Cesare Lombroso Quotes

It is a sad mission to cut through and destroy with the scissors of analysis the delicate and iridescent veils with which our proud mediocrity clothes itself.

Genius is one of the many forms of insanity.

[G]enius is a true degenerative psychosis belonging to the group of moral insanity . . .

The female vampire exemplifies fears of the non-heterosexual reproduction of women—the literal rejection of mankind. As the criminologist Cesare Lombroso claimed in an 1896 account of prostitution, ‘Woman being naturally and organically monogamous and frigid, love is for her a voluntary slavery’. Such fears were actualized in the ‘New Woman’ of the mid-1890s: women who smoked, dressed casually, rode bicycles, educated themselves, and pursued careers, seemingly oblivious of spousal and maternal responsibilities.

The animal-like aspect of body hair, to a very refined sensibility, and the fact that women under detention were denied their razors, undoubtedly led a pioneer criminologist of the nineteenth century named Cesare Lombroso to propose that the body type of the female offender was characteristically hirsute.

In 1892 the Hungarian doctor and journalist Max Nordau published his Entartung (Degeneration), which he dedicated to Cesare Lombroso. Despite its size (almost six hundred pages), the book became an international bestseller and soon appeared in a dozen languages. Nordau had expanded the Lombrosian analysis to show that “degenerates are not always criminals, prostitutes … lunatics; they are often authors and artists.” Charles Baudelaire and the French “decadent” poets, Oscar Wilde (Bram Stoker’s original model for Count Dracula), Manet and the Impressionists, Henrik Ibsen, Leo Tolstoy, Emile Zola, as well as Wagner and Friedrich Nietzsche—all the leading lights of fin de siècle culture, in fact—came under Doctor Nordau’s critical microscope. He concluded that they were all victims of diseased “subjective states of mind.” The modern degenerate artist, like his criminal counterpart, lacks a moral sense: “For them there exists no law, no decency, no modesty.” Emotionalism and hysteria, as well as that old disease of Romanticism, ennui , pervade their works and outlook, Nordau proclaimed, because of their enfeebled nervous state. “The degenerate and insane,” he wrote, “are the predestined disciples of Schopenhauer.

Left-Handedness The 10 percent of human beings who are left-handed have long been considered unlucky, deceptive, or even evil in cultures the world over. During the Spanish Inquisition the Catholic Church condemned those who used their left hand. Zulu tribesmen of the 1800s placed the left hands of children into holes filled with boiling water to discourage their use. The nineteenth-century criminologist and white supremacist Cesare Lombroso lent dangerous authority to the long-standing social stigma, claiming a scientific connection between left-handedness, moral degeneracy, and the “savage races.” No wonder schoolteachers continued discouraging it in students, often through physical abuse. J. W. Conway’s 1935 On Curing the Disability and Disease of Left-Handedness argued that being a lefty was a handicap in a world that was industrializing and standardizing. Handicap? Turns out being a southpaw is a fast lane to the West Wing. Seven of our last fifteen presidents—that’s a whopping 47 percent—have been left-handed. I’m not sure what that means but I’m sure a CNN panel will eventually sort it out.

General Butler was invoking Blacks’ natural proclivity for violence and criminality to avoid punishment for the massacre he had carried out. But hardly any congressional investigators questioned his motive for expressing these racist ideas, which at the time were being codified by a prison doctor in Italy. Cesare Lombroso “proved” in 1876 that non-White men loved to kill, “mutilate the corpse, tear its flesh and drink its blood.” His Criminal Man gave birth to the discipline of criminology in 1876. Criminals were born, not bred, Lombroso said. He believed that born criminals emitted physical signs that could be studied, measured, and quantified, and that the “inability to blush”—and therefore, dark skin—had “always been considered the accompaniment of crime.” Black women, in their close “degree of differentiation from the male,” he claimed in The Female Offender in 1895, were the prototypical female criminals. As White terrorists brutalized, raped, and killed people in communities around the Black world, the first crop of Western criminologists were intent on giving criminals a Black face and the well-behaved citizen a White face. Lombroso’s student, Italian law professor Raffaele Garofalo, invented the term “criminology” (criminologia) in 1885. British physician Havelock Ellis popularized Lombroso in the English-speaking world, publishing a compendium of his writings in 1890.20

codified by a prison doctor in Italy. Cesare Lombroso “proved” in 1876 that non-White men loved to kill, “mutilate the corpse, tear its flesh and drink its blood.” His Criminal Man gave birth to the discipline of criminology in 1876. Criminals were born, not bred, Lombroso said. He believed that born criminals emitted physical signs that could be studied, measured, and quantified, and that the “inability to blush”—and therefore, dark skin—had “always been considered the accompaniment of crime.” Black women, in their close “degree of differentiation from the male,” he claimed in The Female Offender in 1895, were the prototypical female criminals. As White terrorists brutalized, raped, and killed people in communities around the Black world, the first crop of Western criminologists were intent on giving criminals a Black face and the well-behaved citizen a White face. Lombroso’s student, Italian law professor Raffaele Garofalo, invented the term “criminology” (criminologia) in 1885. British physician Havelock Ellis popularized Lombroso in the English-speaking world, publishing a compendium of his writings in 1890.20

madness, whose considerable popularity at the time was largely due to Cesare Lombroso’s genio e fillia of 1887 (Lombroso 1887). The artistic avant-garde, which was pushing vehemently, subversively and provocatively for political, social and economic change, was diagnosed as degenerate, and Lombroso was regarded as its chief enemy (Nordau 1892, p. VIII). The German equivalent of the Italian psychiatrist was, Max Nordau was the leading champion of this pathologizing discourse. His standard work Degeneration from 1892 psychiatrized entire social groups which, like the modernist artists and their followers, did not conform to the moral ideals of the ruling middle classes (Nordau 1892, p. 469). “Degenerates are not always criminals, anarchists, and pronounced lunatics; they are often authors and artists

extraordinary pallor: to Victorians, physiognomy was the outer expression of inner character and each element of this description carries significance. In Paolo Mantegazza’s Physiognomy and Expression (1890), an aquiline nose and high forehead suggest intelligence and high rank, yet heavy eyebrows mark out ‘harshness and ferocity’. Prominent teeth and pointed ears are also signs of primitivism. In the influential work of Cesare Lombroso, a criminal could be identified from physiognomy: he pointed to aquiline nose, bushy eyebrows, pointed ears and ‘supernumerary teeth’ as objective signs of criminality.

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