic than was doctrinally necessary. Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach Both are sometimes scatological. So the carving at Girona below might have a different meaning than that which I advanced earlier in Images of Lust. The beam-carving at Claybrooke Parva is tucked away high above the western end of the nave and is quite small to the unaided eye. Woe unto him that giveth his neighbour drink, that puttest thy bottle to him, and makest him drunken also, that thou mayest look on their nakedness. A hairy and of course bearded Greek Satyr with fantastic cock and balls. Some researchers invalidly postulate that all exhibitionism is, whether on the end of the giver or the receiver, ultimately a sexual fetish, many practitioners see it as an art form. And both are frequently enigmatic, ambivalent. The pieces are mostly bawdy, irreverent, and satirical. Professor Greenhalgh has expressed the view that this website and, presumably, Romanesque corbel-tables , etc. This all contrasts with non-sexualized social nudity, in which the exposure is not connected with sexual expression, such as sunbathing or swimming at nude beaches or other participation in public nudity events where nudity is the norm. The bishop may well not be overseeing the sculptors like some kind of art commissar, but merely skulking. On the other hand, they might very well have been not only exhibitionists but exhibition pieces, proudly and lewdly displayed by master-craftsmen as quasi-pious jeux d'esprit. Woe to him that buildeth a town with blood, and stablisheth a city by iniquity. Most of the poems and songs appear to be the work of Goliards: In short, the classical view of exhibitionism misses the mark by a wider margin than erroneous scientific claims about homosexuality. It is possible that sculptors were more powerful than priests on the ground, because they could simply take off from a site and find employment elsewhere without difficulty. Far less criticized are night clubs and goth bars that encourage mild exhibitionism to enhance the venue's atmosphere. These exceptions might well be simple imitations on churches whose sculptors were not master-craftsmen..
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