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The photographic news
- Bandzählung
- 29.1885
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- 1885
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- Bandzählung
- No. 1390, April 24, 1885
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The photographic news
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Band 29.1885
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- Register Index III
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268 the photographic news. [APRIL 24, 1885 THE JEWISH TYPE, AND GALTON’S COMPOSITE PHOTOGRAPHS. BY JOSEPH JACOBS, B.A. Most people can tell a Jew when they seen one. There is a certain expression in Jewish faces which causes them to be identified as such in almost every instance. Being engaged in some investigations into Jewish characteristics generally, I was anxious to discover in what this “ Jewish expression” consists. It occurred to me that Mr. Galton’s method of composite portraiture would enable us to answer this question with some degree of exactitude. I accordingly applied to him about two years ago, and he kindly consented to “compound ” some Jewish types. I procured for him photographs of Jewish lads from the Jewish Working Men’s Club, and of Jewish boys from the Jews’ Free School, and he was good enough to compound them, with the results presented to the readers of the PHOTOGRAPHIC News this and last week. I am now to speak of them and their scientific value as representing the Jewish type. Of the fidelity with which they pourtray the Jewish expression there can be no doubt. Each of the eight com posites shown might be taken as the portrait of a Jewish lad quite as readily as any of the components. In some cases, indeed, e. g.. fs, the portraits are less Jewish than the composites. The individuality and, 1 may add, on Mr. Galton’s authority, the beauty of these composites are very striking. It is difficult, even for those who know the pro cess, to grasp the fact that the composite E exhibited last week is anything but the portrait of an individual; and the same may be said of D, the composite of five older lads, whose portraits arenotshown. A, again, the composite of the five a’s, reminds me of several Jewish youngsters of my acquaintance, and might be taken for a slightly blurred photograph of any of them. This is the more curious since A does not resemble very closely any one of its com ponents. These facts are something more than curious: they carry with them conclusions of scientific importance. If these Jewish lads, selected almost at random, and with parents from opposite parts of Europe, yield so markedly individual a type, it can only be because there actually exists a definite and well-defined organic type of modern Jews. Photographic science thus seems to confirm the conclusion I have drawn from history, that, owing to social isolation and other causes, there has been scarcely any admixture of alien blood amongst the Jews since their dispersion. These composites, there can be no doubt, give the Jewish expression. What do they teach us as to the elements which go to form it? The popular idea of a Jewish face is, that it has a long nose. But the full-face composites exhibited this week have decidedly the Jewish expression, though the shape of the nose does not appear; and further, in composite H, as well as in co-composite G, which rep esents ten Jewish boys “ rolled into one,” the shape of the nose is markedly blurred, showing that there is no uniformity in this respect. The popular impression seems, then, to be disproved by these composites. Yet it contains a part of the truth, as do most of those rough averages which we term impressions. The nose does con tribute much towards producing the Jewish expression, but it is not so much the shape of its profile, as the accen tuation and flexibility of the nostrils. This is specially marked in the composite 0. Take a narrow strip of paper and place it over the nose in this composite, and much, though not all, of the Jewish expression disappears. And in the profile components of last week it will be observed that every face has the curve of the nostril more distinctly marked than would be the case in the ordinary Teutonic face, for example. A curious experiment illustrates this importance of the nostril towards making the Jewish expression. Artists tell us that the best way to make a caricature of the Jew ¬ ish nose is to write a figure 6 with a long tail (fig. 1); now remove the turn of the twist as in fig. 2, and much of the Jewishness disappears; and it vanishes entirely when we draw the continuation horizontally as in fig. 3. We may conclude, then, as regards the Jewish nose, that it is more the nostril than the nose itself which goes to form the characteristic Jewish expression. But it is not alone- this “ nostrility ” which makes a Jewish face so easily recognizable. Cover up every part of composite A but the eyes, and yet I fancy anyone familiar with Jews would say, “Those are Jewish eyes.” 1 am less able to analyse this effect than in the case of the nose. The fullness of the upper lid, and the protuberance of the lower may be remarked, as well as the scantiness of the eyebrows towards the outer edges. The size, brilli ance, and darkness of the iris are also well marked. Many persons have remarked to me that Jewish eyes seem set closer together, and this property is seen in com posite A, D giving much of its expression to the latter. I fail to see any of the cold calculation which Mr. Galton seems to have noticed in the boys at any of the compo sites A, B, and C. There is something more like the dreamer and thinker than the merchant in A. In fact, on my showing this to an eminent painter of my acquaintance, he exclaimed, “ I imagine that is how Spinoza looked when a lad,” a piece of artistic insight which is remark ably confirmed by the portraits of the philosopher, though the artist had never seen one. The cold and somewhat hard look in composite D, however, is more confirmatory of Mr. Galton’s impression. It isnote-worthy that this is seen in a composite of young fellows between 17 and 20, who have had to fight a hard battle of life even by that early age. There remain the forehead, mouth, and chin to add their quota to the Jewish expression. The predominating characteristic of the forehead is breadth, and perhaps the thick and dark hair encircling it has something to con tribute to the Jewishness of the face. The thickness of the lips, and especially a characteristic pout of the lower one, come out markedly in components and composites, both full face and profile. One may observe, too, the dimples (if one may use the term) which mark the termi nation of the mouth, and are seen in an exaggerated form in a x . Finally, the heavy chin, especially marked in the profile composites, confirms the popular association of this feature with the quality of perseverance, so ingrained in the Jewish nature. We learn, then, from these composites that the Jewish expression is considerably more complicated than is ordin arily thought. If I have analysed it aright, the Jewish face has accentuated flexible nostrils, largish mouth, with ends well marked, and pouting under lip, heavy chin, broad forehead, with prominent superciliary ridges scantily covered with hair towards the outer extremities, and large dark eyes, set closely together, with heavy upper and pro tuberant lower lid, having a thoughtful expression in youth, transformed into a keen and penetrating gaze by early manhood. But words fail one most grievously in trying to split up into its elements that most living of all things, human expression ; and Mr. Galton’s composites say in a glance more than the most skilful physiognomist could express in many pages. “ The best definition,” said the old logicians, “ is pointing with the finger ” (demonslratio optima
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