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"It has been known for a long time," said Dr. Boas, "that the bulk of the body as expressed by stature and weight is easily modified by ... favorable conditions of life. In Europe there has been a gradual increase of bulk of body between 1850 and 1914. Adult immigrants who came to America from South and East Europe have not taken part in this general increase. . . . Their children, however, born in America, or who came here young, have participated in the general increase of stature of our native population. With this go hand in hand appreciable differences in bodily form. Just in the same way as the proportions of body, head and face of animals born in captivity change when compared with their wild-born ancestors, thus the bodily proportions of man undergo minute changes in new environment. In some types the forms of head and face of immigrants are wider than those of their children. . . . These changes do not obliterate differences between genetic types, but they show that the type as we see it contains elements that are not genetic. . . ."
The time of puberty was found by Dr. Boas to be more a matter of environment than of "race." Contrary to popular belief, climate has little to do with it. In New York City the onset of puberty occurs at practically the same age among Negroes and whites of various descent. Poor Negroes, however, mature later than those economically better off. Southern and West Indian blacks mature later than those farther north. Among European whites, rustics reach puberty later than city-dwellers.
Motor Habits—the way people use their bodies—seem to be closely linked with the biological makeup. They are fairly uniform over wide areas. The American Indian cuts by drawing the knife toward himself; the African native cuts away from himself, like a New England whittler. Postures and gesticulations are good indicators of motor habits. To sort out cultural from biological factors, therefore, Dr. Boas made motion pictures of conversational gestures of different nationalities, projected the frames slowly one after another, translated the movements. Typical findings:
"Italian gestures are characterized by a wide, symmetrical sweep from the shoulders. Furthermore they are symbolic. The gestures have definite meanings, many of which can be traced back to antiquity. . . . For this reason Italians are able to converse in pantomime without uttering a single word. Their posture is characterized by an easy relaxation of the shoulders and a strong forward curvature of the back. At the same time the elbows are held backward. . . . "
By contrast the Jewish gestures are jerky. Generally the two hands do not move symmetrically. The elbows are almost stationary, close to the body and the movements are made with forearms and fingers. They are emphasized by movements of the head. They are not graphic, but follow lines of thought. . . . Conversation without words is impossible. By contrast with the Italian the Jew tries to get in touch with his friend. The posture is characterized by a slump of the neck and relaxation of the knees. . . .