PR EFA C E .

T H E brie f M an ual, on a m atter o f nati nal o im

p o r tan c e , whi ch I now v en t ur e t o su b mi t t o p ub li c

c ri ti c is m , is sim p ly the om p leti on of an
c i d ea .

e n t e rt ai n e d b y me for n e arl y a qu ar ter o f a c en

tur y . Fr o m t he ti me, i n dee d, that I firs t ta ught

an at om y ,
or o ught to s ay st udie d an a
rathe r I ,

t omi c al s hap e s t heir i m po rt o r s ignificati o n th e i r

‘

, ,

r elati o n s t o e ach o ther an d t he ir arti s ti c

, p hil o ,

s ophi c an d u tili t ari an as p e c t

,
I felt c o n vi n c ed s
, ,

in s ti nc ti v e ly as i t w er e that t he t r ue relati o n o f
,

an at om y to art , me anin g Fine A rt, had b een m i s

re p re se nte d an d mis u n der s too d . B ut i t w as no t

until I had vi sit e d the g al le ri e s of the Lo u v r e ,

an d l oo k e d atte nti v ely at t he E lgi n M arb le s , t hat

I w as i n a po siti on to s u ppo rt this v i ew w i th an

ap p e al to d e m o n s t rati on .

T he M an u al n ow c omple te d is si mpl y an

att em p t t o d em on s trate the true relati o ns o f

an at o my to ar t ; t o s ho w t he i n flu en c e w hi c h the

i nte ri or o f m an ex erc i se s ov e r the ex teri o r ; an d ,

therefor e i n so far i s si mp ly a s cho ol b ook

, B ut -
.
 PREF AC E

as s ch ool b ooks sho uld if p o ssib le b e

-
, , p ro
g re s s i ve ,

I hav e ven t u r e d to add t o t he e le men tary m atte r

c o n t ain e d in P art
o Ithi r d secti o n
. a s ec n d an d a ,

i n whi ch w ill b e fo un d a s k e tch o f the nature o f

fo rm as the gran d ele me nt o f b e aut y a the o ry o f
the b eau tiful ; an d an an aly s is o f the p rin c i p les

whi ch m u s t e v er fo rm the b as i s of a c o rr e c t tas te .

I h av e vent ured to re co mme nd a p er us al o f

thes e s ec ti o ns t o amat e u rs ; b y w ho m I merely

m e an the g en e ral p u b li c . T he re mar k has b ee n

o ften made that in re s p e ct of w o rks o f art the re
, ,

ar e t w o p arti es t o b e c o n s i d er e d n ame l
y t h e , ,

arti s t
an d hi s p atr o n s S h o u l d t he l
.att er ha p e n
p
t o b e lo w i n tas te o f u til itari an t e n d e n c i e s p urely
, ,

and s im l y ; me chani cal p l o d di ng fo n d o f s ub

p , ,

s ti t u tin a mo de l c o n v en ti o nal is m for n atu re t h

g e ,

lo t o f the arti s t mu s t e ver b e an u nhap p y on e .

T o sec u re fai r p lay for hi m hi s p atron s als o o ught ,

t o b e lov ers o f tr u e ar t o r b e at le as t m ade s e ns i ble

,

th at the r e e x i s t am o ng s t them p ers on s who ar e s o .

I n b ri e f i t i s n o t the arti s t alo n e w ho re qui res

,

i n s tr u c t i o n ,
— i t i s the p u b li c A b ov e all i t .
,

o u ht
g t o be c learly sh ow n t o them t h at P o s

t e ri t y— the li v i ng e mb o d im e n t of Ti me s p r o gr es s .
’

an d w o r k o n e arth — w i ll p as s a s t ern imp artial , ,

an d i rr e vo c able j u dg me n t o n th o s e n ati o ns de s

p i si n
g l i t erat u r e s ci,en c e an d ar t w h o
, m t he
y ,

w i ll class w ith b arb ari an s ho w e v er p ow erful they,

 PREF AC E . vii

m ay hav e b ee n p o litically , how e v e r w e althy and

l u x uri o u s T he future hi st o rian w ill , i t i s t o b e
.

p re s u me d , c ri ti c is e p re s e n t time s as w e do the
the

C op tic G reek an d R o man eras of ci v ilization

, , .

Le t u s h op e t hat i n s o d o ing s o me futur e Gib b o n

, ,

m ay n o t dis c ov e r that B ri t ain w as a l and fr o m

w hi ch a l o v e o f n at ur e an d o f tr uth had b e en

e x p ell ed —a fact p r o ve d b y the ab s e n ce o f all

,

ar ti s ti c m o n u m e nts o f a l o ft y an d e nn o b ling c ha

”
rac t er .

B ut furt h er t h an thi s hin t to p atr o ns , the

wo rk has n o furthe r p reten si ons than what i ts
ti tle p ag e i n di c at es
-
.

T he woo dcuts w ere designe d b y Dr W E S T .

M ACOTT w ho s e n ame i s a sufficient gu arante e

,

fo r their c o rre ctne ss .

LO N DO N , M ay, 1 8 5 2 .
 C O N T EN T S .

Page 1 to 5

Page 6 to 1 1
A ncient an d modern forms of c ivili zati on : what is mean t by
external nat ure ; the re presentation of man the grand object
of ar t .

Mis directi on of the primary or ele ment ary s tu di es of the

art ist ; schoo ls of drawi ng mis named s cho ols of des ign ;

fundamental error in the mod e of teaching ad o pte d in

cer tain o f t hese s ch oo ls .

Firs t great error in m odern artis t s i s the mi s takin g the dead

for the li vin g ; the secon d i s the ptu ing figu es exhibit
s c ul r r

i ng no trai ts of life, as exte n s i vely e xempli fi d in the L ondon

e

b
E xhi i ti on of 1 851 ; res ult s o f s u ch an ed ucati o n ; t rue re

lati on of anato m y to
y misun der tood by Michael
art wholl s

An gelo C harles B ell an d H ydon ; perfectly unders too d

, ,
a

by Leonardo da Vin ci ; p oved by his Sketch book now in

r -
,

the Queen s Library at Winds or

’
.

C HAPT ER I I . Page 1 2 to 2 1

Dist inction drawn b et ween the i nteri or and exter i or t he i a

ter i or commencing wit h t he skelet on or framewor k of the

body ; figure 1 giving a front vi ew of the skel ton ; to b e e

s t udied by the artis t m ai nly wi t h a view t o the general pro

port ions of the component regions of the trunk and limbs ,

 C O N T ENT S .

and pos it ion and character of the j oints the great

the

numb er of b ro k en levers found i n the extremi ti es co n ,

vertible at will i nto fixed levers by the act i on o f t he mus les c

figure 2 a profile of the male s keleto n and in figure 3 a

, ,

back view of the same ; figure 4 a front view of the female ,

s k ele to n i n whi ch t he sexual pecul iari t ies of t he s keleto n

,

may b e ob served .

A front view of th tors o (fig 5) follo ws ; figure 6

e t ors o Of
.
,
a

t he Venus ; figure 7 a profile vi ew of the tors o o f t he s ke

,

leton ; error committe d by W es t A llen and o thers i n draw , ,

ing sk eleton figures and then clo thi ng them wi th so ft par ts ;

,

enumerati on o f all the b ones of t he human s kelet o n .

C HAPT E R III . . Page 22 to 2 9

His tory of the s keleto n , co ntin ue d . Vertebral co lumn , t hree

views , figures 8 , 9, an d 1 0, page 23 ; differ ent characte r of

t he i nterior when examined an ato mi cally, that i s , when di s

s ected for s cienti fic purpo ses , or exa mi ned when clo t he d

wi th s oft part s ; lingual or h yoid bones caus ing a s light

elevati o n in t he neck ; o utline of the skelet on of t he head ,

in profile figure 1 1 page 24 ; bones of the crani um and

, ,

face enumerate d figure 1 2 p ge 2 5 ; the occipi ta l bone

, , a

fi d fi er teb ra ( fi ure m d
( gu r e 1 4) an rs t v g s how i n
g t he o e

of art icul ati on of the head with the verteb ral column .

C HAPT E R IV Page 3 0 t o 43
B ief his t ory o f the a t i culat io ns in what spirit t h y ought
r r e

to b e s tu di ed by the art i t ; art iculati ons of t he occipital

s

bone atlas and axis figure 1 6 page 3 1 ; articulations of all

, , , ,

the verteb m with each other and wi th the occi pi tal bo ne ,

which i s als o a verte bra ( oc cipi tal verte bra) figure 1 7 page , ,

3 3 ; descri ption of the sho ul der j oint page 34 ; of the elbo w -

,

j oint page 35 ; outli ne (figure 1 8 page 3 6) of a co mbat

, , ,

from the marbles of the P arthenon proving the knowledge ,

 C O N T EN T S . xi

of the Gree k artis ts

pect of t he articul ations ; wris tin res

j oint and movement of the hands and fing ers figures 1 9 and ,

20 page 3 8
, description of the hip j oint page 39 ; of the -
,

knee j oint page 40 ; of the ankle j oint page 4 1 ; of t he

-

,
-
,

foot figures 2 1 an d 2 2 page 4 2

, ,
.

C HAPT E R V . Page 44 t o 5 8

A nimal mechani c s human pro porti ons con tour o f t he body

deep s truct ur es ass i s ti ng in forming that conto ur .

S tation ; y ; base of sus tentation ; mechanism

t he li ne of g ravi t

of at ti tude ; movements of the bo dy ho w effec te d ; mea ,

surements o f t he body age 4 6 ; sys tem f A l b t D u

p o er
, re r ,

Jean C ous in Gerald An dra] etc height of the Medicean

, , .

Venus as es timated by John B ell ; proportio ns of t he

,

var io us parts o f t he body page 4 8 ; two figure s (2 3 and 24 ) ,

at page 4 9 sho wing t he p roporti ons a reeable to t he s ystem

, g
of C o us in ; pro po rt i ons o f t he finger s an d toes to each ot her ,

s ho wn in figure s 2 5 and 2 6 page 50 ; proport ions of t he ,

child s ho wn by figures 2 7 and 2 8 ages 5 4 and 5 5 reas on ,

why t hes e pro port i ons are dis pleas ing to the eye ; o utli ne of

t he Medi cean Ven us fig ure 29 page 5 7 ho w to draw the , ,

co nto ur of the b ody .

C HAPT E R VI . Page 5 9 t o 72

O f the s kele ton generall y , and more es pecially of the head ,

examined wi th o ther vi ews ; di s t inctive c haract eris t i cs of

t he rac es of men , neglec ted or pdes is ed, at leas t occas i onall y ,

by the ancient mas ters why mo dern art i s t s o ught n ot to

do so ; E uro pean head ; charac ters of t he mal e s kull ; of

t he female ; of t he s keleto n of the face .

P
! A R T I I .
-
C HAPT E R I Page 73 to 8 1

O f t he true relati on of the i nterior to t he exteri or ; influence

of the s k eleton over the exterior ; nature of s eleton- sha es k p

xii C O N T EN T s .

as dis tinct from the nat ural forms dis played by a fine ex

ternal envel o e or p tegumentary coveri ng ; the skele to n in

detail ; the s ternumbreas t bone figures 39 and 40 page

or -
, ,

79 ; learn to place all the bon es correc tly s o as to avoid ,

dis torti on and the semblance of dislocation and frac ture .

C HAPT E R II . Page 8 2 to 93

E xternal forms of t he hea d; s tud y of the feat ures of man and

.

woman ; contour and surface of the face ; s keleto n of t he

nos t rils, figure 41 p age 8 4 ; the muscles of

, t he face, figure
42 , page 8 5 ; anato my of the face in detail ; of the exte rnal

ears ; b eauty of t he anti que ear, figures 43 and 44, page S S ;

ear of the deformati on ; infantile forms

ouran- ou tan ; law of

never pleas ing ; mi s take o f Winkelman and Haydon ; th e

beauty of youth explai n ed .

C HAPT E R III . Page 94 t o 99

A lterat ions in the form of the head and face in m an, as a

natural res ult o f hi s devel o ment ; p effect s of extreme dec a y

and age ; err or o f asc ri bing all t he changes m erel y to

years ; t he nature plained and thei r

of t hese changes ex ,

cau ses inqui re d i nt o ; o f t he perfectly develope d w oman ; -

the N i c he fig ure 45 In ge 98 ; why decorati on by dress i s

, ,

C HAPT E R IV . Page 1 00 to 1 1 6

O f t he ext ernal forms of t he neck ; sodeep muscles infin

me
encing the for ms of the n eck, no twi ths tan di ng thei r dep th ,

figures 46 and 4 7, page 1 02 ; head and n eck o f t he Y oung

A thlete, figure 48 , page 1 04 ; extern al forms of the torso or

k muscles of the front of the neck and torso figure

t run ; ,

49 page 1 06 ; muscles of t he haunch and t high po teri or

, , s

as pec t figure 50 page 1 09 ; femoral ap oneur osi

, , seen only s,

in the emaciate d figure 5 1 page 1 1 0 ; mus cles of the back

, , ,
 C O NT E NT S . 1 11 1

neck, an d head, semi - pro file, figure 52 page 1 1 2 ; , mus cles

of the back deep view
, ,
figure 5 3 page 1 1 4 , .

C HAPT E R V . Page 1 1 7 to l 2 5

E xternal forms of peri or extremi ties ; mus

the t horac ic o r su

cles o f t hi s extremi ty left s i de anteri or vi ew ,figure 54 , , ,

page 1 1 7 muscles of this extrem ity d rsal view figure 5 5 ,

o
, ,

page 1 2 1 anatomical det ails of all the superficial muscles

of t he arms ; efiect s of a e u pon t he lim b s
'

g .

