Dress and care of the feet /

by John Lord Peck

CHAPTER V.

Flattened Condition of the Arch—Beauty of one that is Natural—Nature and Purpose of its Construction—How it Becomes Broken Down—Lengthening of the Foot—Lack of Development—Means of Improvement—Lasts for Flat Feet—Transverse Arch.

Another of the prominent disfigurements of the foot is that commonly known as flat-foot, which is seen where the arch of the instep is in a broken-down or flattened condition. This deformity has, if possible, a more awkward and ungraceful effect than that caused by the unnatural position of the toes and joints; though there may be less painful effects attending it than are attached to the latter. The worst trouble accompanying this kind of disfigurement is the weakness which is attendant upon it, and which is sometimes so extreme as to interfere seriously with walking for any great distance, or standing long at a time; making itself felt at various periods, as there happens to be a demand for strength and activity.

It is almost needless to say how unnatural is such a condition. Children are seldom subject to it, except when connected with weak ankles. Even the children of parents who are notoriously flat-footed have feet that are tolerably well arched. We venture to say that the wild Indian of the native forest was never seen with the beauty of his symmetrical and handsome frame marred by flat feet. There are some of the race who flatten their heads, but they never wear boots, nor heels on their moccasins, and their feet are therefore free from this disagreeable shape. The artist never allows a representation of this deformity to appear in his work; on the contrary, an arch that is high and well-marked has always been considered beautiful. It gives an airiness, elegance, and grace to the appearance of the foot which is as beautiful as the flat foot is ungraceful and awkward. A firm step and upright carriage of the whole body are also generally to be found with the arched instep—never without; while the flat foot, if not seen, may always be inferred from the unnatural, shuffling gait of its possessor.

The high arch is thus beautiful for the same reason that any other organ or part of the body is beautiful—because it is better adapted to perform its intended function or office, which is the support of the weight of the body, this design being more perfectly accomplished when the arch is high, because it is then stronger than when low or flattened. To flatten it is like drawing apart the ends upon which it rests, and this, it is apparent, weakens, if it does not entirely break, the unity and strength of the whole.

The nature of the construction of the foot in this respect is thus set forth by Prof. Meyer:

“If the inner aspect of the foot is examined, we find that it is an arch, resting in front on the anterior heads of the five metatarsal bones, but principally on that of the great toe, and on that of the calcaneum behind. The astragalus forms the key-stone of the arch.

“The arch is enabled to retain its form by means of strong ligaments or bands passing from one bone to the others, and thus held closely together, sustains the superincumbent weight of the body without giving way.

“When we rest on the foot, as in standing, the arch is flattened by the pressure from above, and consequently becomes lengthened. When, however, the foot is allowed to hang free, the curvature of the arch is increased. At every step in walking, also, when the foot is raised from the ground, the curvature immediately becomes greater through the action of the muscles.”

This action, it will be readily seen, is precisely that of a spring under a carriage, or other similar vehicle, and seems to have a like intention—that of preventing the transmission of a shock or jar to the joints, and the internal organs of the body above.