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Exploring the Variety of Random
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The Project Gutenberg eBook of Manual of
Classical Erotology (De figuris Veneris)
 This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
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are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

Title: Manual of Classical Erotology (De figuris Veneris)

Compiler: Friedrich Karl Forberg

Release date: June 6, 2018 [eBook #57284]

Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK MANUAL OF

CLASSICAL EROTOLOGY (DE FIGURIS VENERIS) ***
The cover image was created by the transcriber and is
placed in the public domain.
 MANUAL

OF

Classical Erotology

(De figuris Veneris)

BY
FRED. CHAS. FORBERG

LITERAL ENGLISH VERSION.

MANCHESTER
One Hundred Copies
PRIVATELY PRINTED FOR VISCOUNT
JULIAN SMITHSON M. A., AND FRIENDS
1884
 NOTE

One Hundred Copies only of this volume have

been printed (all on the same paper and the type
distributed) for Viscount Julian Smithson M. A., the
Translator, and his Friends. None of these Copies are
for Sale.
 Foreword

It is perhaps well to state at once that the “Manual

of Classical Erotology” is intended only for Students
of the Classics, Lawyers, Psychologists and Medical
Men. Those persons, we think, who may peruse it as
a means of awakening voluptuous sensations will be
severely disappointed. Never did a work more serious
issue from the press. Here we have no curious erotic
story born of a diseased mind, but a cold, relentless
analysis of those human passions which it is ever the
object of Science to wrestle with and overthrow.
As a basis also for the correct interpretation of the
drama of the ancient world, Forberg’s studies are
most valuable. Apart from that extraordinary book,
Rosenbaum’s History of the Esoteric Habits, Beliefs
and Customs of Antiquity, we know of no other
compilation which casts so intense a search-light
upon those Crimes, Follies and Perversions of the
“Sixth Sense” which transformed the olden glory of
Greece and Rome into a by-word and a reproach
amongst the nations.
The present English translation now offered to
Scholars is entirely new and strictly exact. No
liberties have been taken with the text. It was felt
that any attempt to add more colour, or to increase
the effect,—involving a departure from the lines of
stern simplicity laid down by Forberg,—would have
detracted from the scientific value and character of
the work.
The late Isidore Liseux issued in 1882 a French
version with Latin text imprimé à cent exemplaires
“for himself and friends.” This work is now very
seldom to be met with because the whole edition
was privately subscribed by Scholars and Bibliophiles
before its appearance. The thieving copyists went of
course immediately to work and some wretched
penny-a-liner, utterly ignorant of both Latin and
Greek, produced an English transcript full of faults,
based only on the French text.
There is no need to add that such a book as this is
of no value to the Student as a work of reference, for
the faulty and forceless renderings often to be met
with in Liseux’ version are reproduced with charming
exactness, while the absence of the original text
makes it all the more perilous to accept the work as
a guide. Having said this much concerning the only
two translations known to us, we proceed to give
some account of good master Forberg and what is
known of the inception and building up of his chef-
d’œuvre.
The eminent Author of this book never became
famous. His name is mentioned occasionally in
connexion with the “Hermaphroditus” of Antonio
Beccadelli, known by the surname of Panormitanus,
which he edited. Brunet, Charles Nodier, and the
Bibliographie des Ouvrages relatifs aux Femmes, à
l’Amour et au Mariage, speak of him in this
connexion; while a list of his works appears
moreover in the Index Locupletissimus Librorum or
Bücher-Lexicon (Bibliographical Lexicon) of Christian
Gottlob Kayser, Leipzig, 1834. But with the exception
of the Allgemeine Deutsche Biographie, the
publication of which was commenced in 1878 by the
Historical Commission of the Munich Academy, and
which has devoted a short notice to him, all
Dictionaries and Collections whether of Ancient or of
Modern Biography are mute with respect to him. The
Conversations-Lexicon and the vast Encyclopaedia of
Ersch and Gruber do not contain a single line about
him, while Michaud, Didot, Bachelet and Dezobry,
Bouillet, Vapereau, utterly ignore his existence. For
all that he well deserves a word or two.
 Friedrich Karl Forberg was born in the year 1770 at
Meuselwitz, in the Duchy of Saxe-Altenburg, and died
