Part of the contemporary science series.
In this work, the argument is made that genius can be seen as a morbid condition, a type of insanity that often coexists with physical or other mental abnormalities. Various historical figures are cited as examples to support this claim. Alexander was described as short, Cardano as a hypochondriac, Socrates had a physiognomy resembling that of a cretin, Giotto had rickets, Kant had an abnormal development of the left parietal bone, Erasmus stammered, Saint Paul was an epileptic, Coleridge an alcoholic, Nerval a manic depressive, and Carlyle mistreated his wife. Lombroso extensively examined numerous artistic, literary, and religious figures, noting the deviations in their personalities, private lives, habits, creative output, physical traits, and psychological characteristics.
 
Despite its controversial nature at the time, this theory had a significant cultural impact.It is worth mentioning that the author's exploration of the art created by the mentally ill had a pioneering influence. Hans Prinzhorn, the author of "The Artistry of the Mentally Ill" (1922), drew inspiration from Lombroso's examination of psychiatric art. Prinzhorn's work, in turn, inspired Jean Dubuffet to establish the Art Brut movement. Similarly, Max Nordau's "Degeneration" (1892), which criticized degenerate art, owed much to Lombroso's study of artistic and literary geniuses.
 
Although the scientific aspects of Lombroso's study may be outdated, as it incorporated criminology, criminal anthropology, degeneration theory, psychiatry, physiognomy, and Social Darwinism, "The Man of Genius" remains a significant milestone in the history of ideas. While modern psychology considers many of Lombroso's indicators of insanity as minor irregularities, can we not acknowledge some elements of truth in his insights?