C HAPT E R VI . Page 1 2 6 to l 3 5

E xter nal forms of the lim bs or pelvi c extremi ties ; front vi ew

of the m us cles of t he thigh, as s een when the int egumen ts ,

superficial fasci a and aponeu osi s have been removed figur

, r , e

56 page 1 2 7 superficial mus cles of t he leg external si de

, , ,

t he dors um of the foot i als o seen figure 5 7 page 1 28 s a , ,

deeply di s sected view of t he dorsum of the foot showi ng ,

the ten d ons an d li gament s t o b e een only in the ill fo rmed

,
s -

or emac i ated foot figur e 5 8 p ge 1 2 9 ; figure 5 9 page 1 30

, ,
a , ,

sh ows t he muscles of the o uter s i de of the haun ch and

thigh figure 60 page 1 3 1 gives view of the muscles on

, ,
a

t he inner s ide of the thigh and kn ee ; muscles seen on the

i nner si de of the leg and foo t figure page 1 3 2 ; allus ion ,

to the E lgi n Mar bl s e .

PA R T I I I .
—C HAPT E R I . Page 1 36 to 1 44

O bj ect an d ai m of art ; m aterial s at the co m man d of t he

s t u dent an anal si s of y be
y an d a theory of the beautiful
au t

i nfluence o ver art of the di s in terment o f t he ant ique marbles

M Gerdy s work ; C ampe s vie ws ; S ir John B ell s work ;
.
’
r
’ ’

unques ti oned excellence o f the great mas ters .

C H APT E R II . Page 1 45 to 1 5 9

T he Fine A r ts ; theor y of the beaut iful in nat ure and i n art

 C O NT ENT S .

music not a Fine A rt tr ue natu re of archi te cture as an art ;

j us t remarks of the his torian Gibbon in respect of the Fine

lization of a nation, cont ras tepinio ns of M r

d wi th t he o .

A li son ; O pini ons of M Quatremere de Quincy ; pantomime

.

as a Fi ne A r t ; poet ry ; landscape gardening ; pai nti ng ;

-

C H APT E R III . Page 1 60 to 1 75

A nci en t art ; C op t i c era ; remar ks on t he remains of C o pti c

sculpture now in the B riti sh Museum ; the bus t of A menoph
t he Second usually called t he Y oung Memnon figure 62
, , ,

page 1 6 1 resemblance of the modern ! ew to the ancient

C o pti c race ; infl uence of race and national and clas s con
vent i on ali ti es over tas te i n art ; sculp ture ; G recian era ;

t heo ry of t he beauti ful ; s ome bri ef remarks on the Elgin

and other marbles i n the Brit i s h Museum .

 DES C RIPTION OF THE WOODC UTS
sanc
tu m a t T a ra WO R K,

WIT H REFERENCE S TO T HE PAG E S WHERE T HEY A RE

TO B E FO UN D .

A s many of the woo dcu ts wi t h whi ch thi s work i s ill us trate d

were engraved for other w orks already pub lis hed; or in course llh

of pu bli cati on by me t I have tho ught i t righ t w ith a vi ew t o

'

, ,

correct i naccuracie s as t o reference s whi ch c oul d not well b e

avo i ded to gi ve t he reader a des cri pti on o f t hem s i mply as they

, ,

occur in the w o k i ndependen t of all reference to t he text

r , This .

t able i t is ho pe d will b e found of s ervice to t he mo re advanced

, ,

artis ti c s tu dent e pecially s .

Whils t re examining the work wi th thi s view the author has

-
,

ob s erved that i n the hi s tory of the articulati on s the wo odcu t

, ,

referred to in t he text has been omi t te d T he in serti on of a .

fuller descri pt ion of the oss eou s s urfaces formi ng t hese j oint s in ,

t hi table W 111 obviate i t i s hoped all c onfus ion i n thi s res pect
s , , , .

Moreover they are j oints the mechanism of whose ligamento us

,

apparat us can on ly b e well comprehen ded by a reference t o the

oss eo u s s urfaces .

Page 1 3 . F ig 1 . . Male Skeleton ; vi ewed anteriorly

-
T he .

Page 1 4 Fig . . 2 —T he Male Skelet on ; profile

. .

Page 1 5 . Fig . 3 —T he Male Skelet on ; back vi ew

. .

Page 1 6 . Fi g . 4 —T he Femal e Skeleton ; copi ed from S ue

.
.

Page 1 7 . Fi g . 5 —Skeleton of the Trunk or T ors o ; front vi ew

.
.

T he R ac es of M en : a Fragment . T AM anual of Human An t

a omy .
xvi nEs c R I PT I O N or T HE woonc ur s .

Page 1 8 Fig 6 . . .
—Outline of the Torso of the Venu s ; Bri t i s h

Museum .

Page 1 9 Fig 7 —Skelet on of the Torso ; seen in profile

. . .

Page 2 3 Fig 8 —Vert ebral C o lumn ; profile

. . . .

Fig 9 —Vertebral C olumn ; b ac vi ew

. . .

Fig 1 0 — Vertebral C olumn ; front view

. . .

Page 24 Fig 1 1 —S ec t i on of the base of the S kull an d Lower

. . .

! aw . T he drawing i s i nten ded t o s how t he an atomy an d me

c hani s m o f the lo wer j aw t he p o s i ti on o f t he c or o n o id proces s i n
,

front and o f t he c ondyle of t he j aw as it rest s i n the glen oi d

,

cavi t y of the t emporal b o ne Pass in g bet ween the zygomat ic .

arch of t he t em po ral b one and the low er j aw a li t t le belo w t he ,

con dyle t he s tu den t will ob serve the exter n al ligamen t o f thi s

,

art i culat i on an d the fo r ward p os i ti on of i t s cranial at tachm en t

,
.

B y thi s beauti ful and s i mple mechani cal arrangement the ant ero ,

posterior movements of the j oi nt are provi ded for T he figur e .

,

moreover gives a lateral vi ew (l eft s i de) o f the body of the hyoi d

,

bones ; the great or inferior cornu or horn and the s maller to , ,

whi ch is at tached the s tyle hyoid ligament conn ect ing the hyoid -
,

app aratus t o t he b as i s of t he s kull T he angle of the j aw is .

con nected t o t he s tyle hy oi d ligamen t by a s hort aponeuro sis

-
. .

A ll these s t ruct ure s may readily b e m ade out .

P age 25 F ig 1 2 E u r opean Head

. . . T he figure represen ts
-
.

the crani um and fac e apar t fr om each o ther in o rder t hat t he ,

s tu den t ma
y form a correc t i dea o f t h e r elat i ve s i z e an d form of
eac h when s een in pro file
, .

Page 27 Fig 1 3 —S keleton o f the E uropean Head wi th all

. . .
,

t he b ones i n their nat urfl p o s i tion .

D es cr ip ti o n Of the Wood cu t —a Fron tal b one ; 6 pari etal ; .

, ,

c, t emp oral ; d s phenoidal ; malar ; l ethmoi dal ; k lachry

, e,
, ,

mal ; g nas al ; h cart il aginou s p arti tion of the n os trils ; a f

, , ,

s upe ri or maxillary b one ; i lower aw ; a p ort ion of the left s ide

j , ,

O f t he face .
 D E S C R I PT I O N or T HE W o oD O U T s . xvii

Page 2 8 .
—T he Occipit al Bone T he obj ect is to
Fig 1 4
. . .

di s pl ay the for m an d po si ti on of the great foramen or hole for

t h e pas s age of the s pinal marrow and of the condyles by whi c h ,

t h e bone res ts on the vertebral colu mn T he lettering may b e .

n e glecte d ; they h ave a refe rence t o an other w ork “ .

Page 2 8 Fig 1 5 —A r t i culati on of the firs t and secon d Ver

. . .

t eb r m of the N eck T he figure di splays the upper s urface of the

.

a tlas an d c onse qu en tly t he t w o deep excavat i ons i nto whi ch are

,

r ece ived the con dyles o f the occi pi tal b on e as s een i n figure 1 4 , ,

t h e one i mmedi ately ab ove .

Page 31 F ig 1 6 —Thi s woodcut represents t he ar ticu lati on

. . .

o f t he head wi th the firs t and sec ond vert eb rte of the neck ; t he

arti cul ati on s of t h es e wi th each o ther and wi th the occ ipi tal

b o ne. T he check ligamen ts whi ch limit the rotat ory movemen t s

o f the head to a half cir cle at the mos t may b e seen exten ded
-
, ,

between the summit of t he t ooth like proces s of the second ver -

te b ra to the occi pit al b one .

T he lig amen t ous apparatus here has by s ome been c alled t he

cruciform or cr os s shaped ligamen t ; b ut the cr os s shaped liga -

ment is in depen den t of the cheek ligament s , an d of t he t rans

verse, which lie in fr ont of it . A ll t hese ligamen t s ar e o f

great

s trength ; and hence the y of di slocation in this regi on

rari t .

Page 3 3 Fig 1 7 —A ect i on of th Vertebral C lumn di

. . . s e o , s

playing als o all i ts li gament s T he fib ro cart ilages upon whic h .

-
,

t he st ren gt h and the elast i ci ty of the c olumn depend m ay readily ,

b e traced in the figure They occupy the spac e b et ween the

. s

bodies of the verte brae from th third cervical to the las t lumbar
,
e .

T he left side of the c olumn has been removed and by thi s me n ,

a s

als o t he ver teb ral canal for co nt ai ni n g the pin al marro w n d i t s a s

membranes has been di s played A re feren ce i s made in the t ext .

to the ligament s of the pelvi s the interi or of th e r ight side of ,

whi ch i s s h wn in the woodcut

o .

M l f H m A t my by R K
anua o u an na o , . nox .

b
 xviii DE C S RI PT IO N or r un wo on c ur s '
.

Page 34 —T he woodcuts intended to show t he scapulo humera

.
-

art iculati on or s houl der j oi nt al s o t he elbow j oint referred to in ,

-

page 8 5 an d the wris t j oint describ ed at page 3 8 could not be

,
-
,

p rep ared i n t ime for t his work I n t he absence o f these t he .

,

s tuden t will form an accurate i dea o f t he nature o f t hes e j oi nt s by

placing before him the os seous s urfaces and drawing them carefully ,

T he s ame remarks apply t o t he hip j oint k nee and ankle -

,

j oints ; the woodcuts for which could not b e prepared i n time

for the c o mi ng out o f the w ork These j oints and their liga .

ment s are des cribed at pages 40 4 1 42 and , , ,

Page 36 Fig 1 8 —D rawing of a sec tion of the Frieze o f t he

. . .

Parthenon B at tle of the C entaurs an d Lapi thte .

Page 3 8 . Fi g 1 9 — kele ton

S of the Han d ; dorsal
. . .

Fi g 20 Skelet on of the Hand ; palmar

. .
-
.

Page 42 Fig 2 1
. Skel t on of the Foot ; dors al surface
. . e .

Fig 2 2 — Skeleton of the Foo t ; plan ta urface

. . r s .

P ge 9 F g
a 4 i. s 23 n d 24 — Thes e figur es give the propo tion
. a . r s

i n t he male and fem le figures T o each i s attached a cal

a . s e,

di vi ded int o 1 00 part s.

P ge 5 0 Fig 2 5 —
a . Outli ne of t he Fi ngers
. . .

Fi g 2 6 . .
— O utli ne of t he T o es ;
To s how t hei r relat i veproportions . I n the ant i
que fo ot, the
secon d t oe i s en erally rep resented longer t han i n t he ac com
g
panying woo dcut .

P age 54 . Fi g 2 7 . .
—D rawi ng of t he Living I nfan t ; to s ho w

h ow greatl y i ts proporti ons diffe from the adult m le o femal e r

,
a r .

P gae 55 Fig 28
.
— Skeleton of the I nfant M ny of th
. . . a e

pa t of the i nf nt skeleton resemble in confo mati on the s ame

r s a r

s t uct ures i n t he l ower ani mals

r and abn ormal or mi shap en , s

hum n adult forms Thi s has i ts cause i n t he tran scen dent l

'

a .
a

law of uni ty of the organi zati onfi“

S ee G t A ti t
re a d G t A t mi t ;
r Bi g phi l
s s an d Phil rea na o s s a o ra ca an o

sophi cal S tudy .

”
! Van Voors t , 1 8 52
. .
XX DE C S R I PT I O N O F T HE WO O DC U T S .

of men, and more p

es ec iall y y
in the ! ew ; t he form, in fact , a

dis ti nctive character of his race . B ut it is pro b ble t hat this

a

pecul iar feature was not peculiar t o him (for A braham alone

co uld not form a race o f men b m m him i n a greater

) ut c o o n t o , ,

or less d e ree wi th the C haldee from whom t he ! ew i s sai d to

g , ,

have s prung : and in an es pecial manner also wi th the C opt , , ,

t h t is the ancient E gyptian race

a , Thi s i s amply pro ved by .

t he colo ss al b us t o f A menO ph and o thers now i n the E gypt ian ,

G allery of the Brit is h Mus eum I n t he noble ant i que female .

G reek head the cartil aginous apparatus of the nos trils is never
,

di s played ; all i s calm s moo th and po lis hed T he cartilages

, , .

are comparatively small ; the muscular apparat us b ut li tt le de

v 10 ped
e These muscles form a part of the res pirato y sys tem
. r

co s t al muscles, et c . T he p
ex ans i on of t he nos trils is the first
ac t o f i ns piration ; th e o t her mo vement s follow .

