Dactylography. Faulds Henry

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СКАЧАТЬ stone weapons, fragments of rude hand-moulded pottery – sun-baked or fire-burned – begin to be associated. Sometimes these are quite clearly seen to be moulded with the aid of human fingers, the nails only making a clear mark, but in other cases the finger furrows are prominently indented in regular patterns, which cannot, I think, be distinguished from those made by men of our own race and time. In the formal Japanese ceremony of social tea-drinking, or Cha-no-yu, pottery of this Archaic kind, with finger patterns indented in the clay, is highly esteemed. In an article on this kind of pottery by Mr. Charles Holme, in The Studio (February, 1909), one example is described thus: “It is modelled in a brown clay entirely by hand, without the aid of a potter’s wheel. The impressions of the fingers made in shaping the bowl are carefully retained,” etc. Not till Celtic times in Europe is there evidence of the use of the potter’s wheel.

      I am surprised to find how very little attention has yet been given to finger imprints on early pottery. My own opportunities for observation have in late years been severely limited, but I have seldom had a peep at ancient potsherds without discovering some few traces of the kind of impressions, accidental or designed, which I have described. I have not had early Teutonic pottery specially under observation, but Professor G. Baldwin Brown, who is an accomplished authority in that department, wrote me thus: —

      “In the early Teutonic pottery, so far as I have examined it, the ornamental patterns are produced by drawing lines and furrows with some hard tool, such as a shaped point of wood or bone. It is very rarely that the furrows or circular depressions have the soft edges which would suggest the use of the finger, and I have never noticed the texture of the finger-tip impressed on the clay, though I have not looked specially for this with a glass. Ornaments are also commonly impressed with a wooden stamp on which some simple pattern has been cut. The only ornamental motive which seems to spring directly out of manipulation by the fingers is the projecting boss, characteristic of a certain class of Teutonic ware. The clay is forced out from within in the form of a knob or a flute, and the idea of such an ornamental treatment has probably arisen from the accidental projections produced in the exterior surface of the vase by the pressure of the fingers when the vase is being shaped from within. There is nothing in early Teutonic pottery like the coiled Pueblo pots, or other products where the pressure of the fingers on the exterior has generated the whole ornamental scheme.”

      Antique references to finger-print patterns are not numerous. In the anatomical text-books of my student days, I cannot recall a single example of their having been noticed or figured, and no figure was printed in the usual plates of anatomy of my time. Malpighi, writing in 1686, tersely alludes to the ridges which, he says, form different patterns (diversas figuras describunt).

      Both Sir William Herschel and myself have publicly called for evidence of the alleged use in the Far East of finger-prints being used for identification. During my residence in Japan I was intimate with the leading antiquarians, and was repeatedly assured that nothing was known by them of any such legal process. Mr. T. W. Rhys Davids, Secretary of the Royal Asiatic Society, of which I was formerly a member, wrote me in answer to an inquiry as to this point, on the 17th May, 1905: —

      “Dear Sir, – I have heard of thumb marks being used in the East as sign-manuals, but I know no single case of thumb or finger marks being used for identification, and, pending further information, I do not believe they ever were so used in ancient times in any part of the East.”

      Every now and again I receive letters telling me of some one who thinks he remembers some one saying that he saw, etc., etc. Now, surely, it would not be difficult if anyone were to find such evidence, to send a copy or photograph duly authenticated, and a date attested subsequent to the date of publication by Nature, in 1880, of the correspondence on this subject. A good deal has been written about Professor J. E. Purkenje (or Purkinje) in this connection. One enthusiastic fellow-countryman has mentioned with eulogy a purely imaginary course of lectures on Identification by Finger-Prints. Purkinje does not seem ever to have dreamed of putting them to such a use. In The Daily News of January 23rd, 1911, an interview is reported with Sir Edward Henry, who is made to state that Purkinje “wrote about the value of finger-prints for purposes of identification”; but on enquiry Sir Edward assured me he had not said anything beyond what was stated in his work on Finger-Prints, and in that work, of course, no such statement is hinted at as that Purkinje proposed to secure identification by finger-prints.

      As a student I was fairly well acquainted with much of what that keen observer had written, and when I was lecturing to medical students in Japan on the Testimony of the Senses, I could not help noticing that while Purkinje had been busy with the fingers and with the special development in their sensitive tips of the organs of touch, no records had been preserved which mentioned his notice of the finger-furrows or the patterns made by them. I took much trouble in the matter, writing to eminent authorities and to librarians, and found no trace of any such work. Sir F. Galton, in his published writings, is quite in accord with me so far, but he has not explained how he came to think of Purkinje’s work. Writing in 1892 on Finger-Prints, (p. 85) he says of the subsequent discovery of a thesis of 58 pages: “No copy of the pamphlet existed in any public medical library in England, nor in any private one, so far as I could learn; neither could I get a sight of it at some important Continental libraries. One copy was known of it in America.” The American copy was not known generally till I had made vigorous enquiries there. Sir F. Galton adds, “The very zealous librarian of the Royal College of Surgeons was so good as to take much pains at my instance to procure one: his zeal was happily and unexpectedly rewarded by success, and the copy is now securely lodged in the library of the college.”

      As Sir Francis began to give attention to this subject in 1888 (p. 2 of work just quoted) it is only justice to myself in the matter to state that in June, 1886, I called on the then librarian of the Royal College and impressed upon him my conviction that as nothing had then been known of any printed work by Purkinje on this topic, a search among his remaining papers should be made, as to me it seemed improbable that, working so closely in that field, Purkinje could fail to observe the patterns of the finger-furrows. It seemed as certain a deduction to me as was that of the existence of Neptune before that planet had been actually discovered. The pamphlet is in Latin, a work of 58 pages, printed at Vratislav, (i.e., Breslau) in 1823. In the article on “Finger-Prints,” in the Encyclopædia Britannica (1911) it is stated that “the permanent character of the finger-print was put forward scientifically in 1823 by J. E. Purkinje, an eminent professor of physiology, who read a paper before the university of Breslau,” etc. But he was surely not a professor when graduating, and what passage in that thesis, may I ask, deals scientifically with the permanent character of the finger-print? Purkinje had studied the lineations of monkeys as well as those of men.

      In Tristram Shandy (1765) we read of “the marks of a snuffy finger and thumb.”

      Jack Shepherd, a novel of Ainsworth’s, was published in 1839. One Van Galgebrook, a Dutch conjuror, therein foretells Jack’s bad end: “From a black mole under the child’s right ear, shaped like a coffin … and a deep line just above the middle of the left thumb, meeting round about in the form of a noose.” It would be interesting to know how Ainsworth happened upon the suggestion.

      Single Finger-Print

      Bewick sometimes jestingly left his sign-mark on his fine wood-engravings, and those thus attested by his thumb-print are now specially valued.

      Many references occur in modern literature to fingerprints, and in David Copperfield, published in complete form in 1850, Charles Dickens tells how Dan’l Peggotty, in the old boat-house at Yarmouth, “printed off fishy impressions of his thumb on all the cards he found.”

      Pater, in 1871, writing of the Poetry of Michelangelo, mentions “the little seal of red wax which the stranger entering Bologna must carry on the thumb of his right hand.”

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