Sometimes dismissed as practitioners of a humble variant of pornography, specialists of a Victorian performance style known as "poses plastiques" mastered the art of manipulating the body into highly stylised and apparently motionless "attitudes" to resemble so-called "living statues". Most favoured adopting Classical stances in the garb of Greek and Roman deities, and a number of its female technicians titillated audiences with costumes giving the appearance of almost complete nudity. Poses plastiques were, for a time, a remarkably popular 'sensation' in Australia, as elsewhere, and this article argues two main points: firstly, that the appeal of poses plastiques during the Victorian era characterised a broader social 'blurring' of the boundaries between titillating visual theatre and pornographic displays and secondly, that this genre of visual theatre later developed to eroticise and personify a burgeoning sense of early twentieth-century Australian nationalism.