Page 8 5 . Fig 4 2 . .
—I a
d woodcut the artis t
this finely -
execut e , ,

D West maco tt has given a hi ghly artisti c sketch of the musc les
r. ,

o n whose ac ti on depends the express i on of the pas s i o ns N0 .

let ters of reference have been place d on thi s block ; nor w as thi s

necessary the text explainin g the fig ure s ufi cient ly

,
T he great .

n umber and s iz e o f the m u sc les on the human face are remark

a ble as co ntrasted wi th o ther ani mals ; they are of course in

, , ,

h armony wi th the charac te r o f hi s brain hi s mental an d intel ,

lec t ual nature hi s pas ion A n ingeni ous wri ter who se M S
, s s. , .

w orks I have seen s ugges t s that i t is educati on which forms t he

,

expr essi on T o a certain extent the ob servati on i s no doubt a

.
, , ,

c orrect one ; b ut i t mus t n ot b e too much n raliz ed

g e e .

T o the s tu dy of the act ions of thi s complex s ystem o f muscles

the art is t whether sculptor or pain ter cannot bes to w too much
, ,

at t e nt ion I n the beaut iful fac e t hough dis t orted wi th pass i on

.
, ,

t he muscles do not sho w t hems elves as muscles ; they give ris e

m rely to certai n forms and a certain expressi on

e .
 DE S C R I PT I O N or T HE wo on cur s . xxi

I n th e figure
peak of (page
I n ow s the broad muscle of

the nec k (l tiss imus colli platy ma myoides) has been cut
a ,
s

across j us t as i t is pass ing over t he base o f the lower j awbone .

B y thi i s s h o wn m ore fully t he m us cle d escendi ng fr om the

s

ang le o f t he mou t h to the lo wer aw (depre ss or an uli o i

j g ) r s ,

an d t he po werful massete r m us c le a s ho t w a b hi n d i t on e
y e r ,

o f t he princi pal mas ti catory m us les T he orbicular mus cle of c .

t he mou th nd the orbicular o f the eyelid s requir e only t o b e

a

menti o ned O n t he forehead i plac ed t he fr ontal muscle an d

. s

o ver t he ear u eri or anteri or and po s te ri or auricular I t i

p , s , , s .

alm os t needl es s to remark that all s uch mu scl es, t ogether wi th

t ho s e act i ng on the nos t rils , are weak an d b ut slightl y marked
in man .

Page 88 Figs .
— T he figures in t hi s page represent
. 43 and 44 .

first the A ntique E ar alway s beautiful ; secondly t he E ar o f

, , ,

t he A pe as bei ng the deformat i o n mos t c ommonly obs erved i n

,

t he man who may b e b orn wi th a nat urally deformed ear T he .

more remarkable peculi arity is t he ab sence of the lobe of the ear ;

a p art peculi arly human an d fo un d only in man , There are other .

deforma ti ons , which the arti s t mu s t b e careful to avoid . N or

n eed we, on thi s account, fall int o a b
ha i t drawing a model
of

car ; t he finest ears have their i ndi vidua li ties like every o ther
,

T he us e of kn own ; when finely

t he external ears is n ot

formed they add singul arly to the beauty of the head

, They .

are di fferently plac ed in man and in woman an d i n differen t ,

races of men . N otwi thstanding t he s tr ong rese mblance there

exi s t s b et ween the mo dern ! ew and the ancient C optic bu t s as s ,

may b e seen in vari ous work s and i n t he bus ts themsel ves the ,

peculi arities whi ch the E g pti an y artis t s cari cature d . N umerou s

ot herwis e the def ormed c ar would never have been represented

xxi i DE S C R I PT I O N or T HE wo onc nr s '
.

by the C optic artists as a Jewish peculiarity any more than the ,

hi deou sly enlarged nos trils an d n ose elongate d inexpre ssive eyes , ,

wide negro li ke mouth and recedi ng chi n all w hi ch peculi ari ties
-
, ,

though s omewhat modi fied re s t ill o b e v ble i n the Jewi sh , a s r a

Page 98 . Fig 45. .

-
T he N i o be .

Page 1 02 . Fig 4 6 . Muscles of the

.
—D p ee di s sect ion of the

B ack of t he N eck ; left s ide a b T he serrat us po s ti cus s u pe i o .

, r r

muscle ; plenius ; d complexus ; s f top of the sacro lumbali

c, s , ,
-
s

and longis s imus dors i mu s cles .

Pag e 1 02 . F ig 4 7 . .
-
a b, s plenius ; c , co mplexus . These deep
muscles in fiuenco the form o f the k when fully developed nec ,

t hey give t o i t the t ro i ty sen ti l t o be uty

o s es a a .

Page 1 04 F ig 48 —D rawi ng f om
. . bus t of the Y oun g He
. r a r

cules ; t he finest s pec imen o f th t rue athlet o prize fig hte r e e r -

.

P ge 1 06 Fig 49 —S upe fici l Mus cles of the Front of t h

a . . . r a e

N eck n d of the Trunk o To o

a r rs .

o Me i l gro o ve formed by the ternu m ;

, s a tri ngul ar holl ow s a, a
,

bounded by the collar bone pectoral muscle and deltoid ; -

, , a,

pect oralis maj or muscle ; rectus abdomi ni s of the right s ide r,

,

covered by the bd ominal ap neuro s is ; q a v u

a rec tus o f t he o , , , v,

left s ide expos ed by di s ecti on ; the let ters are pl ced on t he

s 0 v a

tendin ous i nters e cti on s call ed lin ea t rans verse» ; e e, extern al

oblique mus cle of t he a bdo men ; q, s ome at tachments of the

s errat us magnus muscle ; don of the external oblique a e, a , ten

muscle of the ab domen forming a po rtion of w hat French ,

anatomis ts have named the b do min al aponeu ro s i s ; a a at tach a

,

ment s of the external o bli que muscle to the ri bs an d their car

t ilages ; w i s placed a li t tle bove t he cremas teri c O penings a .

Page 1 09 Fi g 5 0 . . . S uperficial M uscles ,

of the Haunch an d

B ack of the Thigh ; left s i de .

0 ,
E xternal oblique muscle of the ab domen ; b , gluteu s medi us

c, a portion of the ap oneur osis of the thi h

g ,
with whi ch t he
 DES C R I PT I O N or T HE w o o n c u r s . xxi ii

glu t eus maxi mus i s pa t ly r co nn ecte d ; d, vas t us externu s ; e

b p i ce s fiexor of the leg ; 0 m, se mi membranosu s

-
an d se mi -
t en

d i n os us mus cles l, k , s ar t oriu s , i li h, i , gas t ro

; a,
grac s g,
c ne mius mus cle, c ut ac ro s s .

Page 1 1 0 Fi g 5 1 gi ves
. . a vi e w o f t he Outer Side of the Haunch
an d Left Thigh . T he onl y mu sc le whi c h has bee n di sse cted i s

t he glute us maximus ; all the ot her s a re c n cealed by t he fem r al

o o

a p oneuro si s , whi ch has been left in i t s plac T he figu on

e . re c
'

t ras t s well wi th t hat a t p ge 1 09

a .

Page 1 1 2 . Fi g 5 2 . .
— S uperfici al Mu sc le s of t he B ack of t he

N eck and o f the Trunk or To rs o ; se mi pr ofile view

-
.

a, Trapeziu s m uscle ,
ri
ght s i de ; I, delto i d left s ide , ; It , a
po r

t i on of the pecto rali s ma

j o r c, i nfra spi natus -
d , teres m ino r ;

e. t eres maj o r ; b , lat is s i mu s d ors i ; g g, aport ion of the erratu s s

magnus ; f f, extern al o bliqu e mus cles of t he bd m n ; p p a o e ,

Page 1 1 4 Fig 5 3 . . .
—Dee p dis s ecti o n of t he Mu s c les on t he

B ac k of t he N eck an d Trunk .

T he let terin g i s placed on t he r ig ht s i de o f the figur e, b ut the

fully made out mu s c les plexu ; b spleni u

are o n the left : a, co m s ,
s

c, levat o ng uli scapul a:

r a d c len i ; m hom boid i j ; up , s a e , r e s ra

sp i nat u s ; g i nfr sp i nat u

, i h t re m i n
a-o r ; k t ere m aj or ;s ,
e s ,
s

l po t i on of the t i cep s exten o cu bi t i

, r 0 po rti on o f t he
r s r ,
ser

rat u m gnu ; q in terco t l muscle

s a s ,s errat u po ti cu in s a s a, s s s

fe io ; r r i n t e n l obli que mu cle of the bd omen

r a s a .

Page 1 1 7 Fi g 5 4 —Mu s cl . f t he Supe i or Th aci c

. . es o r or or

Pect o l E xt rem i ty ; front i w l ft

ra m ve , e ar .

T h ac omi on scapular ; b t he d lt id ;
a, e r ten don of t h ,
e o c, e

deltoi d whe e t t ach d t o t he hume u s k the bi cep ; r

r a e p o r ,
s r, r

ti ons of the tri cep ; fleshy ma se connected with th ex

s e e, s s e

t ernal and i nt e n l co ndyle of the humerus ; i

r a u pi n t or longu s , s a s

mus cle f k pronat or t eres and fie xor carpi adiali mu scles ;

,
r s

1 palmari longus ; S
, s fiexor ulnari s ; lower end of the
s, a,
 DE C S RIPT I O N O F T HE WO O DC U T S .

radi us ; a, fieshy mas s of the b all o f the tb umb ypothenar ; p h

,

eminence ; the mus cles seen here are t he adduct or m inimi digi ti

and p al mar i s brevi s .

Page 1 2 1 . F ig 5 5 . .
—Mus cles of the A r m bac k view ,
left arm .

r r, Triceps extens or process and mus cle ; cub it i ; t, an cone us

a,fleshy mas connected wi th the inte rnal condyle of the hu

s

merus ; fie hy mas s connected wi t h t he external condyle ; z

e, s ,

exten or communi ; y
s extens ors of the th umb ; a
s pos terio , ,
r

annula ligament ; 2 t hi n poneu os i s cov ring t he back of t h e

r ,
a r e

han d ; 1 1 p o it i on o f the m tat ar o p halange l art iculations

,
s e s -
a .

P g e 1 27 F ig 5 6 —S uperficial Mus les on t he Fro n t of t he

a . . . c

Thigh ; left s i de .

a, A nterio r and su perior spinous proces s of t he ilium ; b,

te ns or fasc i a) lat w ; a , s art or ius ; d, ten don of the rect us crur i s

c , vas t us exter nus e , s m all port ion of the b iceps ; s, psoas and

iliacu s r, pectineu s ; p, ad duc to r lon gu s ; o , ad duc t or m agnus .

Page 1 2 8 . F ig 5 7 . .
—S uperfic i al Mus cles on the O uter Side o f
the Left Leg .

0, b, e, V as tu s e xternu s an d bicep s ; d , gas trocnemius ; e,

f , g,
t en do -
A chillis ; k , i , t, l, t i iali s . b anti cus , e xtens or lo ngus pol

l ici s , an d ext en s or lon gus co mmun i s , in succes s i o n behind thes e

are the pe r on eu s longus an d brevis p , o , n, e xt er nal s i de of the

fo ot ; on t he dors um of the fo ot may b e seen the tend ons of the

ext en s or s , i n clu di ng t hat peroneus te rtius

of the .

Page 1 29 Fig . . 5 8 —D orsum of the Foot

. .

e, d, c, Ti b ialis an d exten s o r mus cles , cut ac ro s s ; a, peroneal

mus cles ; g h,
i nn er s ide of the foot f , ant eri or ann ular liga
m ent ; on, co mmencemen t of the e xt en s or brevi s, co mmuni s ,
digit orum pedi s ; l k , o u ter side o f the foot .

Page 1 3 0 Fig 5 9
. . .
-
Muscl es of t he Le ft Thigh ; ou t er s i de .

a
t, E xternal o bli que muscle of t he abdomen ; 6, s art ori u s ; c,

t en s or fas c iw latw ; r, lu te u s media s ; lu teu m x imu

g q g
, s a s

d f, rec t us an d vas t us i n t ernu s e g, vas tu s e xt ernu s

p ,
bicep s
 DE S C R I PT I O N OF T HE WO O D C UT S . XXV

fie xor cruris o n, mus cles of the i nn er ham s tr ings h, i , k, l, m,

m u s cles of t he leg cut ac r os s ; t he yh ave been already de s cri bed .

Page 1 3 1 . Fig . 60 —
. Muscles of t he Left Thigh ; inner side .

a b, Ps oas an d ili acus ; at p oi n t s t o t he o bt urat or i nternus ;

c, sar tori us ; l
g , po r t i on s of t he vas t u s i nternu s ; j ;
rec t us

fe moris ; h, gracili s ; k , l , m, mus cles of t he i nn er hams trings ;

t n emi n s
o, gas r oc .

Page 1 3 2 . Fig 6 1
. .
—Mus cles o f the Left Leg an d Foot ; inner
s i de .

a, Vast us in te r nu s ; b, c, d, e, m uscles of t he i nner hams t rings ;

f , gas t r o cn emi u s n, g,
h,
i , are plac ed on the s moo th s urface o f

t he ti i a ; l, b anteri or ann ul ar l igam en t of the t ars us ; m, ab

du ctor polli ci s the m us cle is als o called addu c t or .

Page 1 6 1 . F ig 6 2
. .
—D rawing fr om t he B u s t of the Y oun g

Memnon in the E g ypti an Galler y o f t he B ri t is h Mu s eu m .

MANUAL OF ARTI STI C ANAT OMY .

IN TR OD UCTIO N .