in 1848 at Hildburghausen. He was a philosopher
and a collaborator with Fichte, while he devoted a
part of his attention to religious exegesis: but above
all he was a philologian, and a humanist,—at once
learned and inquisitive. He followed first the career
of a University-teacher; Privat-docent in 1792,
Assistant Professor in the Faculty of Philosophy at
Jena (1793), he was installed in 1796 as Co-Rector
at Saalfeld. His inaugural thesis: “Dissertatio
inauguralis de aesthetica transcendentali”, is dated
1792 (Jena, 8vo.); this was followed by a “Treatise
on the Original Conditions and Formal Limitations of
Free Will” in German and an “Extract from my
Occasional Writings” also in German (1795). From
1796 to 1800 he wrote extensively in defence of the
teachings of Fichte in Journals, Reviews, particularly
in the Philosophical Magazine of Schmidt, and in
sundry publications emanating from Fichte himself.
He published moreover: “Animadversiones in loca
selecta Novi Testamenti” (Saalfeld, 1798, 4to.), “an
Apology for his pretended Atheism”, in German
(Gotha, 1799, 8vo.). “Obligations of Learned Men”, in
German (Gotha, 1801, 8vo.), etc.
The second part of his life seems to have been
devoted entirely to Literature. In 1807 he was
appointed as Conservator of the Aulic Library at
Coburg, and having had enough of philosophy, he
turned his whole attention to the study of Latin and
Greek antiquity. Previously to this his tastes had
already been revealed by the publication of several
pretty editions of the minor Latin erotic poets; these
form a collection of six or eight volumes in 16mo.,
with red margin-lines, and are now very difficult to
procure. The discovery he made in the Coburg library
of a manuscript of the “Hermaphroditus” of
Panormitanus, offering important new readings and
variants from the received text, suggested the idea
to him of producing a definitive edition of the work,
with copious commentaries.
The said “Hermaphroditus” so called, “because”,
says La Monnoye, “all the filth in connection with
both sexes forms the theme of the volume”, is a
collection of Latin Epigrams filled out with a
patchwork of quotations from Virgil, Ovid and
Martial, in which memory has a much larger share
than imagination, and which has never appeared to
us to possess any great literary value. But the
mishaps the book has had to encounter, its having
been publicly burnt in manuscript in the market
places of Bologna, Ferrara and Milan, the anathemas
hurled against it by some savants, and the favour
with which it was received by others, who were glad
to awaken by its perusal old reminiscences, have
given it a kind of reputation. The Abbé Mercier de
Saint-Léger was the first to publish it in Paris,
together with the works of four other poets of the
same sort: Ramusius de Rimini, Pacificus Maximus,
Jovianus Pontanus, and Joannes Secundus[1]. But
Forberg, whilst fully appreciating the work and
particularly the courage of the learned Frenchman,
found much to find fault with; the Epigrams of
Panormitanus were not numbered, which made
citations from them troublesome, a great number of
readings were faulty, and, thanks to his manuscript,
he could correct them; lastly, Mercier de Saint-Léger
had omitted to give any running commentary on his
author, to explain his text by means of notes and the
comparison of parallel passages, whereas, according
to Forberg a book of this character required notes by
tens and hundreds, each verse, each hemistich, each
word, offering matter for philosophical reflections
and highly interesting comparisons. He therefore
took the book in hand and began to collect with
inquisitive care everything the Ancients had written
upon the delicate subjects treated in the
“Hermaphroditus.”
But having come to the end of his task, he found
that his commentary would drown the book, that
hardly would he be able to get in a verse of it every
two or three pages, all the remainder of the book
being taken up by his notes, and that the result
would be chaos. Dividing his work into two parts, he
left the smaller one in the shape of annotations,
reduced to the merest indispensable explanations, to
the “Hermaphroditus”, while of the second and more
copious harvest of his erudite researches he
composed a special treatise, which he had printed as
a supplement under the title, “Apophoreta”, or
“Second Course”; this treatise being in his eyes only
a kind of dessert, following upon the substantial
repast furnished by the Latin Poet of the XVIth.
century. The whole forms a volume much sought
after by amateurs: “Antonii Panormitae
Hermaphroditus; primus in Germania edidit et
Aphoreta adjecit Frider. Carol. Forbergius. Coburgi,
sumtibus Meuseliorum, 1824, 8vo.”[2].
