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Prints became very popular in Europe from the middle of the fifteenth century, and because of their compact nature, were very suitable for erotic depictions that did not need to be permanently on display. Nudity and the revival of classical subjects were associated from very early on in history of the print, and many prints of subjects from mythological subjects were clearly in part an excuse for erotic material; the engravings of Giovanni Battista Palumba in particular. An earthier eroticism is seen in a printing plate of for an Allegory of Copulation where a young couple are having sex, with the woman's legs high in the air, at one end of a bench, while at the other end a huge penis, with legs and wings and a bell tied around the bottom of the glans, is climbing onto the bench. Although the plate has been used until worn out, then re-engraved and heavily used again, none of the contemporary impressions printed, which probably ran into the hundreds, have survived. In particular Leda and the Swan , where the god appeared as a swan and seduced the woman, was depicted very explicitly; it seems that this—rather strangely—was considered more acceptable because he appeared as a bird.
Unlike your average movie-goer, they would not have to wonder: From the days before color film until the early s hundreds of anonymous women graced more motion-picture film reels than perhaps any film star. And yet movie-goers never saw them; they, and their purpose, were known only to film-lab workers and projectionists.