In another work of d’Hancarville’s, _Monuments de la vie privée des douze Césars_, plate XXVII., you find represented men seated and copulating with women, who are facing them; plate XV., in the same book presents to your curiosity a man sitting and working a woman, who turns her back on him. Augustus is seated: he is attacking backwards, with true imperial audacity, Terentia[16], the wife of Maecenas, after drawing her onto his lap; Maecenas is present, asleep—asleep of course only for the Emperor. You may see a similar posture in the _Contes et Nouvelles en vers_ by Jean de la Fontaine: it is on the plate appended to the tale, called _Le Tableau_, p. 223, vol. II., Amsterdam, 1762. Nothing is more frequent than conjunction whilst standing, the woman with her back to the man; it is indeed very easy to do it that way in any place, as you have only to lift up the fair one’s petticoats, and out with your weapon; it is, therefore, the best manner for those who have to make instantaneous use of an opportunity, when it is important to be sharp about it, as may happen, when you take your pleasure in secret. Thus Priapus complains of the wives and daughters of his neighbors, who came incessantly to him burning with ticklish desires. “Cut off my genital member, which every night and all night long my neighbours’ wives and daughters, for ever and for ever in heat, more wanton than sparrows in springtide, tire to death,—or I shall burst!...” (_Priapeia_, XXV). I remember a medical man of our time, one of the most celebrated professors, (I had nearly uttered his name), who to emphasize this, called his daughter, and pointing to the blushing girl, while his hearers could not help smiling said: “This girl I fabricated standing.” A representation of this position is to be found in the _Monuments de la vie privée de douze Césars_, pl. XLVI., and another in the _Monuments du culte secrets des dames romaines_, pl. XIII. But further, a man may join himself to a woman standing face to face by supporting her in such a way, that her whole body is lifted up, her thighs resting on the man’s hips, or else by lifting up the lower part of her body, whilst the upper part is resting on a couch. Will you feast your eyes with a representation of this not ungraceful position? If so you will not omit to look at plate XXIV of the _Monuments du culte secret des dames romaines_, and plate XL of the _Monuments de la vie privée des douze Césars_; Ovid, if I am not mistaken, had his eyes on one or the other of these figures: “Milanion was supporting Atalanta’s legs on his shoulders; if they are fine legs this is how they should be held” (_Art of Love_, III., vv. 775, 776). The former of these modes is no doubt that described by Aloysia Sigaea, Past Mistress of these naughtinesses, and with a vivacity, a grace, and elegance that leaves nothing to be desired: