Pedagogical Anthropology, Maria Montessori [online e book reader TXT] 📗
- Author: Maria Montessori
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Naturally, it is horizontal only when the head is orientated in the manner above stated. Hence in normal cases its horizontality is an index of the orientation of the head. The orientated head is perfectly upright; and the line in question marks its level.
Everyone knows that this position of the head is known as that of "attention" and constitutes the position which formerly only soldiers, but now school children as well, must assume as a sign of salutation and respect toward their superiors. It is also the anthropologically normal attitude (as we may see in statuary). And it is a known fact that it is a position exceedingly difficult to assume intentionally with absolute accuracy.
In fact, it corresponds to an attitude which has to be called forth by some inward stimulus of emotion, and for this reason I would call it the "fundamental psychological line." The man who is conscious of his own dignity, or who hopes for his own redemption; the man who is free and independent involuntarily holds his head orientated.
It is not the vain man, or the proud man, or the dreamer, or the bureaucratic official, whose head assumes this involuntary horizontal level that is characteristic of the most profound sentiments known to humanity; persons of such types hold their heads slightly raised and the line shows a slight backward slant.
The man who is depressed and discouraged, the man who has never had occasion to feel the deep, intimate and sacred thrill of human dignity, has on the contrary, a more or less forward slant in the psychological line of orientation.
Look at Fig. 99, which shows a very attractive group of Ciociari or Neapolitan peasants.
The man, or rather the beardless youth who is just beginning to feel himself a man, and therefore hopes for independence, holds his head proudly level; but the very pretty woman seated beside him holds her head gracefully inclined forward. For that matter, this is woman's characteristically graceful attitude. She never naturally assumes, nor does the artist ever attribute to her the proud and lofty attitude of the level head. But this graceful pose is in reality nothing else than the pose of slavery. The woman who is beginning to struggle, the woman who begins to perceive the mysterious and potent voice of human conflict, and enters upon the infinite world of modern progress, raises up her head—and she is not for that reason any the less beautiful. Because beauty is enhanced, rather than taken away, by this attitude which to-day has begun to be assumed by all humanity: by the laborer, since the socialistic propaganda, and by woman in her feministic aspirations for liberty.
Similarly in the school, if we wish to induce little children to hold their heads in the position of orientation, all that is necessary is to instil into them a sense of liberty, of gladness and of hope. Whoever, upon entering a children's class-room, should see their heads assume the level pose as if from some internal stimulus of renewed life, could ask for no greater homage. This, and nothing else, is certainly what will form the great desire of the teacher of the future, who will rightly despise the trite and antiquated show of formal respect, but will seek to touch the souls of his pupils.
Fig. 99.—A group of Roman peasants.
To return to our lines, it follows that the level orientation is the true human position for the head; it ought never to be abased nor carried loftily, because man ought never to make himself either slave or master; it is the normal line, because it should be that of the accustomed attitudes; because man cannot normally be perpetually meditating, with his gaze upon the ground, as if forgetful of himself and of his social ties; nor can he forever gaze at the heavens, as though drawn upward by some supernal inspiration. The normal attitude is that of the thinking man, who cannot lean either in the one direction or the other, because he is so keenly conscious of being in close connection with all surrounding humanity; and he looks with horizontal gaze toward infinity, as though studying the path of common progress.
Now, if from the metopic point of the forehead, we drop an imaginary perpendicular to the line of orientation, it ought to form, in projection, a tangent to the point of attachment of the nostrils. Observe the two lines traced on the profile of Pauline Borghese.
This line, if prolonged, passes slightly within the extreme angle of the labial aperture, and forms the limit of the chin (see the portrait of Cavalieri, Fig. 101). In this case the profile is eurygnathous.
When the line does not pass in the aforesaid manner, but the facial profile protrudes beyond it, we have a case of prognathism, which may be total, when the whole face projects; maxillary when the mandibles project, nasal when it is only the nose that projects, and mental (or progeneism) when it is only the chin that protrudes.
Figures 98, 100 and 103 represent forms of normal prognathism (related to race, Figs. 98, 100), and of pathological prognathism (Fig. 103, form associated with microcephaly). These two microcephalic profiles call to mind the muzzle of an animal; there is no erect forehead, the orbital arch forming the upward continuance; the nose is very long and almost horizontal to the protruding jaw; the fleshy lips constitute in themselves the anterior apex of the visage; while the chin recedes far back beneath them.
But leaving aside these exceptional profiles, which serve by their very exaggeration to fix our conception of prognathism, let us examine the series of profiles in Fig. 100, which include some forms more or less peculiar, and others that are more or less customary, of prognathism; forms that serve to characterise the physiognomy.
