Prognathism is well recorded as a trait of several historical individuals. The most famous case is that of the House of Habsburg, among whom mandibular prognathism was a family trait; indeed, the condition is frequently called “Habsburg Jaw” as a result of its centuries-long association with the family. Among the Habsburgs, the most prominent case of mandibular prognathism is that of Charles II of Spain, who had prognathism so pronounced he could neither speak clearly nor chew as a result of generations of politically motivated inbreeding.
Corbyn continued to stare into the mirror of Erised as Prime Minister May turned to face him and removed her wig. In the corner of his eye on the back of her head’s reflection in the pane he saw movement and turned to see reflected in the glass…
“Thatcher! They… they said you were dead!” Jeremy squealed, too afraid to even take a step back.
“No… not dead, only weakened, forced to act through the body of another,” said Margaret Thatcher, whose face had taken residence on the back of Theresa May’s head. “Possessing my humble servant to get this far. The blood of the poor can sustain me, but not give me a body of my own. But, once I acquire the power of Brexit… then I shall have all the power I need to return as Britain’s iron Lady. Now, Jeremy, where is Article 50?”
The painting shows a large room in the Royal Alcazar of Madrid during the reign of King Philip IV of Spain, and presents several figures, captured, according to some commentators, in a particular moment as if in a snapshot. Some look out of the canvas towards the viewer, while others interact among themselves: the young Infanta Margaret Theresa is surrounded by her entourage of maids of honour ; just behind them, Velázquez portrays himself working at a large canvas. Velázquez looks outwards, beyond the pictorial space to where a viewer of the painting would stand. In the background there is a mirror that reflects the upper bodies of the king and queen. They appear to be placed outside the picture space in a position similar to that of the viewer, although some scholars have speculated that their image is a reflection from the painting Velázquez is shown working on. Others speculate that Velázquez represents himself painting the Infanta Margaret Theresa, the King and the Queen just entering the room, causing the freezing of all the figures in their movements.