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men are the gatekeepers of commitment and women are the gatekeepers of sex

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What Makes Married Men Want to Have Affairs?
What Makes Female Teachers Seduce Their Students?

Isn't it a narcisstic wish to carve somebody's mind according
to the own preferences?


Far more humane would be masturbating to a designed lover.
Make a list of assets, create a virgin lover and follow Pygmalion's fantasy, instead.


Anne-Louis Girodet: Pygmalion et Galatée, Pygmalion and Galatea, 1819Anne-Louis Girodet: Pygmalion et Galatée, Pygmalion and Galatea, 1819 Love for an object of one's own creation and / or sexual responsiveness directed toward a statue or other representation of one's own making is called pygmalionism, classified as a type of paraphilia scietifically named agalmatophilia, which is a pervertion involving sexual attraction to a statue, doll, mannequin or other similar figurative object. The attraction may include a desire for actual sexual contact with the object, a fantasy of having sexual (or non-sexual) encounters with an animate or inanimate instance of the preferred object, the act of watching encounters between such objects, or sexual pleasure gained from thoughts of being transformed or transforming another into the preferred object. Jan Styka: Eunice kissing statue of Petronius.
A scene from Quo Vadis by Henryk Sienkiewic
z
Jan Styka: Eunice kissing statue of Petronius. a scene from Quo Vadis by Henryk Sienkiewic

Love for an object of one's own creation and / or sexual responsiveness directed toward a statue or other representation  of one's own making is called pygmalionism, classified as a type of  paraphilia scietifically named agalmatophilia, which  is a pervertion involving sexual attraction to a statue, doll, mannequin or other similar figurative object. The attraction may include a desire for actual sexual contact with the object, a fantasy of having sexual (or non-sexual) encounters with an animate or inanimate instance of the preferred object, the act of watching encounters between such objects, or sexual pleasure gained from thoughts of being transformed or transforming another into the preferred object.  
Obviously, objects won't suffer when hurt. A dehumanized human person, reduced to an object, i.e. sexually objectified and treated as an object, will suffer severely when his or her moral, psychological and physical integrity becomes damaged  not only by rape and other irreversible forms of sexual assault,  but also by unwanted advances, sexual harassment and the like. If you can't  control your sexuality, don't  make passionate love an excuse for your lustful offences against integrity of a human person, but rather follow Pygmalion. This will be a sign of your strength, not your weakness. Pigmalionism could be more prevalent than not aided by it solo masturbation, considering uncountable numbers of artists who addressed pygmalionism directly, as well as indirectly by creating sensual pieces of art so strongly appealing to emotional triggers which can easily
awake desires, cause sexual arousal, o even evoke surrogate love.

The virginal, non-sexual chaste nakedness admired without lust
should does not arouse more desire than a bud flower
- a virginity protection rule from the past, well said, still valid -
-  nowadays, following the 19th century artists must be strongly advised against -