Fig. 100.—(1) Orthognathous face; (2) prognathism limited to the nasal region; (3) prognathism limited to the subnasal region; (4) total prognathism, including the three regions, supra-nasal, nasal and subnasal; (5) exaggerated total prognathism, accompanied by mandibular prognathism; (6) the same in a child; (7) very marked prognathism, but due entirely to the prominence of the supra-nasal section, resulting in an apparent orthognathism (male of tall stature); (8) opposite type to the preceding: pronounced prognathism not extending to the supra-nasal region (feminine type); (9) misunderstood Greek profile (incorrect) resulting in a notable prognathism; (10) correct Greek profile, i.e., conforming to that of Greek statues, and incompatible with prognathism.[41]
Manouvrier, analysing the forms of prognathism from the point of view of physiognomy and cerebral development, notes that varieties 4 and 5 seem to him to correspond to a more or less serious cerebral development; variety 2, very frequent in France and more particularly, according to the author, among the Jews, is not incompatible with a high cerebral inferiority. Variety 3, more frequent in the feminine sex, is found in conjunction, sometimes with a weakly skeletal system, and frequently with rickets and cretinism; nevertheless, Beethoven showed an approach to this profile.
Variety 4 indicates on the contrary an extremely vigorous development of the skeleton, with the qualities and defects commonly associated with great physical strength; variety 7 is regularly associated with tall stature; in fact, in this case the prognathism is determined by excessive development of the frontal bone-sockets.
It is this development, prevalent in the male sex, that renders subnasal prognathism much rarer in man. As a matter of fact, the feminine type of prognathism shown in No. 8 is not greater in degree than the male type, No. 7. Variety 9 shows us a form of prognathism in art, due to a false interpretation of the Greek profile; it is commonly believed that in the Greek profile the frontal line is a continuation of that along the bridge of the nose, and hence we frequently meet with commemorative medals, etc., bearing the monstrous profile shown in No. 9, with pronounced prognathism and receding forehead. The true Greek profile is shown in No. 10, but we can better analyse it by studying the profile of the Discobolus (Fig. 105) and of Antinoous (Fig. 106).
Fig. 101.
Fig. 102.—Head of Pauline Bonaparte Borghese (Rome, Borghese Museum).
Fig. 103.—Profiles of microcephalics.
The lines of the facial angle have been traced upon the profile of the Discobolus, but the profile of Antinoous has been left untouched, in order that we may trace the same lines upon it in imagination, and thus judge of its perfect beauty (facing page (270)).
Let us first examine these two Greek profiles, without stopping to analyse their separate characteristics, but considering them from the more general point of view of the facial profile in general. Reverting, instead, for our analytical study to the schematic figure shown in Fig. 104, we see that it also shows the line of the facial profile, that of orientation and the vertical, and that these lines form certain right-angled triangles; the right angle MPA is not the facial angle, any more than the corresponding angle shown in the Discobolus is the facial angle. It is said that Greek art considered the right angle as the perfect facial angle; but that is not true. In order to obtain the facial angle it is necessary to draw a third line (MS) which extends from the metopic point to the point of attachment of the nasal septum to the upper lip; this is the line of the facial profile, and the angle MSA is the facial angle. It is never a right angle (see the Discobolus), but it approaches very closely to a right angle. Let us examine the triangle MPS, bounded by the vertical, the line of profile and the line of orientation; it is right-angled at P. Hence, the sum of its other two angles must be equal to one right angle; but the upper angle, corresponding to the nasal aperture, is of only 15°, and consequently the facial angle is 75°. The facial angle of the Discobolus also, like that of Antinoous, like that of the normal human visage, is 75°.
Fig. 104.
Examine further this Fig. 104; in it the line of the facial profile, extending from the metopion to the septo-labial point also passes through the point corresponding to the attachment of the base of the nose (nasion).
The figure is schematic; but anyone who will trace it in imagination upon the profile of Cavalieri, or on that of the seated woman in the group of Neopolitan peasants, or on any of the classic profiles known in art as the Roman profile, will find that the nasal line, connecting the supra- and subnasal points, coincides with the line drawn from the subnasal point to the metopion. But if we observe the Greek profile of the Discobolus, we shall find that the line of profile does not coincide with the base of the nose, but passes behind it.
This is the real characteristic difference between the Roman and the Greek profile: in the Greek profile, the root of the nose is attached further in front of the metopico-subnasal line, and this is due to the special form of the Greek forehead, which, instead of being slightly flattened at
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