Forberg, good, simple man, was mistaken, owing
to his too great modesty; the true feast, at once
substantial, nourishing and savoury, is his own work,
the work which he elaborated from his own
resources, from his inexhaustible memory and from
his astonishing knowledge of the Greek and Latin
authors down to their minutest details. On reprinting
this excellent work, which undoubtedly deserved to
be translated, we have given it a new title, one that
is much more suitable than the old, “The Manual of
Classical Erotology.” In virtue of the charm, the
abundance, the variety of the citations, it is a
priceless erotic Anthology; in virtue of the methodical
classification of the contents Forberg has adopted, it
is a didactic work,—a veritable Manual. He began
with collecting from the Greek and Latin writers the
largest number possible of scattered notices, which
might serve for points of comparison with the
Epigrams of Beccadelli; having possessed himself of
a large accumulation of these, it occurred to him to
set them out in order, arranging them in conformity
with the similarity of their contents, deciding finally
upon a division into eight chapters, corresponding
with the same number of special manifestations of
the amorous fancy and its depravities:
I. —Of Copulation.
II. —Of Pedication.
III. —Of Irrumation.
IV. —Of Masturbation.
V. —Of Cunnilingues.
VI. —Of Tribads.
VII. —Of Intercourse with
Animals.
VIII. —Of Spintrian Postures.
 He found that he had to make subdivisions in each
class according to the nature of the subject, to note
particularities, individualities; and the contrast
between this scientific apparatus, and the facetious
matters subjected to the rigorous laws of deduction
and demonstration is not the least amusing feature
of the book. Probably no one but a German savant
could have conceived the idea of thus classifying by
categories, groups, genera, variations, species and
sub-species all known forms of natural and unnatural
lusts, according to the most trustworthy authors. But
Forberg pursued another aim besides. In the course
of his researches he had noticed how reticent the
annotators and expounders generally are in clearing
up matters which would seem to require it the most,
some in consequence of a false reserve, others for
fear of appearing too knowing, and others again
from ignorance; also how many mistakes and gross
blunders they have fallen into, by reason of their not
understanding the language of erotics and failing to
grasp its infinite shades of meaning.
It is precisely on those obscure and difficult
passages of the Ancient poets, on those expressions
purposely chosen for their ambiguity, which have
been the torment of the critics and the puzzle of the
most erudite commentators, that our learned
Humanist has concentrated his most convincing
observations.
The number of authors, Greek, Latin, French,
German, English, Dutch, whom he has laid under
contribution in order to formulate his exact and
judicious classifications, mounts up to a formidable
total. There are to be found in the Manual of
Erotology something like five hundred passages,
culled from more than one hundred and fifty works,
all classified, explained, commented upon, and in
most cases, enveloped in darkness as they had been,
made plain as light itself by the mere fact of
juxtaposition. With Forberg for a guide no one need
henceforth fear to go astray,—to believe, for
instance, like M. Leconte de Lisle, that the woman of
whom Horace says that she changes neither dress
nor place, “peccatve superne” “has not erred beyond
measure”; what a mistake!—or with M. Nisard to
translate Suetonius expression, “illudere caput
alicuius” “to attempt some ones life”[3]!
Forberg, a philosopher, has treated these delicate
subjects like a philosopher, namely, in a purely
speculative manner, as a man quite above and
beyond terrestrial matters, and particularly so with
respect to the lubricities which he has made it his
task to examine so closely. He declares he knows
nothing of them personally, has never thought of
making experimental investigations on them, but
derives all his knowledge, from books. His candour is
beyond suspicion. He has not escaped censure; but
having a reply ready for every objection and
authorities to quote on every point, he found an
answer to his detractors ready made in the phrase of
Justus Lipsius, who had been reproached with taking
pleasure in the abominations of Petronius: “The
wines you set upon the table excite the drunkard and
leave the sober man perfectly calm; in the same way,
these kinds of reading may very likely inflame an
imagination already depraved, but they make no
impression upon a mind that is chaste and
disciplined.”
 FOOTNOTES - FORWARD