T HE obj ect of the followi ng work is not mer ely t o

te ac h the how to draw or to sculpture the human
art i s t

frame correct ly ; with thi s vi ew in cluded i t has a ,

hi gher aim .T he Fin e A r ts to whi ch I limi t my ,

pres ent vi ew Sculpture an d Paint ing mo st nu ques

, ,

t ionably are n ot as M Quat remére de Qui n cy s eems

,
.

t o hav e thought merely i mit at ive art s ; s uch an

,

e xpr e s s i on i s in appli cable i n e very s ens e t o t he com

posi tions of M i chae l A n gelo ; the Cena of Da Vin cl

t he C art oon s of R aphael the A pollo an d Venu s of
,

ant i qui ty ; an d gen erall y t o t he ini mit able work s of

t he unk n own ant i que s cul ptor s T he Part hen on was .

n ot t he pr o du ct of an imi t at ive min d ; n o mechani cal

min ded S axon c ould have imagin ed or designe d

Egyp t ian Thebes ; an art whi ch may b e imitat ive an d
s t ri ctly s o in lan ds where t he C elt i c an d S axon ele

ment s of min d prevail was n ot s o in the East where

, ,

Hin doo an d Copt an d Phoeni ci an an d Grecian

, ,

Italian an d Slavonian min ds di splayed t heir origin al

forms of t hou ght A s sured of the s oun dn es s of my
.

vi ews I will yet go further : t he rust ic s cenes of

,

—
Teni ers and O st ade the lan dscapes of Cuyp of ,

—
Hobb ima an d Vander veld the in teriors of Gerard
,

B
2 M A N UA L OF

—
Dow the co m positi ons of Wouvermans are n o m ore
i mitati ons t han t he gran d conc ept i ons of R aph ael,
and are as mu ch unli ke t heir modern imi tat o rs as

A st ley s T heat re is to t he C olis eu m To call t hese

’
.

n oble pro ducti ons works of low art is a grot e s que

error bas ed on a mi s co nce pti on of what true art i s
,
.

A t as te for t he Fin e A r ts an d of cons equence t he

,

condi ti on of t hese art s t h ems elves is abo u t as low in,

Brit ain as it can well b e Ar ti s t s are blamed b ut the

.
,

fault lays wi th t he publi c ; thi s is my convi ct i on afte r ,

havi n g given to t he matte r t he m os t careful cons i dera

t ion. T he influence exercis e d to t he detriment of art
in B ritain by t he weal t hy vulgar in or out of p ower , ,

thr eate ns it s further deb asemen t ; nat i onality wi t h all ,

it s hideous an d dis gust in g p ers onali ties an d car icat ur es ,

of men an d women s t ep s in t o as si s t in i t s de
,

s tr ucti on ; works of in genu i ty t o pleas e t he lu xuri ou s ;

ri ch furni ture an d garni s hin gs ; fore ign pro du cti on s ,

t he pr o du ct s of ot her mi n ds an d other rac e s of men ,

are re cas t in h glan d by me chan i cs clever at adapts

-
,

ti on skill ed in art i sti c t ricks t o con ceal t he original

,

i dea an d glos s all over wit h a t rue Brit i s h var ni s h

, ,

the pro duct b eing uniforml y a s omethi n g t hat n ever

was n or ever will b e foun d in n at u re ; n eit her in t hat
e xtern al world t ho s e mate ri al m an ifest at ion s in whic h
,

N at ure wrappin g up her de s i gn s an d int en t i on s offers

, ,

t o human ob ser vati on t hrough phy s i cal s en s e the

, ,

means of acquir ing a kn owle dge of her exi st en ce of ,

our own b ein g an d of o ur relat i ons t o ot h er s ; n or in

,

t hat other dee p er an d real t hou gh un s e en world t he ,

human min d as di splayed in t he ext ern al world t o

, ,

effect whi ch has ev er b een the ran d an d s ole aim of

g
t he great mas t ers of art .

I foresee the stru ggle whi ch mus t ari s e b etween the

 A R TISTIC A N A TO M Y . 3

ar tis t s of Britain an d a pin g calculat ing, com

g ras ,

un meanin g, ofi cial , hann els Fancy a youn g

trading c .

R a ph ael at the mercy of a Parliamen tary Committ ee ,

c o mpo s e d of fat cattle admir ers heade d by t he not able ,

who commenced his career by sp outin g s ome common

plac e about the Fine A rt s ; telling t he weavers of
R o chdale t hat henceforward t he s tr uggle of nations
m us t b e in the works hop ! Pleasan t prospect for’

eni u s ! S u ch are t he vi ews of t he ill us tr i ous by

g
co urte sy who unhappily s way t he dest in y of ar t an d
, , ,

i s trade wi th them . S chools of De

R oyal A cademies ,
s i n N ati onal Gal lerie s Woo ds an d Fore s t s s ewers
g , , ,

an d gully h oles i t i s all t he same t o t he m from a tem

-
, ,

a l ac cide n t in t he Ch urch ( a b ishopric ) to a com

p or

mi s sionershi p of sewers an d gully holes These are -

t he p ersons wit h whom the ar tis t s of Britain have t o

deal ; t hey occas i onally mi slead the publi c t hrowing ,

b ack art for a cent ury .

S uch are t he ob st acle s t o the improveme nt s of art

in Britain ; t he cli mat e als o offers s ome an d t he cha ,

ree te r of t he dominant race an ot her T he S axon min d .

,

as regards art i s low an d boo ri s h ; generally sp eaking

, ,

he does n ot kn ow what you mean by fin e ar t With .

t hi s difli culty also t he Britis h art is t has t o struggle .

B ut t he Flemis h rac e aboun ds in South Britain an d ,

t he C elt i c ar e s catt ered everywhere Let t he arti s t .

bear t his in remembran ce an d ad dress hi s works t o ,

t h em . B ut what ever vi ew he may adopt whate ver ,

c ours e he may follow it ought ever t o b e his aim t hat

,

his works b e felt by hum an min ds pas si ons and affec , ,

t i ons an d not sink to the level of t he mere ob servance

,

of the ani mal sens e I t is to explain thi s las t point

.

B 2
4 M A N UA L OF

more fully t hat I have undertaken this work ; i t is to

c onvin ce if I can t he arti st t hat the human fig ur e
, ,

as well as t he lan dscape ma b e dr awn or s cu lpt ured

y
after two mo des : first as a mere obj ect of i mi t at i on
, ,

un worthy of any noti ce sec ondly as a figure embod in

y g ,

wi thin it noble suggestions excitative of deep feeling , ,

of t ender emoti on of reverence an d awe : i n t his i s the

,

whole dis tincti on betwee n the artist and the mechani c ;

t he man of the workshop t he art ist t raine d in t he R e c h
,

dale s chool an d R aphae l Har meni se your mi n ds wi th

,
.

N at ure an d lear n to read her ext ernal manife stat i ons ;

,

t o read t heir meaning I n t heir gran dest forms t h ey

.

addres s th ems elves only to few min ds di stin ct ly b ut ,

to all or nearly all more or less

, ,
Thi s i s the directi on
.

ou mu st t ak e if u h0 e t h at your works ma s ur
y y o p y
vi ve yourselve s T he t heory I offer t o lead the artis t
.

t o thi s mo st desirable p at h may or may n ot b e n ew may ,

or may not b e true ; t he se are quest i ons for po s t erit y

t o solve .

I n a word the chi ef aim of thi s work i s to enable

,

the ar ti s t by mean s of a t heory of t he Perfec t an d t he

,

Beautiful t o place b efore the intelli gent and s ens itive

,

min d N at ur e i n her fin est forms in her hi gh est mani ,

fest ati ons of matt er C olour i s not the obj ect of t he

.

work it is simply form the human form N at ure s

,
— ,
’

mast erpi ece .

N evertheles s I shall venture a few remarks on cc

,

lour with reference t o the lands cap e for the t heory on ,

whi ch the lan ds cape ought t o b e dr awn and coloured

has al s o I fear b een oft en mi sun derst oo d T he lan d .

it i s a manifest ati on of m
, ,

s cap e i s of N atur e att er

present ed by N at ure for the cont emplati on of man ,

an d of all hi s insti nct s t ou chi n g p erhap s t he deepe s t .

T he lands cap e forms as it were the conn ectin g lin k

, ,
 A R TISTIC A N A TO M Y . 5

b et weenman and his mother earth ; deepest feelin g of

all,
perhap s uni vers al Civiliz ation cann ot utt erly ex
.

ti n gui sh t he feeli ng A s a ci ti zen an inhabit ant of

.
,

lar ge an d popul ou s t own s he doe s hi s b est to destroy

,

t h e conn ectin g li nk b et ween hi s min d an d the lan d

scape of N at ure . B ut all in vai n ; in i nfan cy he seek s
t h e green fields the fore st the river b an ks ; in the t i de
, ,

of man hoo d he r us hes from the sm oky haun t s of man

,

t o t he moun t ain t op and fills hi s rich ap artment s wi t h

-
,

lan ds cap e p ain tin gs— sub st it ut e s for N at ure an d when

about t o qui t for e ver it s mor tal abode the min d s ee s
,

i n bli ssful vis ion s green fields an d r unn in g streams t he

,

rep resent ati on of t hat eart h fr om whi ch he sprun n d

g
, a

to whi ch he is about t o return .

6 M A N UAL OF

C HA PTE R I . .

WHEN Humboldt in his Ko s mos pointed o ut the

, ,

difference b etween t he ancient forms of civiliz at i on ,

t he Greek and R o man and the mo dem or Eur op ean

, ,

an d t he almo st oppo s in g vi ews each t ook of e xt ernal

n at ur e he fell I t hink int o a double e rr or

, , , for first .
, ,

he forgot alt ogether t he genius of the race s ; he c om

p ared t he lofty gran deur of the Greek an d R o man
m d wi th t e mo de
i n h r n n —
Saxo chiefly a mind remark
able for it s mech ani cal utili t arian t en den cie s
, for i t s
love of detail an d machin ery for i t s di sli ke t o syst em
an d t o eat an d original ideas ; it s conte mpt for dee p
gr
t hink ers S ec ondly he gave the preference t o the
.
,

latt er becaus e i t admi re d what he calle d ext ernal

,

nat ur e t hat i s the lan dsc ap e natur al or artific ial ; a

, , ,

c orrect an d dee p feelin g of the min d as I have j us t ,

s hown b u t apt to degen er at e in t o t he mock sent im en tal

,

an d the pi ct ur e s qu e that b urles qu e u p on human s en s e

,

an d feeli n gs He give s the preference t o the mo dern

.

S axon min d for tho se very quali ties in whi ch it s ink s

below mo st other races ; for i ts littlenes ses an d it s love
of det ail T he an ci ent world he remarks ob ser ved
.
, ,

only M an ; in the an ci ent world he was al on e the all

ob ser ved as he i s in dee d the only obj ect on earth
,

worthy of man s deepest c on siderati on Humboldt

’
.

c omplain s t hat the imm ort al D i ct at or cr o s s e d an d

re cro ss ed t he Al p s s carcely n ot icin g th em

,
Why .

sh ould he ? What sympathi es exi st ed between t hem

8 M A N UA L OF

and design, m ore

properly s peaking the kn owledge
or, ,

t o repre sent c orrectly t he human figure in marble an d

on canvas For of all obj ects on earth man i s most
.
,

wort hy to b e made the obj ect of the fi ne A r ts of

’

s culpture and of p aintin T he arti st who can scu lp

g .

t ure correctly or desi gn on canvas t he human fig ur e ,

will b e found equal to any other work of art T he .

s tu dent th en should b e in wi t h drawin

g g th e hu m a n

figure . Whilst examining a School of Drawin g mis ,

n ame d a S chool of De sign in a lar e mi dlan d E nglis h

g ,

to wn a hard headed mech anical schoolmas te r n ow

,
-
, ,

elevat ed t o a bi shopri c poin te d out t o me t he met ho d

,

he had recommende d an d enforce d in the s chool whi ch , ,

un h appil y for the s chool he con descende d to patr oni s e

,

an d mi sman age We commence here he remarked

.
,
’
,

with drawin g simple figur es s uch as s qu ares and ,

trian gles circle s oct agon s and s o forth ; an d after

, , ,

b eing well groun ded we proceed t o living obj ect s an d

,

as repre sente d by drawin gs ! A dmirable

’
st at ues ,

ob ser ver an d reas oner ! har d b raine d formulis t u t ili -

,

t arian ! you b elong t o t he clas s of s choolm en wi t h

whom the law st ands for equi ty and the diploma for ,

knowledge Where in the ext ernal world do you

.

dis cover s quares an d triangles cir cles an d oc t agon s , ,

cu b es an d polygon s ? A r e these the form s wi t h

which N atur e has clothed the organi c world ? Ar e
thes e simple forms ? Ar e t h ese ab stract ion s readi ly
c omprehen sible by t he youn g mind who never saw ,

t hem in n at ure an d kn ows not what t hey mean

,

Y ou sp eak of a s quare an d an an gle as if i t were a

matt er of easy c omprehens i on ; and yet t o defin e an
an gle clearly as you o u ght t o know would defy the
, ,

g ra n d form uli st of t he day the great M as ter of Trin it y,

himself B ut in the ext ernal world t he youn g min d

.
 AR T ISTIC A N A TO M Y . 9

se es man, an d ani mals , an d plant s , an d rivers and lak es ,

an d s helvin g r ocks : these are t he obj ects
ought he
fir st to b e taught t o draw ,
to c opy t o i mitat e ; what
,

he sees in nat ure ; what i s mo st fami liar to his s ense s ;

