Bram Dijkstra's "Idols of Perversity" is not so much, as its subtitle has it, about fantasies of feminine evil in fin de siecle culture, as it is about stereotypes of feminine frailty, submissiveness, supportiveness or menace culled from a cast of hundreds.
A quick list of descriptive epithets picked from his pages yields an alphabet soup of conventional images: aggressive, angelic, adamantine, alluring, animal, amorous; brainless, bountiful or bestial; coy, coarse, cool, cute, corrupting, chaste, copulating, childlike, carnal; delicate, devouring, decorous, diabolic, diaphanous, Dionysiac; enchanting, elemental, emancipated, enticing, evil; feline, ferocious, frolicsome, fatuous, frivolous, fervid, flaccid, fertile, flirtatious; graceful; helpless, horrid, hilarious (though nowhere as much as men!); idealized, innocent, impulsive, immature, insatiable, intoxicating, inane; joyous; lesbian, licentious, lewd, libertine, lustful, lubricious, lethal; mysterious, marginalized, meretricious, maternal; nun-like or nymphomaniac; obscure, obsessive; prurient, pure, primal, playful, passive, pliable, predatory, pious, perverse, pensive, promiscuous, pudic, primitive, passionate, placid; robust, raped; sensual, submissive, sphinx-like, spirited, spiritual, seductive, savage, sirens, saintly, sedate; titillating, tubercular, tender, tempting, tedious; virtuous, voluptuous, virginal, vicious, vulnerable, venomous, vacuous, viraginous, victimized, vampirical, voracious; waif, wild, whores.
Dijkstra's texts (he is a professor of comparative literature at University of California at San Diego) provide a compendium of anti-feminine lore, as flourishing a century ago. These Yellow Pages of platitudes are illustrated by a wealth of visual prosiness, a paradise for the prurient, a treasure-trove of third-rate paintings seldom assembled between two covers, let alone four walls.