This sketch will illustrate the effect of the loss of both the
upper and lower teeth, and of the processes of the jaw-bones which
support them. We have touched on the other peculiarities of old
age which the face presents, when treating of the muscles.
The next observation, which the view of these skulls naturally
suggests on the subject of character, as it relates to youth or age,
is in reference to the distinguishing form of the child’s head. We
observe that the length of the skull in the child (fig. 3.) is from
the forehead to the back of the head. This great length, compared
with its depth, no doubt diminishes as the child advances
in years; but still the largeness of the head, the projection of
the back of the head, and the flatness of the forehead, as in the
sketch page 181, must be attended to.
In studying the form of the child’s head we are naturally drawn
to observe the difference between the natural head and the sculptures
of Fiammingo, who has been justly celebrated for his designs
of boys. In Fiammingo’s works there is an obvious intention of
presenting us with an ideal form instead of strictly copying nature.
In the works of that artist the eye is too deep set for a boy, and
there is a protuberance represented on the lower part of the forehead,
which is quite peculiar to a more advanced age. The only
character of the boy’s head which he has kept true to nature is the
largeness of the head compared with the face, the fulness of the
cheeks, and the falling in of the mouth and chin. In exaggerating
the natural peculiarities the artist has strictly imitated the antique.
It may remain a question, how far the principle which is so happy
in its effect of heightening the beauty of the adult countenance is
necessary or allowable in designing the forms of childhood.
b b 2