T he firstobj ect then in the Fi ne Ar ts is to repre

, ,

sent man an d t hrough hi s mat er ial form to represent

,

man s feelings pas si ons thought s When represent ed

’
.
, ,

in marble or bronze the art is call ed hi gh art ; an d ,

the expres sion may b e exten ded t o a pictorial des i gn ,

wherein man i s represented on canvas or flat

faces although it may b e qu es ti on ed wh ether paintin g
,

b e high art or not However thi s may b e one thin g

.
,

is obvi ous ; it i s livi ng man an d li vi n g nature whi ch is

t o b e represented Wit h the dead we have no l ym
.

pat hi cs What seems to me to cons tit ut e the gran d

.

di stinction b et ween the great mast ers of all antiqui ty ,

whet her Greek or R oman is t hat they designed and ,

draw the dead .E ven in the li ving t hey (the mo dern

arti st s ) see the dead, that i s , t he i nt erior ; so that thei r
figure s look like livin g corses A r ti st s b egin now to .

perceive thi s error, b ut they very nat urally fall into an

ot her To avoi d exposing the int eri or they sculpture
.
,

a e —
what merely represent s a s t tu neither livin g n or life
lik e T he remark appli es t o m o st of the st at uary late ly
.

e xhi bited in t he Gr eat Exhibiti on Hy de Park An d , .

n ow aris es the questi on— o f what use is an atomy to t he

Were human ingenui ty taxed to dis cover a met hod

of in st ruct ion t he b est adapte d t o mi slead the ar ti sti c

s t udent to mis dir ect hi s vi ews t o des tr oy his t as te

, , ,

to p revent him vi ewing the ext ernal world as N at ur e

inten ded it s houl d b e viewed the result might probably ,
 M A N UA L OF

be a rec ommendation of t he present mode or met hod

o f in s truct i on Commence with t rian gles s quares an d
.
, ,

c ircles ; n ext c opy unm e anin o u t lin f o m fl t

g e s r a s ur

fac es who se s h ad ows are repres ented by a su bs t antial

, ,
°

blac k colourin g matter ; next att end a course of lec

,

t ur es on t he an at omy of the man gled corse imperfect ly ,

de scribed by a per s on call ed— b y co urt e s y I pre s ume ,

an A n atomi c al D emon s t rat o r a perso n to whom i n , ,

all prob ab ili ty t he t erm art c onvey s no t an gible i dea ;

,

an d fin all y an d las tly t hat the mal e du cat i o n may b e

,
-

c omplet e s en d t he u nhappy art i s t in t o a c ham el hou s e

,
-
,

c all e d a di s se ct in g ro o m t hat hi s mi n d ma b ec o me
y
-
,

ac c u s t om ed by frequ ent co n t emplat ion t o all t hat i s

, ,

det e stable ; familiar wit h horrors wi th t he e mblems ,

o f de s t ru cti on an d deat h Thus by degree s by con

.
,

t inually looking at t he i nt eri or he at las t forget s t hat ,

—
t here ever was an e xt eri or he c onfoun ds t hem t o
t h er ; thr ou gh t he e xt eri o r he sees only t he i nt eri or ;
g e

t hat interior whi ch N ature in ten ded s hould never b e

—
present ed t o human s ight t hat which un der all cir , ,

c ums t an ces s he has s o carefull y conce al e d

,
Thi s per .

version of arti sti c educati on has been of s low growt h ;

it were i dl e t o tr ac e i t here Suffice it to s ay t hat i n
.
,

En glan d ut ilit arian Englan d t he c opin g st one of folly

, ,
-

was placed by S ir Charles B ell an d M r Haydon . .

M i s un ders t an din g the obj ect of Da Vinci s dis secti on s

’

( wh os e m at chl e ss s k et ch book n ow in t he Qu ee n s
-
,
’

privat e library I have lat ely examin ed an d s hall here

, ,

after de scrib e) forgettin g that M i chae l A n gelo had

,

hims elf admitt ed the err or of hi s early s t udi es affect ,

i ng i gnoran ce of t he fac t that R aphael and t he great

mas t ers of Greec e and It al y were wholly ig norant of
anat omy or n early s o in t he s en se t hey vi ewe d it they
, , ,

persi sted in a theory and mode of s t udy of the dead for

 A R TISTIC A N A TO M Y . 11

t he li vi n g, whi ch ,
had i t been followe d to t he lett er,
w o uld have destroyed art for a time in Brit ain R ubens .
,

w ho kn ew n othin g of anat omy de s ign ed gran dly ; his

,

h an d was mas t erly ; in compositi on un sur pas se d B e .

—
t we en hi m an d T ruth the et ernal t he all dc si re d ,
-

t h ere was n o v eil ; he s aw her fac e t o fac e M an he .

dr ew n obly ; n or di d he di s dain t he lan ds cap e whi ch , ,

un der hi s bold p en c il an d bru s h addr e s se d it s elf t o t he

,

min d of every ob s er ver ; i t was the lan ds cape of R ub en s

an d of N at u re and n ot, a s ea b each at Bright on or a
-

c as c ade in Wales He al s o dr ew wild beas t s : the

.

li on he p aint ed i ni mitably givin g him a n oble an d

,

clas s i c loo k an d b e ari n t he s ame r elat ion t o M r

, g .

Lan ds eer s lions that t he Coli s eum do es t o Womb

’

well s M enagerie ; b ut n either R uben s n or Lan ds eer

’

kn ew anyt hin g of the anat omy of the li on nor t he ,

an at omy of an o t h er li vin i m al th ey paint e d : t hey

‘

n
y g a
‘

drew t he ex ter i or t hey drew what t hey saw ; t hey

drew the tr ue that i s the ext eri or f or ms masking in
, , ,

t ernal s hap es or configurat ion s an d clothed them wit h

,

t hat c oloured dr ap ery whi ch N at ure design ed .

12 M A N UA L OF

C HA PT E R I I .

M A N , like all other ompos ed of an ext eri or

ani mals , is c

an d an i nterior T he artis t will not b e t he wors e fo r

.

knowin g a good deal of the inte ri or were it onl y t o ,

t eac h him what to avoi d O n hi s s kill in con ceali ng

.

t he inte rior or rat her in repre s ent ing i t as influencing

,

o b s c urel t h e exte rior nat ur all y will dep end mu ch of

y ,

t he beauty and p erfect i on of hi s drawin gs A s t he .

p ilot ought to know the outlin e t he elevat ions and ,

depre s si ons t he hills an d valley s of that s ubmarin e

,

lan d which i t i s t he bu sines s of hi s life to kn ow how

t o avoi d so perhap s t he arti s t ic st udent should b e gin
,

wi th t hat in terior a di splay of which it is the bus in ess

,

o f hi s art is t ic life t o know how to avoid re present in

g
as it re ally is T hu s learni ng early t he s hape s for
.
,

t hey are n ot forms which lie b eneath the s urfac e he

, ,

may in all hi s futur e labours avoi d the drawing of

t ho s e s hapes as t hey really exi s t an d whi ch N atu re ,

in te n de d s houl d have no plac e in the vis ible li vin g ,

world A kn owledge of it will contribut e to enlar ge

.

hi s vi ews overcome prej u di ce s and exalt hi s po sition

, ,

i n soci ety A bove al l let him never forget in drawin g

.
, ,

t he i/ntenlor of man t hat he dr aws shape s n ot t o b e

,

repro duced in drawi n

g t he li vi n g bo dy K eeping t hi s .

in vi ew a brief b ut accur at e stu dy of t he inte rior will

,

b e emin ent ly us eful to hi m I shall now en deavour t o

.

s how hi m how t his ma b e don e wit h leas t inj ury t o

y
hi s t ast e .
 AR TISTIC A N A TO M Y . 13

T he human frame is composed of an ext erior and an

T he ext erior is formed chi efly of a comple x

T he Male Skeleton .
14 M A N UA L OF

membrane , calle d t he integuments ; we nee d not adve r t

to thi s me mbrane further for the pre sent . T he in
t eri or i s c om

posed of a s ke
let on or fi ame '

work on t he,

proportions of
whi ch depen d ,

to a cert ain de
g ree ,
t he large
proporti ons of

t he figur e . Le t
t he s t u de n t
plac e t he s ke

let on th en b e
fore him, an d

ob serve t hat it
i s compo se d n a
t urally of t wo

g reat di vi s ions ,
t he t runk an d

t he limb s . T he
t runk has b ee n
su bdi vi ded into
a ceph ali c
p or

t ion o r head a ,

mi ddle port ion ,

an d a pelvi c s e g

ment Th e s e
.

are t he mecha

n ical , un phil o

s op h i c al , un

me aning di vi
s i ons of the
mere anatomi

T he M al e Skelet on—side .
16 M A N UA L OF

di visi ons wered well enough the pur po se of th e

ans

an d I s hall not o ffer an o t h er N ot hi ng mor e

y .

T he Femal e Skeleton .
 A R TISTIC A N A T O M Y . 17

un phil os ophi cal coul d well b e i magined b ut to t he ,

art i s t t hi s does n o t s i nify W hi l t dr awi n g an d

g . s

han dli ng these s tr uctur e s he may as well ac qui re a

,

kn owledge of t he nam es of eac h leading bone or part .

I n t he skelet on of the head he will fin d t he cran ium an d

t he face O n t he fac e is t he u pp er j aw co mpo se d of man y
.
,

b on e s an d the lower j aw comp os ed onl y of one T he

, , .

S kele t o n of T or s o .

C
18 M A N UA L OF

t runk is omposed of the neck c ompris ing seven b one s

c ,

the b ac k or thorax an os s eou s and cart ilagin ous cage

, ,

c ompo sed of the twelve dorsal verte b rw t he t went , y

four rib s the same number of co st al carti lages t he
, ,

s t ernum or breast bone ; the loin s c ompose d of five

-
,

lumbar vertebra . I n the trun k we furt her find t he

T orso of Venus .
 A R TISTIC A N A TO M Y . 19

p elvi s or gir dl e surroun din g the lower port ion of t he

,

tr un k an d u s ually calle d the p elvi c extr emi ty of t he

,

tr un k a ,
s the h e ad i s c all e d it s ceph ali c ext r emi ty .

O f th ese po rti on s of t he skelet on careful drawin gs

have b een given in thi s work b ut t he s tu dent at fir st ,

had b etter draw from t he

s t r u ctu re s t h em s elve s If .

t he s t udent at thi s s tage

,

of hi s st udi es , will now con

t ras t the keleton trunk he

s

h as dr awn wit h t he n oble

t o rs o of t he Ven u s the ,

c o n t ras t mu st s tr ik e him as

w on derful ; an d fin di n
g li tt le

o r n o r es em blance bet ween

t h em he will n aturally as k
, ,

wi t h amaz emen t when ce ,

c ame t he ideas h y h
( t e ad
b et ter b e called crotchet s )
whi ch t aught him that they
b e ar any resemblan ce t o
e ac h ot he r West it has
.
,

b een sai d was in t he hab it

,

of drawing t he skeleton
figure in o utlin e b efore
c lo thi n i t wi t h m l
g u s c e ,

in t e gument s an d dr ap ery ;
,

s o mu ch t he wor se— he was

sur e to give th em a cham el

hou s e look T he lat e S ir

.

William Allen t old me that ,

alt hou h he had drawn the

g
s kelet on of t he han d more

than t wo hun dred t i mes he , S keleton Tor so .

0 2
20 M A N UA L OF

was not s atisfied wit h hi s dr awi ng of the hand . How

c uld
o he b e ? What re sem blance does t he s keleton
of t he hand bear t o the li ving hand Take even t he
coars est out li n e vi ew ou lik e of t he two an d t ell me
y ,

wherein t he re semblance li es Do you fin d in t he .

s keleton of t he han d t he t ap er form t he pulpy e xt re ,

mi ti ca of t he fin gers ; t he prominen ce s of t he sk e
let on ar ti culat ion s t ur ne d in t o beautiful depre s s i on s
or di mples t he s oft elas ti c palm t he s m oo t h an d glo s s y
, ,

elevate d dors um t he fles hy m as s of t he t humb

,
the ,

beaut eous cur ve of t he ant ithenor eminen ce or base o f

the li tt le finger ? I t i s almo st in con ceivable that s u c h
cr ot ch et s s houl d have prevaile d t o t he pr e s en t day ,

t hough b acked by t he great names of Haydo n an d

Charles Bell B ut t o ret ur n
. .

T he skelet on of the lim b s is composed of the follow

in g p art s : in t he upper t h ere are the s houl der bon es -
,

t he c ollar bon es an d the s capula or s houlder blade ;

-
,
-

t he humer us or arm bone ; t he radius an d uln a or

-
,

bon es of the forearm ; las tly the s keleton of the han d

, ,

c omp ose d al s o of t h ree p art s : t he carpal m et acarp al , ,

and di git al . By dr awin g all t hes e bones fir st sepa ,

rat el an d next conjoin e d by t h eir n at ur al li gamen t s

y , ,

t he s t u dent will le arn some poin t s of t he figur e whi c h

may afte rwar ds b e of u se t o him T he lon g bon es he
.
,

will ob serve are not strai ght b ut twi st ed on t hem

, ,

s elve s ; t he s hort b on es s quar e an d s t ron t he bo n e s o f

g;
t he fin gers cur ved an d s omewhat flatte n e d B ut i t i s .

in t he chapt e r on t he ligament s an d j oint s conn ecti ng

t he s e b on e s t o gether t hat I s hall more es pe ci ally poin t
,

out t he e xt en t t o whi ch t he drawin f t hi s porti on of

g o

t he s kelet on may b e of us e t o t he art i st I n t hi s .

sect i on an d in t he s ub sequ en t on e I mean t o confin e ,

 AR TISTIC A N A TO M Y . 21

my remar ks st rict l y to t he bones c omposin g t he

s k elet on
l
= l
.

