body type as envisioned by members of society has changed throughout history. She states that Stone Age Venus figurines show the earliest body type preference, dramatic steatopygia; and that the emphasis on protruding belly, breasts, and buttocks is likely a result of both the aesthetic of being well fed and aesthetic of being fertile, traits that were more difficult to achieve at the time. In sculptures from Classical Greece and Ancient Rome the female bodies are more tubular and regularly proportioned. There is essentially no emphasis given to any particular body part, not the breasts, buttocks, or belly. Moving forward there is more evidence that fashion somewhat dictated what people believed were the proper female body proportions. This is the case because the body is primarily seen through clothing, which always changes the way the underlying structures are conceived. The first representations of truly fashionable women appear in the 14th century. Between the 14th and 16th centuries in northern Europe, bulging bellies were again desirable, however the stature of the rest of the figure was generally thin. This is most easily visible in paintings of nudes from the time. When looking at clothed images, the belly is often visible through a mass of otherwise concealing, billowing, loose robes. Since the stomach was the only visible anatomical feature, it became exaggerated in nude depictions while the rest of the body remained minimal. In southern Europe, around the time of the renaissance, this was also true. Though the classical aesthetic was being revived and very closely studied, the art produced in the time period was influenced by both factors. This resulted in a beauty standard that reconciled the two aesthetics by using classically proportioned figures who had non-classical amounts of flesh and soft, padded skin. In the nude paintings of the 17th century, such as those by Rubens, the naked women appear quite plump. Upon closer inspection however, most of the women have fairly normal statures, Rubens has simply painted their flesh with rolls and ripples that otherwise would not be there. This may be a reflection of the female style of the day: a long, cylindrical, gown with rippling satin accents, tailored over a figure in stays. Thus Rubens' women have a tubular body with rippling embellishments. While stays continued to be fashionable into the 18th century, they were shortened, became more conical, and consequently began to emphasize the waist. It