Many people deny the existence and importance of sexuality among the elderly members of our population. In a time when people are increasingly tolerant of sexual self-determination for virtually every segment of our population, why do we cling to puritanical moralities and outdated ideas in our approach toward sex in ageing men and women? Reasons range from psychological conflicts to social taboos; some stem from the selfish concerns of the young, and others are rooted in the cultural stereotypes and ignorance about the sexual behaviour of elderly people. It is not easy to find research on ageing and sexuality that does not suffer from extreme sample bias or the difficulty in getting older people to speak candidly about their sexuality. This paper explores some of the issues relating to sexuality in the later years. Myths and cultural attitudesWe are living in a time when society seems increasingly tolerant of sexual self-determination for virtually every segment of our population: the young singles, the married, and the homosexual. Why do we still cling to outdated morality and ideas when we consider the sexuality of older men and women? The myths about ageing are many, and in the area of human sexuality and elderly people, myths are not only rampant, they are believed by the young, middle aged, and unfortunately by the aged individuals themselves.The fact that men and women are interested and participate in a variety of sexual activities in their 70's, 8o's, and beyond, astonishes many people, young and old. A significant segment of our society • Kingsborough Community College, 2001 Oriental Boulevard, Brooklyn, New York "235-

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“I unreservedly confess, for myself, that I cannot leave my natural perception of what is natural and true, at a palace door, in Italy or elsewhere, as I would leave my shoes if I were traveling in the East. I cannot forget that there are certain expressions of face, natural to certain passions, and as unchangeable in their nature as the gait of a lion, or the flight of an eagle. I cannot dismiss from my certain knowledge such common-place facts as the ordinary proportions of men’s arms, and legs, and heads; and when I meet with performances that do violence to these experiences and recollections, no matter where they may be, I cannot admire them.”— Charles Dickens, Pictures from Italy (1846)IN HIS ACCOUNT of his 1844 trip to Rome, Charles Dickens expressed bewilderment that the martyrdom of St. Sebastian should have been so commonly exploited as a subject by Italian artists. The novelist took the opportunity to disparage the “indiscriminate and determined raptures” of certain critics of Renaissance painting as “incompatible with the true appreciation of the really great and transcendent works of art . . . Neither am I partial to libelous Angels, who play on fiddles and bassoons, for the edification of sprawling monks apparently in liquor.” Dickens concluded that representations of St. Sebastian did not “have very uncommon and rare merits, as works of art, to justify their compound multiplication by Italian painters” (195).1