I n t he lower or b dominal ext remity as it

pelvi c or a ,

i s s o meti m es call ed we fin d the followin g bon es : fir st

, ,

t he t hi gh b on e ; s ec on dly t he bones of t he leg t ibi a

-
, , ,

fib ula ; t hir dl y t he bon es of t he fo ot t he t ar sal bon es

, , ,

t he met atars al, the di git al .

A ll these bon e s ar e ar ti cul ate d in on e way or an

ot h er ; they are c onn ect e d together by li gam ent s a ,

kn owle dge of whi ch i s of import ance t o the student .

W hat I have further to s ay respect in g t he human

s k elet on it i s my in t ent i on t o con clu de in Chapt er I I I
, .

S ee Figures pp , . 1 3, 1 4 .
 C HA PT ER I I I .

H I S T O RY O F T HE S KE LE T O N , CONT N I UED .

FRO M t he in s t ant , as it were the artis t or st udent

,

c ommen ce s dr awing t he s keleto n whether as det ac he d

,

an d se parated in to it s os seous elements or unit e d ,

int o a whole by it s natur al ligament s or ar tificially ,

articulat ed by wi re s he ought to place by it s s i de fo r

, ,

c ons t ant compari s on t he plas t er c ast of t he male an d

,

female figure as it exis t s in life ; t hus will he learn so ,

as n ever t o forget how wi dely di flerent t he ext eri or

'

i s from the in t eri or ; how di stin ct in form ; how u n

lik e in charac t er T he promin en ces he fin ds in the
.

s keleto n b ecome in t he han ds ome livin g form b eau

, ,

t iful depre s si ons full of grac e and in t ere s t

,
N ot hin g .

can b e i magine d more unli ke the well formed li vin g -

thi gh than t he bone call ed the thigh bon e ; n othin g s o -

u nlik e the b ac k of the Venus t han t he frightful chai n

of o s s eous n o do siti es su pport in g it ; an d yet arti st s

have been t old h " t at t o

draw t he former well you ,

mu st b e a perfect anat omi s t that i s b e thoro ughly

, ,

c onversant wi th t he anat omy of the verte bral column .

Great names were never conn ected with a great er de

lus ion : all thi s might have been avoided had t hey ,

st udi ed care fully t he s ketch book of the immort al-

Leonardo already referred t o

,
Therein they would .

have seen how ni ce were the di scriminatin g powers of

t he great master an d how accurately he di stin guished
,

B ell and Haydon .

 M A N UA L OF

porti ons t hough he is drawi ng s hapes whic h it were in

, ,

so me res ect s well for him neit her t o kno w no r to

p ,

have seen b ut for t his knowledge he mus t make a as

,

crifice T he int erior he mus t c ontemplat e t ha t he m a

.
y ,

know it —first becaus e it influences t he exterior an d

, ,

se co n dly t o avoid por trayi ng it whils t drawin t h

, g e

living figure T ho s e proj ecti ng point s of bo ne s t he

.
,

malleoli as t hey are called whi ch loo k s o hi deo us i n

, ,

t he skeleto n and in t he li vin g foot when t hat foo t dis

, ,

plays t he i nterior as it not unfrequently doe s beco me

, , ,

when clot hed wi th a fine investi ng inte gument as in ,

t he foo t of the Venus so ft undulating pro min ence s o f

, ,

—
mo st exquisi te beauty I s peak of t he ankles To .

see N at ure as s he is b elon gs e xclus ively to ni u

, ge s ; a
deficiency in t his mu st b e m ade up by s c ientific s t udy .

Leonardo po sse s se d both ; the modern arti s t had b et te r

tr us t to s tudy T he skeleto n i s t he framework of t he
.

figure , an d deter
mine s so me of its
larger proporti ons ; it
determine s t he att i

tude, and it s s hape s

vary somewhat in t he
di fferent races of men .

There are o s se ou s and

hard struct ures in
man in addi ti on to
,

the s keleto n whi ch ,

y et do n ot b elon to it ;
g
t he most remarkable
of t he s e are— first the ,

°f
m u
 A R T ISTIC A N A TO M Y . 25

at ed beneath xtremity of the fir st met at ars al

t he e

bones an d first m etacarp al t hes e are called ost eoi ds

,

t hey b elong to t he syst em of the t en don s of mu scles .

A small sy stem of bones exi st s i n t he n eck of man t he ,

hyoi d or lin gual bones t hes e are w hat physiolo

g i s t s t erm r udi ment ary st ruc tu re s t h ei r m ore p er ,

fect development occurrin g n ot in man b ut i n fish es ,

an d reptiles Las tly the teeth which ar e no t true

.
, ,

b ones b ut ,

h ar d c o m
plex str uc
t ure s in con

n e ct i on wit h
t he ali men

t ary s yst em
of an s
or
g .

—L i k e al l

t hos e part s
whi ch n ature
i n t e n de d
s houl d per

man ently or pean C ranium apart from the F ce

E uro a .

t emporarily form a portion of the ext eri or t hey are ,

dec orated with forms peculi ar ly human ; an en amel of

e xqui s it e poli s h an d whi ten e s s i n ve st s t he c or on a or

exp os e d porti on of each an d t hu s , when fine t he , ,

t eet h admit of t he full est dis play .

I n glan ci ng over the arran gement of th e bon es

c ompo sing t he s keleton the ar ti s t will ob serve t hat t he
,

broad bones of the head prot ect the b rain ; the os s eou s
cage work of t he ch est affor ds s ome prot ecti on t o the
-

heart an d lun gs an d a portion of the ab dominal organ s

,

t he p elvis affor ds s ome sli ght pr ot ection t o others .

S ee Fi gure p 2 4 ,
. .
 M A N UA L O F

M an y puerilities have been writt en by

v men in gra e ,

t he works call e d A ni mal M echani cs

a per usal of
’
, ,

whi ch will only mislead t he mind of the artis t T hey .

bas ed on a fals e vi ew of nature devoid of phil oso phy ,

an d of t ruth Living bo di es are not s t eam en gi n es

.
-

n or s pinnin j enni es ; nor was t he crani um arc h e d

g
-

merely t o enable man t o carry wei ght s on hi s head .

Let t he s tudent look at t he fl es h bon es an d he wi ll ,

ob s erve t hat at certain points t heir extr emi ti es o r

, ,

mar gin s e s pe cially are in cru ste d wi t h c artilage ; t he s e

pro te ct t he os seous st ruct ure and as s is t in formi n g
t he joint s Ligament s conn ect t he bon es t oget her
. .

T he bon es themselves are of a great var iety of forms ,

t he re as on of which n ot being mechan i cal i s wholl, y ,

un kn ow n t o phys i olo i st s Th e y p res en t on t heir

g .

s urface s furrow s roo v e s fis s ure s et c ; t hey are

, g , pe r , ,
.

forat e d wi th holes or foramina an d man y s how pro ,

minen ce s pr otub eran ce s t ubero s ities etc

, , ,
.

T he skelet on if di vi de d mes i a lly an d ver tic a lly will

, ,

b e fo un d t o b e compo sed of t wo st ri ctly correspon ding

s ymmetrical hal ve s T he sin gle b ones of the tr unk are
.

divi de d m es ially ; the bon e s of the ext remitie s t hu s

c orr es pon d wi t h each ot her et t hey are s eldom p er
y ,

fectly s ymme trical t hi s charac ter s eemingly belon g

,

i ng more t o the skelet on of the lower ani mals t han t o

man . T he right s i de gen erally prepon derat e s or i s ,

l arger s tronger heavi er an d longer ; yet ab solute

, , ,

s ymmetry mus t b e t he law an d i t exi s t s in s ome ex ,

quis itely formed in di viduals .

A reference to t he woo dcut s will enable t he st uden t

t o n ame each b one an d as cer tain it s po siti on
, Here I .

s hal l mer ely en um erate t h em givi n g t heir us ual names ,

.

I n t he crani um t here are t he frontal a pari etal b

, , , , ,

t emporal e occipit al m ethmoi dal n and s phenoi dal d

, , , , , ,
 A R TISTIC A N A TO M Y . 27

bones eight in all T he st udent may sketch t hem all

,
.
,

as b e ing t he readi es t way an d the mo st appro priate for

,

rec ollect in
g t h ei r nat u r e a n d po s i ti on . Th ei r f o rm s

g e n erally w, i t h a f ew e x c e p ti o n s ha v ,
e n ot hi n g wh at e ver

t o do wi th art .T he cavi t y t hey form contain s the brain .

T he interi or of t he o s seous cavi ty looks as if it were

European Skull in cluding C rani um nd Face

, a .

moulded over t he out er s urfac e of the brain b ut the ,

ext eri or di flers widely T he adaptation of the craniu m

'

t o t he brain has given ri s e t o s ome fals e s ys tems of

ment al philosophy t o whi ch I m ay hereafter advert
,
.

T he arti sti c st udent may n ext t urn hi s attenti on to

the bon e s of the fac e whi ch he sh o uld als o sket ch
, ,

plac in g them before him an d drawi n g them in di vi du

, ,

ally an d t h en c onj oin e dly he t hus en umerate s t hem

, .

I n the upp er j aw he will find

28 M A N UA L OF

T he su
peri r
o maxillary bones ,f

In t he lower j aw
T he inferior maxillary bone 1
S ixte en te eth in t he u ppe r and the same number in t he
,

lo wer j aw see m to co mplete t he str uct ure T he teeth are

,
.

u as i e xt e rnal or ans i nt en de d to b e see n D l

q g ee
py .

wedged wi thin the rocky part of the t emporal bon e on

e it her s i de t he anato mis t will s ho w the arti st i c st u den t
, ,

c u r ious in su ch matt e rs four s mall bon es t he o s si cula

, ,

au di t us ; t hey belong to t he organ of sens e in whi ch t h e y

are l odged an d prob ably n ei ,

t her belong naturall y t o t he

s keleto n n or hav e an phy
y ,

s iolo ical or ph il o s o phi cal

g

s se

o us head when dr awn, t he

s t u dent mus t b e at onc e
st r uc k wit h the di s sem
blance of the
keleton of s

the fac e t o t he livin g fin ely

formed fac e How di ffe
O ccipi tal B on e .
.

rentl fo rme d are t h

y e

ch eek s an d chin an d brow

, , ,

to t he o s seous s tru cture s .

N or does t his difleren ce

’

dep en d as we shall afte r

,

wards fin d althou gh t hi s,

A rt A tloi d A xoi d
.
.
err or has als o b een an d ,
 A R TISTIC A N A TO M Y . 29

s t ill is , xt ensively incul cated on the pres ence of

e ,

t he mus cular s yste m ; o n t he c on t rary i t i s wholly

,

du e t o t he pres ence of that exteri or who se r elat ion

t o t he e xter nal world i s at on ce obvi ou s T o t he i n
.

t e r io r of t he body it b ears n o oth er relati on than t hat

o f concealment .
 C HA PT E R I V .

An e xtr emely us eful ewhat dry st udy for t he

b ut so m

art is t , is the anat omy o f t he join ts T he movemen t s .

o f the body de pe n d t o a ce rtai n e xt e nt on t h ese or ans ,

g
and are regulate d by t h e m T o un derst and t he m cor
.

re ct ly, the stu dent mus t firs t e xami ne for hims e lf t he

e xt remiti es of t he l on g b ones , an d t he mar in s or

g
edges o f t he broad bones . Having done t hi s , let hi m

T he preparati ons required for t his are not us ually kept

i n anato mi cal s chools s o t hat a fres h dis section of t he
,

s tr uct ures ma oft en b e re qui re d or joint s so pre

y ,

pared may b e kept in s pir it s ; or joint s whi ch have

been dried may by immers i on for s ome hours in wate r
, ,

recover t heir flexib ili t y B ut t he arti st mus t n ot draw

.

from t he dried pre parati ons kept in anat omi cal schools .

T he var ious bon e s of t he s kelet on are unite d to eac h

oth er by li gamen t s C artilages or fib re car t ilage s
.
,
-
,

also contr ibut e t o form joint s whi ch are eit her mov ,

able or i mmov able Wh en movable as in the lon g

.
,

bones in addi tion t o ligament s other str uct ur es adapt

, ,

ing them for moti on are su peradded an anti fr i ct i on ,

-

app aratu s in fac t co mpo s ed of cart ilages of in cru s t a

,

t i on syn ovi al memb ran e s

,
in terart icular car tilages
, ,

et c
. I t is sufi cient for t he art ist t o b e aware of t he
e xi st ence of s uch st ruct ure s Let him procee d t o.

draw the arti culations in di vi dually foll owi n g an y order ,

he may think fit T he woo dcut s sho w them all b ut

.
,

he ought to draw them al s o from nat ure T he liga .

32 M A N UA L O F

T he head then moves only b ackwards and forwards o n t h e

at las ; it s rotat ory mot i on depen ds on ot her arti c ulat io n s

A r tic ula t im qf the two fi n t m tebm wi th eac h

at las t hese res t on s lig htly conve x, corre s o n di n g

p
s urfaces of the
verte bra dentata t hat is t he s eco n d ’
, ,

cervi cal ; second t here i s a small oval facett e o n t h e

,

inn er s urface of t he arch of t he at las ; t hird t he ,

toot h like proce ss of t he secon d vert eb ra pass es u p

-

wit hin the ring of the atlas an d on this process t h e ,

atlas an d enti re head play as o n a pi vot : t he m echa

ment , fourt h, sec ures t he

plac e an d o n
process i n it s ,

t he stren gt h of this ligament life de pen ds T wo .

very powerful ligament s co nnect the proces s us den .

t atus to t he occ ipital bo n e Stu dy the se j oint s an d.