1. Quinque illustrium Poetarum, Antonii Panormitae; Ramusii

Ariminensis; Pacifici Maximi Asculani; Io. Joviani Pontani; Io.
Secundi Hagiensis, Lusus in Venerem, partim ex codicibus
manuscriptis, nunc primum editi Parisiis, prostat ad Pristrinum,
in Vico suavi, (at Paris, at Molini’s, Rue Mignon), 1791, 8vo.

2. To certain copies are added some thirty engravings

representing the principal erotic postures; these engravings are
taken from the Monuments de la Vie Privée des douze Césars,
and from the Monuments du Culte Secret des Dames
Romaines, two works, now becoming every day rarer.

3. See below pp. ?? and ??? respectively.

 THE

Metamorphoses of Venus

W E propose to pass in review the different

metamorphoses of Venus,—though truly not all
of them. For how is it possible to specify the
thousand modes[4], the thousand forms of Love, on
which the inventive satiety of pleasure ventures? But
at any rate such as fall into distinct and definite kinds
admit of being easily and methodically classified. Do
not, inquisitive reader, hope for more than this. We
are not of those who seek after a petty personal
glory by unveiling the results of their own experience
or by describing novel tours de force in the wrestling-
school; we are not so much as raw recruits at this
game. Nor yet is it our intention to reveal things we
have seen or heard in this connexion. If we would,
we could not,—to your satisfaction, for books are our
only authorities. We are solely and entirely bookmen,
and scarce frequent our fellow creatures at all.
 These trifles engaged our attention first as a mere
pastime. We were led to them accidentally, as we
roamed from subject to subject for Philosophy, the
garden we had hoped to set up our tent in for life,
lies desolate. How can Philosophy flourish in times
like ours, when almost every new day sees new
systems sprout forth, to die down again tomorrow;
when there are as many philosophers as
philosophies, when schools have ceased to exist,
when instead of groups only individuals are to be
met with? Our second motive was to provide some
satisfaction, however little, to the claims of those
readers who very often find themselves disconcerted
by the unconventional raciness of Ancient authors
and their out-spoken witticisms, and justly complain
of the prudish brevity or entire silence of the
Commentators who leave their difficulties
unexplained. Of course these latter wrote for the
young; and no one can blame them under the
circumstances for not having dwelt carefully and
curiously on shameful secrets.
If we have fallen into any mistakes, lay the fault,
we beg, first on our insufficient intellectual furniture,
secondly on our ignorance as to the more uncommon
forms of lust, an ignorance prevalent in small towns,
and lastly, if you please, put it down to the honest
simplicity of our Coburg citizens’ members.
 We only follow others’ example. We have
predecessors in Astyanassa, who according to
Suidas[5] first wrote “of Erotic Postures”; and in
Philaenis of Samos[6], or rather, to deprive no one of
his due, Polycrates, an Athenian sophist, who
brought out under the name of an honourable
matron a book “On the various Postures of Love.”
Then there was Elephantis[7] or Elephantiné, a Greek
girl, whose licentious writings Tiberius is said to have
furnished his sleeping-room with; also Paxamus[8]
who composed the Dodecatechnon on lascivious
postures; and Sotades[9] of Maroneia, surnamed the
Cinaedologue, from whose name a whole class of
literature, remarkable for its excessive lubricity, is
known as the Sotadic; and Sabellus, of whom Martial
speaks: “Copious verses, only too copious, on
scandalous subjects you have read me, O Sabellus,
such as neither the maids of Didymus[10] know, nor
yet the wanton treatises of Elephantis. Therein are
new postures of Love that the desperate fornicator
tries, and what debauchees use, but never tell of,—
how grouped in a series five copulate at once, how a
greater number still can make a chain. It was hardly
worth the pains to be erudite.”

