It has been noted that study of the classic forms of Greek and Roman art—possibly through the higher physical male beauty already alluded to—predisposes to sexual inversion; and the idea is very fairly bome out by the great comparative number of artists in whom it has been observed. A notable case, on account of its tragic ending, was that of Jerome Duquesnoy, who, being accused of sexual relations with a youth, in the chapel of the Ghent Cathedral, where he was carving a monument for the bishop, was strangled and burned.1 Bazzi owed his nickname, Sodoma,3 to the fact that he was inverted; and among the great artists of the Renaissance period in Italy, from Michelangelo to Donatello and Brunellesco, history is full of similar instances.