,

t he movements t hey admit ; not e well t he uni ver s al

m oti on of t he head as far at leas t as a se mi cir cle
, , ,

o es t he vas t s t re ngt h of t he ligamen ts an d t he

g , ,

rotat i n of ohead the .

O f t he arti culati ons of t he t wenty two ne xt vert e -

b ra) litt le requir e s t o b e sai d for drawi ngs com pare d ,

wi th nat ure will b e foun d t o explain all t hat i s requi

s it e. T he b o dy of t he t hi r d cer vical vertebra i s
unit ed t o the sec on d by a st rong fib ro cartilage an d -
,

t o t he bo dy of t he fourt h verte bra by a simil ar s t rue

b odies of the vertebrae thr ough all the re gions of t he

c olumn un t il we c ome to t he fift h lumb ar who se bo dy
, ,

i s uni te d by fib ro car tilage als o t o the fir st sacr al ver

-

t eb ra T he ar ti cular p roce ss es four for eac h ver

. ,
,
 A R TISTIC A N A TO MY . 33

t e b r a, as s is t t he m obilit y an d

i n te rs pin ous ligament , an d a

t ic, o
c nn ect the s pin ous pro
ce s s e s of all t hese vertebra t o
e ac h other ; the lamina of t he
ve rt e bra are unite d by an

e las t i c y ell ow li ament of great

g
s t re n th T he wo dcut s will
g . o

furni s h further det ail s of all

s t an d vertebral column
t he ,

t he s t u dent ought n ot to draw

or st udy it from a dr ied re
p
parat i on, b ut immers ing it in
wat er for t wenty four hours -
,

e xami n e it car efully He will .

t hen dis cover a mech anis m

whi ch is perhaps wi t hout a pa
rallel c omb ini n v t t rengt h
, g as s

and flexi bilit y ; prot ect in g in

a mos t efficien t wa the mo st

y
delicate organ in t he body ,

the s pinal marrow root s of ,

the n er ves etc T he column

,
.
,

in trut h i s t he centre of all

,

the great movement s of t he

ises that vast clas s of organic

beings of which man forms a
part t he vert ebrate d ani mal s
-

Vertebral C olumn
.
34 M A N UA L OF

T he five sacral verte bra are , in the grown pers on ,

in woman

a mo vab le j oin t . A small, fan -

s haped mus cle , t he

st reng t ens h by its prese nce t he e xt re mity of t he

S HO ULDE R -
!O NT I .

C olla r bones to
-
the S ternum an d to the S cap ula .

ei the r or both . T he ar ticulat ion of t he collar - bon e s

wit h t he ste rnum , or breas t bone is strengthened b y
-
,

a series of lig ament s n ot qui t e surro un di n g t he join t ;

joint is , on t he omparatively clos e an d

cont rar y , c ,

n early immovable Ligament s abo ve an d be low

.

s t ren t hen t his j oint

g T h e scap ula i s fur t h er c on
.

n ect ed t o t he collar bone by t he c on oid an d t rape z oi d

-

li g ament s an d by t he s ub clavi cular aponeurosi s t he

,
-

pos iti on s an d connecti ons of whi ch t he woo dcut s wi ll

xplain T he scapul o hum eral joint is the one des er v
e
-
.

i ng most the st udy of t he arti st By t he nat ur e of it s .

os se ou s ar t iculatin g s urface s it admi t s of exten s ive ,

motions A cap sular lig am ent of n o great st reng t h

.

s ur roun ds an d shu t s in t he j oin t t he re al s e curit y o f ,

which depen ds after all on t he surroun din g t en don s

, ,

an d mus cle s T he hum er us and wi t h it t he ar m

.
, ,

may b e made t o m ove in all directions b ut it s ele va ,

t ion i s checke d by t he pres en ce of the acr omi al pr o

ces s . T he varied movement s of t he arm an d s houl der
 AR TISTIC A N A TO M Y . 35

w ill be best st udie d aft er describin g the muscular

s s te m by m eans of whi ch t hese m ov em ent s are er
y , p
fo r m ed ; b ut it will al ways b e advant ageou s for t he ,

s t u d ent to sket ch t he joint in all it s s s ib le att i t u des

p o ,

E LB O W ! O N T
-
I .

Examin e the os se ous st ruct ure in the s eparate

b o n e s and adapt t hem t o each ot her ; n ext dr aw t he
,

lig aments from the freshl y prepared j oin t or in it s -

, ,

ab se n ce fi om on e prepar e d as ab ove de s cribe d In

'
.
,

t hi s j oint we fin d t he foll owi n g li gament s : firs t t he ,

i n ternal late ral ligament ; s ec on d t he external lat eral ,

li gament ; thi rd t he ant er i or ; four th the posteri or

, ,

ligament Thus t he forearm can perform b ut t wo

.

m ovement s on t he arm namely forwar ds and b ack , ,

wards ; both limi t e d by the osseou s st ruct ures as may ,

readi ly b e demon strat ed by t he s kelet on T he hu .

m eru s following one axi s an d t he b on es of t he forearm

,

an ot her it foll ows t hat in flexi on

,
t he han d an d t he
, ,

forear m appr oach t he chest and t hi s ben di n g of t he ,

ar ms t owar ds t he che s t gives t o t he m ot i on a pe c uliar

g race . V ul gar c oar se m in d

,
e d p e op l
-
e oft en s it wi t h

their elbows on t he table an d t he for earm for cibly ,

plac ed in t he axis of the arm ; t his ar ises n ot fr om ,

t heir j oin t s bein g di fferently made from t ho se o f

others b u t fr om t he vu l arit y of t heir min ds pr omp t
, g
ing t hem t o as s ume vul gar an d low at t it u des I t i s t he .

,
—
mind n ot t he bo dy the brain whi ch i s at fault an d ,

not t he join t s ; for t he join t s ob ey t he t e ndon s an d

mus cles an d t hes e agai n ar e regulat ed by t he n erve s

,

and b rain T o lear n t o avoi d all un graceful move

.

ment s an d atti t udes is the tri ck of t he act or ; when

nat ural feelin g is wantin g he acquires a t h eatrical ,

n 2
36 M A N UA L OF

s trut an d swagger, that is to say , a t heatrical man n e r .

o
re as n . very figur e of s uch actors t hou gh u s e d
T he ,

by most artists is hi ghl y obj ect i onable T he st u d e n t

,
.

ought never t o draw from s uch figures nor st udy t h e ,

att it u des of sec on d rat e act ors

-
To as si st in for m i n g
.

hi s t as te I ventur e t o re commen d to hi m to imp r o v e

,

hi s kn owledge of what his own joints can do a n d

what t hey cann ot do Firs t comes trut h and n e x t
.
,

t as t e Visit the Elgin Gallery in t he M us eum l o o k

.
,

over t he hun dr eds of figur es which of all siz es de c o , ,

rat e d t he frieze of t he Part hen on an d you wi ll n o t ,

find amongst them a sin gle theatrical or vulgar at t i

t ude . A ll is elegance and ease ; all beauty an d t ru t h .

Drawi ng of a secti on of the Frieze of t he Parthenon .

B attle of the C entaur s an d Lapi tha .

T he art i st or arti st s , it is t rue, who car ed v t hese

mortal fig ur es k new n othing of the dead anat om y , be
 AR TIS TIC A N A TO M Y . 37

it ; b
so ut t hey had dee ply st udi ed an d knew well t he

li vin g anat omy, whi ch you have b ut few O pport unit ies
O f s t ud yi ng
v if you had it were well t o
, an d e en ,

k n ow t he r easons ( and t hey are anat omi cal an d phy

s i cal of c ourse) why s uc h an d s uch a joint cann ot b e
,

m ade t o ass ume an impos si ble attit ude T he anci ent s .

k n e w as well as we do the f ac t that water can onl y

r i s e t o a cert ain hei ht in a pump well ; b ut t hey
g
-

kn ew n ot the cause Herein then the modern world

.

has t he advan tage ; it has added s cience t o matters

is by t heory alone that the human min d can hO pe to

m ak e pr ogress ; by science al on e t hat we the young ,

w orld as we call ourselves t hough in reality the ol d

, , ,

can hope t o surp as s t he comparati vely youn g worl d

of H omer an d Phi di as of A m en oph and Brama of

, ,

E ucli d an d E uripi des Their powers of ob servat ion

.

were at t he least equ al t o ours ; their love of tr uth ,

of the b eaut iful an d t he perfect was equall ed only ,

m
no doubt greater t han ours ; t heir reas oni ng powers
not inferi or B ut s ci en ce was t hen in i ts infan cy
.

s cien ce whi ch ten ds t o an d hopes t o explain all

thin g s from t he origin of life in t hi s world t o t he
,

format i on of man To explain what the ancient s

.

un derst oo d empiri cally in ot her words t o apply

, ,

t heory t o t hese t he di vin e remai ns of ,

anti qui t y t o rec oncile fact s wi t h t heory

, or t heory ,

with fact s i s the main obj ect of thi s work

, .

T he for earm bes i des it s moti on s on the ar m of in

,

flexi on an d ext en si on r ot at es u pon it s axi s and in doing

, ,

so carri e s t he h an d wit h it
,
Thi s i s effect ed by mean s
.

of the radi us bone ; it s arti culat i on t hen wit h the hu , ,

39 M A N UA L OF

mer us an d ulna ab o ve, an d wit h t he ulna and car pal

b o nes b elow, merit pec uliarly t he att en t io n o f t he

art is t This is n ot t he place to desc ribe thes e st r u c
.

t ures anat omi cally , b ut mere ly to poin t t hem o ut to t he

art i s t i c st u dent ; ada pt t he bones to eac h ot her t hen ,

ligament , 0 , ena bles t he radi us to ro t at e freely ar oun d

t he ul na, carr ying t he hand wit h it . A t 6 t he radi u s

ro tate s aro un d t he lowe r en d of t he ul na, carr yin g t he

han d wit h it ; t he ulna remaining all t he tim e imm ov
ab le T he li g ament s secur in g t hese impor tant j oints
—
.

an d facilitat in g t hese graceful m ovement s , are the

an n ular li am ent ; t he int ero sseal, whi ch i s n ot a li a
g g
ment , properly s o call e d ; the tr ian gular fib ro cartilag e , -

c onn ect in t he l o w er e n d of t he radi us to t he ulna

g .

I come n ow to t he wr ist joint-

. T he wr is t -
joint is

Skeleton of the Han d ,

dors al . Skeleton of the Hand palmar , .
40 M A N UA L O F

joint , and the onl y on e whi ch e xist s in the b o dy .

T he head of the femur is v into the c o t y l o i d

recei e d

cavity of t he nameles s or haunch bone ; t he s u r f a c e s -

are incrusted with car tilage A powerful ca p s u l a r

.

to get her , t he o
r un d ligament ( in t erar t
ani cular li g a r

ment ) , want in g in
an d so me animals of gre at st re n g t h ,

as the ele ph ant is yet present in man

,
T he j o i n t i s .

further se cure d by t he pre ss ure of t he ext er nal a t m o

s phere an d by t he pre ss ure of so me of t he m o s t
,

powerful mus cles an d te n dons of t he body .

T he m ovement s of t he femur or t he t runk ar e li

mi ted firs t out war dly or in ab du cti on by the u p p e r
, , ,

margin of the acetabulum ; se c on dl y bac kwards o r i n , ,

extensi on by t he mu s cle s an d caps ular li amen t ; t h e r e

, g
i s in fact
,
no su ch m ot ion as ext en s i on of t he fe
,

mur b ackwards S carpa w as t he fir st t o p oin t t hi s

.

o ut . B ut I need n ot dwell on movement s whi c h

mus t b e carefully stu died when I c ome t o describ e t h e ,

I KN E E -
!O N T .

F emor o tibia l A r ti cu la tion

- — Examine t he oss eo us
s ur face s forming t hi s j oin t ; t hey are es s entiall y t h e

con dyles of t he femur an d t he corres pon din g s ur face s

,

of the tibia T he tibi a i n st an din g s u st ai n s t he entir e

.
, ,

weight of the body n o part of t he weight being ,

tran smit ted through t he fib ula T he ro tu la i s a .

s esamoi d bone or o ste oi d not n ecess arily exi s tin g in all

,

an imals b ut fo rming in man a part of t he joint

, It .

b elongs to t he syste m of the fib ro cart ilages develope d -

,

in t en don s ultimate ly as suming an os s eou s ch aracte r

, .

Be si des t he usual apparatus of a highly movable

joint we fin d in the kn ee j oint t wo semilunar int er
,
-
 A R TISTIC A N A TO M Y . 41

ar ti cular car tilages ; t h e se c ntr i ut e

o b gr eat l y t o the
s e cur it y of t he j oint .

T he li gament s are ,
t he in t ernal ; se c o—
n d
fir st
,
t he

e xt ernal lateral ligament ; t hir d, the cr ucial li ga

m en t s .