Moreover amongst our predecessors was the

famous Pietro Aretino[11], a man of an almost divine
genius, whom ill-natured report represents as having
illustrated sixteen plates painted by Julio Romano
and engraved on copper by Marc-Antonio with verses
indecent beyond all expression; Lorenzo Veniero
again[12], a Venetian nobleman, author of a little work
in Italian, bearing the title La Puttana Errante (The
Wandering Whore), in which he has undertaken to
specify no less than thirty-five modes of loving.
Lastly there was Nicolas Chorier, a French lawyer,
who under the name of Aloysia Sigaea, a young
Spanish lady, has given us the Satirae Sotadicae de
arcanis Amoris et Veneris (Sotadic Satires on the
Secret Rites of Love and Venus); though the book
also appears under the name of Joannes Meursius
with the title Elegantiae Latini Sermonis (Graces of
Latin Prose). In this book you do not know which to
admire most, the style at once elegant, correct and
careful, yet free from pedantry, the wit equally gay
and graceful, the brilliant sparks of Latin erudition
that glitter everywhere, the rich and copious
eloquence graced as with jewels by polished and
luminous words and phrases of a pleasant antique
flavour, or lastly the pre-eminent skill displayed in
varying with such manifold versatility one simple
theme. The others we need not mention further.
Our predecessors, whether the more modern, or
those of Antiquity whom we have cited, and all
whose works alas! envious time has robbed us of, did
not lack severe critics, nor yet studious readers. And
our own treatise will no doubt in its turn meet with
both these classes. It is a man’s book; we have
written it, fearless of censure, for men,—not for such
as are wont with growning brow “to pitchfork nature
out of doors”, but rather for such as have once for all
dared to live their lives, who neither wish to lurk in
darkness nor yet to defy the open day with
effrontery, in one word for those who think that in
Love as in all else the golden mean is the course to
choose. Let others go their way, and arrogate to
themselves the title of sages!

T HE work of Venus may be accomplished with or

without the help of the mentula (virile member).
If with the mentula, the friction of this organ, in
which friction the whole pleasure consists, can be
effected either in the vulva (female organ), in the
anus (arse-hole), in the mouth, by the hand or in any
cavity of the body. If without the mentula, the vulva
may be worked either with the tongue, with the
clitoris, or with any object resembling the virile
organ.
 FOOTNOTES - THE Metamorphoses Of Venus

4. Ovid, Art of Love, I., 435, 36: “To fully expose the ungodly
wiles of harlots, ten mouths, and as many tongues to boot
would not suffice.”
Aloysia Sigaea: “The body in sacrificing to Venus can take as
many postures as there are ways in which it can bend and
curve. It is equally impossible to enumerate all these, as it is to
say which is best fitted to give pleasure. Each acts in this
respect according to his own caprice, according to place, time,
and so on, choosing the one he prefers. Love is not identical
for each and all.” (Dialogue VI.)

5. Suidas under Astyanassa: “Astyanassa, maid of Helen the wife

of Menelaus, who was the first to invent the different positions
in the act of love. She wrote “Of Erotic Postures”; and was
followed and imitated by Philaenis and Elephantine, who
carried further the series of suchlike obscenities.”