The vast majority of people become sexually imprinted in adolescence, at the latest. Later in life, sexual attraction towards children and adolescents, i.e. paedophilia and ephebophilia must be discontinued because social and legal systems protect the minors from sexual victimization. In general, maturity to marry is reached at the age of 20, but in many cultures even child marriages are socially and legally allowed as otherwise it would be impossible to prevent sexual abuse of unmarried postpubertal girls, who, what's more, wouldn't be able to find any decent support other than from their husband. In the "culture of death", situation of children and adolescents of both sexes is much worse as the result of sluttification programmes, highly financed from private and public budgets, including governmental ones, threatening immature virgins with attacks of sex-obsessed maniacs, putting youth at risks of venereal and mental diseases. This is insanity.
Jean-Auguste-Dominique Ingres: Vénus Anadyomène, Venus Anadyomene, 1808-1848
Jean-Auguste-Dominique Ingres: Vénus Anadyomène, Venus Anadyomene, 1808-1848
Jean-Auguste-Dominique Ingres:  La Source, The source, 1820 -1856Jean-Auguste-Dominique Ingres: La Source, The source, 1820 -1856
(...) Sur un fond de roche grise, rayé de quelques stries, égayé de quelques filaments de plantes pariétaires d’un vert discret, se dessine, dans la chaste nudité de ses quinze ans, une figure à la fois mythologique et réelle, une nymphe ou une jeune fille, si vous l’aimez mieux. (...) La nymphe de M. Ingres a quinze ans tout au plus ; hier c’était un enfant, aujourd’hui c’est une jeune fille, mais rien de la femme n’apparaît encore dans ces formes pures, virginales, insexuelles même, si l’on peut risquer un tel mot ; le sein petit, à peine éclos, teinté à sa pointe d’une faible lueur rose, n’éveille pas plus de désir qu’un bouton de fleur; le reste du torse, chastement nu, est vêtu de sa blancheur marmoréenne comme d’une tunique de pudeur ; on sent qu’on n’a pas devant les yeux des organes, mais des expressions d’idéal ! Innocence, jeunesse, fraîcheur, beauté ! La vie vierge, la perfection immaculée ! Une palpitation et une rougeur dans un marbre de Paros ! Des pieds divins qui n’ont jamais marché que sur les tapis de fleurs de l’idylle Syracusaine servent de socle à cette charmante figure ; l’eau qui sourd de la roche en bouillons argentés et qui les a pâlis en les refroidissant, et leurs doigts nobles, comme si Phidias les avait modelés, se sculptent dans des tons d’ivoire. À peine sortie du rocher, la source s’endort en un petit bassin sur des cressons et des plantes d’eau, et sa surface brunie comme le métal d’un miroir antique répète, en les renversant et en les azurants un peu, les belles jambes blanches de l’enfant. On dirait que le peintre ne se séparait qu’avec chagrin de sa figure, et qu’il la prolonge sous l’eau avant de la quitter à tout jamais.  Louer chez M. Ingres la pureté de son dessin, la finesse de son modelé, l’élévation de son style, c’est un lieu commun qu’il n’est plus guère permis de répéter ; aussi n’en dirons-nous rien. Ce qui nous a surtout frappé dans cette nouvelle toile, c’est la beauté suprême de la couleur. On exposerait la Source au milieu d’une galerie de chefs-d’œuvre flamands et vénitiens, elle supporterait sans désavantage la lutte avec les plus fiers coloristes. Jamais chairs plus souples, plus fraîches, plus pénétrées de vie, plus imprégnées de lumière ne s’offrirent aux regards dans leur pudique nudité. L’idéal, cette fois, s’est fait trompe-l’œil ; c’est à croire que la figure va sortir du cadre et reprendre ses vêtements suspendus à un arbre. Théophile Gautier: La source - Nouveau tableau de M. Ingres,  L'Artiste du 1er février 1857 via  Lorsque la jeune fille à la source voisine

(...) On a background of gray rock, scratched a few streaks, enlivened with a few filaments of plants pellitories a discreet green, emerges in the chaste nakedness of her fifteen years, a figure both mythological and real, a nymph or girl, if you like it better. (...)  The nymph of M. Ingres was fifteen at most , yesterday was a child , now it is a girl , but nothing of the woman appears again in these pure forms, virginal, non-sexual, even if can risk such a word in the small , newly hatched , stained at the tip of a faint pink glow, does not arouse more desire than a bud flower , the rest of the torso , chastely naked is wearing his white marble- like a coat of modesty we feel we did not before the eyes of organs, but expressions of ideal ! Innocence, youthfulness , freshness, eauty! The virgin life, pristine perfection ! A throbbing and redness in Parian marble !  Divine feet never walked on the carpet of flowers of romance Syracusan serve as a base for this charming figure , the water that seeps from the rock broths and silver which has faded by cooling , and noble fingers, as if Phidias had modeled, is sculpted in shades of ivory. Barely out of the rock, the source falls asleep in a small pond on watercress and water plants, and as burnished metal of antique mirror repeats surface by inverting and brighteners a little, beautiful white legs of the child . Looks like the painter parted with sorrow on his face , and he extends it under water before leaving forever. Rent M. Ingres purity of its design , its fine patterned, the elevation of his style , it is a common place that is hardly ever allowed to repeat , so do not tell us anything . What really struck us in this new canvas is the supreme beauty of color. We expose the Source in the middle of a gallery of masterpieces Flemish and Venetian bear it without disadvantage struggle with the proudest colorists . Never softer flesh, fresher, imbued with life, more imbued with light offered themselves to the gaze in their chaste nudity. Ideally , this time has been sham and it is probable that the figure will come out of the frame and resume his clothes hanging on a tree. Once the girl at the nearby source, Google transleted