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The size of the breasts, as well as the way to enhance them or, on the contrary, to hide them are extremely variable of a culture to another, and change often inside a same society. Since the origins, the prehistoric art reveals the ambiguousness of the imaginary human that are revealed therefore since shared millennia between the big and the small breasts, or even the flat chests. Indeed, since 30 000 years that we have built figurines or shaped, and of the engravings sculpted on the partitions of the caves, one also finds a lot of very voluminous breast representations. associated to round stomaches and very large hips in general. so much breasts all kids or signalled hardly on silhouettes very stylized. But, of course, we don't know anything of the erotic sense assigned to the some as to the other. The Greek women of the antique took care of their chest since they sustained it by a strip of cloth. At the same time, they don't seem to eroticize it especially, and the statuaries of the classic time kept us the picture of firm chests but rather modest. And no erotic representation (on the potteries notably) doesn't show caresses or kissings on the breasts whereas all erotic positions are represented. They are mad these RomansThe Romans are as indifferent to the breasts that the Greeks. The big erotic novel of Pétrone, "The Satyricon", doesn't speak of breasts of the women that the hero wants. Ovide, its "Art to like", says well that it is necessary to cover a flat chest and to unveil a flawless chest only, but it is a bare shoulder that gives him the desire to kiss, not the breasts. The frescos of Pompeii represent some women in erotic positions, but their breasts are not often visible, or they keep their strip bra whereas they ride high clouds their man: these are not therefore the breasts that are erotic, and, when they are represented, they are small and discreet. It seems that it is the Christianity that returned the erotic breasts, with the first moralists who affirmed,: "it is not necessary to allow the women in no way to discover and to show whatever it is of their body", in the fear that they lead to the men and themselves to the sin. Thanks to them, finally, the breasts are going to become a source of sexual desire. The Middle Ages opposes the preachers cursing against the low-necked women, to the offered chest, therefore and the novelists describing with sensuality the small breasts, farms as apples, that their heroines show learnedly thanks to clothes perforated. Of painters Renaissance to the Pine up of Hollywood At the Renaissance, the painters represent a lot of breasts, that one touches and caress, and the poets vie of ingenuity to speak of it. Then the breasts free themselves and take the size, of the XVIe in the XVIIIe centuries, that of which testifies the Titian as well, that Ruben, then Fragonard or to Plug.  The Revolution is favorable to the breasts, free under transparent cloths, and empire invents the dresses that heighten them and offer them without veil. But the bourgeoisie, that yet likes them big and maternal, go lock them and the corseter until the end of the century in. The garçonne of the XXe century will hand to the taste of the day the small chests and the slender and sporty feminine bodies: what brings to erase the classic attributes of the motherhood. The American soldiers of World War II will throw the fashion of the pine up, to the very generous shapes. The movies of Hollywood will take over and will impose some stars with the opulent chest. But the small chests don't let themselves cut down and make, in the last third of the century, a return full of charm. Today, the tastes seem shared: some implants allow those that want it of the enormous chests, of the supports-throat adequate give the volume and the firmness to those that wish it, and the surgery brings back to a reasonable volume the breasts considered like excessive. As if every woman could accept her chest or could give himself the one of the size that she wants. 2009-06-25
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