6. Priapeia, LXIII: “To her a certain girl (I very nearly gave her
name) is wont to come with her paramour; and if she fails to
discover as many postures as Philaenis describes, she goes
away again still itching with desire.”
Philaenis has found a champion of her good name in
Aeschrion, who wrote an epitaph for her that is still extant in
Athenaeus, bk. VIII. ch. 13: The last lines read: “I was not
lustful for men nor a gad-about; but Polycrates, by race an
 Athenian, a mill clapper of talk, a foul-tongued sophist, wrote—
what he wrote; I know nought of it all.”
Her works were familiar to Timarchus in Lucian (Apophras, p.
158,—vol. VII., of Works of Lucian, edit. J. P. Schmid): “Tell me
where you find these words and expressions,—in what books?
is it in the volumes of Philaenis, that are always in your
hands?”

7. Suetonius, Tiberius, ch. 43: “He decorated his various and

variously arranged sleeping-chambers with pictures and bas-
reliefs of the most licentious character, and furnished them
with the works of Philaenis, that no one in performing should
want a model of the posture required.”
Priapeia, III: “Taking pictures from the licentious treatises of
Elephantis, Lalagé presents them an offering to the stiff-
standing god, and begs you prove if she performs agreeably to
the pictured postures.”
It would seem then that artists depicted the postures described
by Elephantis, she herself possibly setting the example.
Paintings of the sort Lalagé dedicates to Priapus, and asks her
lover to have her and see if she is a docile pupil in faithfully
imitating all the modes of connection depicted in them. No
doubt such representations of licentious postures, taken from
the works of Elephantis or Philaenis or elsewhere stimulated
the ingenuity of Artists to work out in emulation these enticing
motifs to the highest degree of finish. Ovid alludes to such
works of art in his Art of Love, II., 680: “They unite in Love in
a thousand postures; no picture could suggest any fresh ones
...”; as also the author of an ancient Epigram quoted by Joseph
Scaliger in his Commentary on the Priapeia, III.; “And when
she has thrown herself into every posture in imitation of the
seductive pictures, she may go: but let the picture be left
hanging over my bed.” Nothing was commoner with the
Romans than to decorate the wall and partitions of rooms with
 licentious paintings, as may be gathered from Propertius II., vi,
27 sqq.: “The hand that first painted filthy pictures, and
exposed foul sights in an honest home, corrupted the pure
eyes of young maids, and chose to make them accomplices of
his own lubricity. In old days our walls were not daubed with
fancies of this vile sort, when never a partition was adorned
with a vicious subject.”

8. Suidas: “Paxamus wrote the Dodecatechnon; the subject is the

obscene postures.” But I think he has no good reason to
connect with this the epithet Dodecamechanos given to a
certain Cyrené. The said wanton damsel seems to have
practised rather than described the twelve postures of Venus.
Suidas under Dodecamechanon: “There was a famous hetaera,
Cyrené by name, further known as Dodecamechanos, because
she practised twelve different postures in making love.”
Aristophanes says in the Frogs, 1361-63: “Do you dare to
criticize my songs, you that modulate your cadences on the
twelve-fold postures of Cyrené?” Her name occurs also in the
Thesmophoriazusae (104), but merely her name. (Our
invariable rule is to quote from Burmann’s edition of
Aristophanes.) I am doubtful as to whether Musaeus should be
counted among writers on the Erotic postures. Martial, XII., 97
recommends Instantius Rufus to read his (Musaeus’) books, as
being of the most advanced lasciviousness, vying with those of
the Sybarites in obscenity and full of the most suggestive and
spicy wit; warning him at the same time to have his girl ready
to hand, if he did not want his hands to perform the wedding-
march and consummate the marriage without a woman at all.

9. Athenaeus, XIV., 13: “Also the Ionic dialect has to show the
poems of Sotades and the “Ionic” poems preceding his, those
of Alexander the Aetolian, and Pyres of Miletus, and Alexis, and
others of the same class. The last mentioned is known as the
Cinaedologue. But in this genre the most eminent writer is
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