The bosom of the woman, says Berg, is the organ by which she is able to express herself most ingeniously. Its undulations were always her most expressive and skilful rhetoric. The bosom represents the woman’s language and her poetry, her history and her music, her purity and her longing, her policy and her religion, her worship and her art, her secret and her convention, her character and her pride, her consciousness, her magic mirror and her mystery. The bosom is the central organ of all female ideas, desires and humors. No wonder, therefore, that fashion concentrates its greatest endeavors and painstaking effort upon this particular part of the female body. Being Cupid’s most faithful servant, fashion selects this part which it expects to serve best as the target of the winged god’s arrows. To be sure, the individual refined and chaste woman is unaware of the underlying principle of the creators of fashions. She is convinced that clothes were adopted for esthetic reasons, although the sculptor who knows most of beauty seldom covers up the naked body. By heredity and social custom, clothing for refined women has become a mere side current of irradiation of the sensual. Clothes are used, by a majority of women, mainly as a means of beautifying. Ornamental clothing is not any longer a simple lure. It is a sign or symbol of a greater refinement of perception and delicacy of feeling. By the use of clothes the attention is directed rather to the personality than to the person. It is an attempt to display psychical rather than physical features. The impulse of the normal woman to attribute an exaggerated value to clothes is more an imaginative radiation and far remote from the desire of physical exhibition. But as far as fashion is concerned, the original close connection between clothes and the attraction of the sexes is still the commanding principle. Fashion is still standing in the service of sensuality. This explains its modern fickleness. In previous epochs the same mode of dress was worn for centuries, as the European peasant’s dress shows. The present feverishly frequent change of fashion is a pathological phenomenon, betraying the diseased eagerness for ever stronger and more original sensual stimulations.