T he mechani sm of the k nee j oin t -

cann ot be well
o un til I have described t he mu scles an d
un ders t od

ap on eur os es e s pecially t he ext ens or t e n don s of the

,

le g s an d t heir r ot ular appen dage T he j oint it s elf is .

a hin ge j oint admi t ting of rat her ext ens ive m ot ion s
-
,

i n flexi on an d ext ens i on I t admi t s of a sli ght rot a

.

t ory m ot ion dur ing str ong flexi on b ut n one during ,

e xt en s ion T he lim b s are br oken levers whi ch by

.
, ,

t he acti on of t he mu s cles b ec ome s olid or fix e d for ,

ac t ion an d for supporting t he bo dy I n ext ensi on it .

i s the str on g ext en s or mu s cles of t he t hi gh whi ch ,

as si ste d by the p ate lla c on vert t he broken lever in t o

,

a fix ed one Hen ce when the pat ella snaps breakin g

.
, ,

tran s vers ely t he li mb b ec omes us eles s for a t ime t o

,

t he pers on ; it r emain s a broken lever al way s unt il

F i bu la/r A r ti c u la ti ons — T he u pper an d lower ex

tr emiti e s of t he fibul a ar e o
c nn ect e d t o t he t ib ia by
ligam ent s , ren derin g y immovable join t s
t hem n earl .

T he acc ompanyi n g woo dcut s wit h t heir explanation s , ,

s uffici ent ly p oint ou t their nat ur e and form .

A KLE
N -
!O IN T .

Thi s i s formed ab ove by the tibia an d fibula ; below

by t he astr agalus I t i s a perfect hin ge j oint an d
.
-

n ot hi n g els e b u t t he laxity of it s ligament p ermi t s of

,

moti on re semblin g t o a cert ain ext en t a semi r ot ati on

, , ,
-
.

Thes e li gam ent s are t he internal an d ext ernal lateral

ligament s of t he join t T he st rengt h of the joint
.
42 M A N UA L OF

and te n dons . T he inte grity

to its funct ions in man .

Skelet on of the Feet .

T ar s al A r ti cu lations — N umer ous li gam ent s , calle d

dorsal, plant ar an d inter os s eal t ie the bone s of t he

, ,

t arsus t o eac h oth er an d t o t he metatars u s They .

are of great s t ren gt h admit tin g from t heir s hort

, ,

n es s ,
of n o perce pti ble mot i on bet ween t ho se bone s .

S tren gt h is the obj ect requir ed h ere an d y et w e s hall

,

find t hat the cal ceo s caphoid li gament has been s ub

-

s t itute d for bon e in t he place where t he great es t

s tren gt h i s required T he woo dcut explai ns t he po si

.

i
t n o an d form of all t h ese ligam ent s an d t he aecom,

panyin g letters give their names T he inferior cal ceo

.
 A R TISTIC A N A TO M Y .

cu boi d li gament i s the next t o the cal ce o s caphoi d the

-
,

m ost remarkable in t he foot ; it i s of great stren gth ,

b in di n g t he bon es of t he foot t oget her in t he most

s o li d m nn er T h e m et at ars al bo nes are u ni t e d to
a .

eac h ot h er by an ant eri or infer i or li gament as well as ,

b y others seen in t he woodcu t T he t oe s have als o

.

t heir ligament s re s emblin g t ho s e of the fin gers t hat

, ,

i s lat eral an d ant eri or li gament s of a pr oportionat e

,

s t re n t h Th y dm it of flexi on an d exte n s i on T h
g . e a e .

j oin t formin g the b all of t he great t oe merit s a peculiar

s t u dy : t hi s p art alway s forms a r emarkable feature

i n t he form of the human foot O n thi s si de t he foot

.

li es t he s tr en gt h as it were of the whole n ot s o mu ch

, , ,

i n t he great t oe it s elf as in the met at ars al bone s up

p ortin g it ; in it s li gament s mus cles t en don s an d
, , ,

s es a
moi d b ones . B ut a c ons i derati on of t hes e j oin t s

I shall reserve for a sh ort chapter on the m ovement s

o f t he h ead t orso an d li mb s in as far as t he se m o ve
, , ,

ment s depen d main ly on t he shape of t he b on es com

posing the skeleton an d on the li gament s whether
, ,

real ly li ament ou s or fib re car tilagi n ous or compos e d

g
-
,

o f t hat pe culiar ellow ti s s ue whi ch nat ure s omet imes

y
u s es as a su b stit ute n ot merely for li gament and fib r o
,

cartilage b ut for t he mus cles thems elves

,
.
44 M A N UA L O F

C HA PTER V .

—
AN I MA L M EC HANI C S HUMAN PRO PO RT I O N S—C O N T O U R
O F T HE B O D Y — C O MP O N E N T D EE P S T RU C T URE S
,

P R O D U C I N G T HAT C O N T O UR .

T o math emati c ians an d others of a mechani cal t urn of

min d belongs t he cons i derat ion of the human bo dy ,

as c ompo s e d of lever s an d p ul leys co s an d whee ls

g ,
.

M en who ou ght to have bee n watchmakers hav e

, ,

b ecome s urgeons and anat omi st s and have writt e n ,

works on the philos ophy of t he human han d an d o n ,

animal mechani cs an d on t he human m ac hine wi t hou t

, ,

a s p ark of phil o sophy geni u s or t r ut h

, ,
B u t my re
.

marks on t hi s matt er will b e very brief I s hall .

e mploy t he secti on more as an intr odu ct ion to what

is t o follow t h an t o mere anim al mechani cs ; a dry

an d unint ere sti n g s u bj ect wort hy of Borelli
,
b ut n ot ,

o f R aphae l or t ho s e who pur p o se foll owin g him

,
.

S ta tion has been defin ed the vertical at t it ude of

man on a s oli d s urface . T he bas e of m tentatio n of
man i s t hat s p ac e on whi ch a lin e falls perpen dicularly
t hrou gh t he cen tre of gravity That t he bo dy m ay
.

remain in r epo s e all it s p art s mus t b e i n equ i libr io

,

aroun d the cent re of gravity T he pos it i on t hen of

.

the centre of gravi ty mus t b e regul ate d by t he form

of t he bo dy an d it s di s po s it i on I n man the ce nt re of
.

ravi ty i s situat ed b et ween t he pu b is an d t he s ac rum

g .

T he bo dy fall s when the lin e of gravi ty des cen ds

beyon d the b ase of s ustentation unles s in st antly ,

re st ore d by mus cular effort s .

 A R TISTIC A N A T O M Y . 45

By st udyi ng t he nature of the base of sus tent at i n, o

e as ily b e led t o underst an d the mechani s m of mot ion

an d repo se . St andi ng erect on one foot for example , ,

be comes a pain ful effort if continue d for any great

,

l ength of time ; an d t he st andin g er ec t on two f eet

becomes als o painful if conti nue d Hen ce the neces sity
,
.

w e feel of as sumi ng t he po s iti on of s tandi ng a t eas e as ,

it is ter med by military men ; a positi on which may b e

maint ain ed for alm ost any length of time without
fatigue . T he mechanis m of t his att it u de an d the
force required to main t ain it were t ot ally mi s ,

un derst ood by S ir Charles Bell an d Dr A r n ott In . .

s t an din g erect whet her on on e fo ot or both t he first

, ,

obj ect i s t o convert the limb int o a fixed lever ins tead ,

of a broken on e ; or i n ot her words t he kn ee oint

j ,
-

must b ecome fixe d an d unyi el di ng Wh en we st and .

upri ght on bot h feet t he kn ee j oint s are fixe d an d

,
-

s ecured by t he ext ens or mu scle s ac ti n g on t he r ot ula

, ,

and thi s agai n on t he ligament of t he r ot ula B ut t hi s .

requi res a st rong mus cular effor t an d t herefore it i s ,

t nat we cann ot remain long in t hat po siti on We .

mus t either sit down or s eek anot her and an eas ier
,

position ; now thi s i s obt ai ned by st anding on one foot ,

and placin g t he ot her s omewh at forwar d an d in front , ,

s o as t o ac t n early in balancin g t he bo dy b ut n ot for ,

t he pur po s e of s upporting it By doing so the knee

.
,

of t he s trai ght limb b eco me s fixe d an d t he limb an ,

un br oken lever alm o s t wit hout any mu scul ar effort

, ,

an d t hus the po sit ion may b e mai n t ain e d for hours

wi thout fatigue Thi s resul t is obtai ned by simply

.

alt erin g t he direct i on of t he lin e of gravi ty t hr owin g ,

it in front of t he k n ee j oin t an d n ot t hr ough the axi s

-
,

of the t i bia . T he task of mai nt ainin g t he lim b fixed i s

 M A N UA L OF

t hus oved from the ext ens or muscles and thr own on
rem ,

the p os teri or li gament of Win s lo w an d all fatig ue in ,

c ons e qu ence avoi ded S ir Charles Bell fancied t hat

.

t he re s ult was obtai n ed by a brac ing of t he fem oral

apon eur os is an d of t he pate lla by mean s of t he t en s or
,

muscle ; t hi s erroneou s vi ew is refute d at once b y t he

s imple fact that when we thus s tan d at eas e the
, ,

patella of the sus taining limb i s perfectly movable .

T he movement s of t he body are effect e d by the

s u pe rficial an d deep mus cles chi efly c overin g an d ,

attac he d t o t he s kelet on They have as appen dage s

.
, ,

te n don s aponeuroses cellular sheat hs ; all t hese in s o

, , ,

far as t hey are require d t o b e kn own t o t he ar tist I ,

s hall de s cribe in t he t wo s u b sequ ent chapters What .

r emain s for me in t hi s is t o de s cribe briefly t he cont o ur , ,

of t he b ody to st at e on what it depen ds ; an d las t ly

, , ,

t he general pr oporti ons of man an d woman The s e w e .

s hall fin d depe n dent t o a cert ain ext e nt on str uctures

, ,

alr eady de s cribe d namely t he skeleto n an d t he ar t icu

, ,

latio n s B ut t o un ders t an d t he cont our of t he bo dy

.

in all it s p erfecti on as well as it s variet ies t hat i s de

, , ,

for miti es —t o explain why t hat conto ur i s at t im e s

m ost beautiful at ot her times hi de ou s
, how it
var ies from in fancy t o s econd chil dh ood the te rm of ,

all mort al life how di s eas e and age an d povert y , ,

—
break up the fin est forms in a wor d how t he laws of ,

development an d of t he circumamb ient atmos phere an d

exte rnal world act an d re act u p on it can onl y b e ,

lazmed by a kn owled e of t he s tr uctur es comp os

'

es
p g
in g i t .

I prefer wi t h most ar ti st s the meas ur ement s of

, ,

t he human figure pr epose d by M C ou sin ; t hos e of .

A lb ert Durer ar e complex pe dant ic an d difficult , ,

t o comprehen d Gerard A ndr a] was a good ms a

. p
 M A N UA L O F

From the middle of the t high to the 1 he a d .

From the knee to below the calf 1

Fro m bel ow the calf to t he heel . 1

T he arms b eing fully e xt ended the

breadt h s hou l d
,

meas ure as nearly as may b e t he length t hat is e i gh t , ,

heads T he meas urements of t he tors o were give n

.

apart by Cousin ; t h us

T he t orso, from the s houlder to the geni t al s . 3 head s

1 head .

1
1

B ehi nd, the t ors o gives t he followin g meas urements

From the s houl ders to t he inferior an
gle

From the haunches t o the inferi or surfac e

Cous in divi des the head int o four equal par t

From the ver tex t o the c omm encement of

To the root of the o

n se

From the lower e dge of t he o

n se t o t hat of

1
T he nec k
From the shoul der t o the wris t
T he hand
From the geni tals t o t he s ole of the foot .

T he han ds are t hus as long as t he face ; t hey mea

sure t hree t imes the lengt h of the n ose ; on e part is

all ow ed for the wris t T he woo dcut in p age 5 0

.

will best explain how t he fin gers shoul d terminat e ,

 A R TISTIC A N A TO M Y .

Figures showing the proportions of M an and Woman .

E
50 M A N UA L O F

with a reference t o their re s ect i e

p v lengths . A n
y

t hem to resem ble more or less the fingers an d toe s of

t he lower animal s .

1 T he
. relative lengt h of the Fingers . 2 A ntique
. Foot .

I n this s st em
y the t erms nos e and p art are of e u al q
val ue .

T he lengt h of the foot i n profile

part s b u t is four ,

Cousin has further s ub di vided the foot in t o t hree

part s ; these have a reference merely to it self From .

the inste p to the b all of t he great toe or joint he , ,

reckon ed one p ar t t wo thirds ; b ut reckoni n t h foo t

g e
-

as equal t o four n os es or p art s the little t oe com

, ,

men cin g at the last thi rd of the third p art an d doe s ,

n ot exten d beyon d t he h alf of the second ph alan x of

the great t oe The length of the nail measure s t he

.

progressive increase of the succeedin g t oe s .

Cousin s met hod of measuring the breadth an d

’

thi ckness of t he bo dy was as foll ows T he lin e passing .

before the eyes to the ext ent of the breadth of the face ,

t hat point he divi des int o five equal parts ; the eyes
o ccupy the s econ d an d the four th, the n ose the t hi r d .
 AR TISTIC A N A TO M Y . 51

T he eye it s elf he further b divi des int o t hr ee p art s

su ,

t h e cent ral one of whi ch c ompri s e s t he tr an sp arent

c o r n ea ; t he a ert ur e of
p t he eyeli ds i s equal t o one of
t he s epart s .

T he breadth of t he n o se at t he
bas e of t he nost ril s ,

e qu a ls the length of t he e e b ut vi ewed in profile it

y , ,

i s narro wer by a fourth ; in lengt h t he n ostr ils e qual

t h e half of t he breadt h of t he n o s e .

T he mout h shoul d meas ur e t he len gt h of t he eye

an d on e half
-
By mout h I here mean t he opening of
.
,

the mout h and n ot t he bu ccal cavi t y withi n

, T he .

height or dept h of the upper li p equals t he eight h of it s

length ; t hat of the lower a fifth .

T he ext ernal ear i s as b eautiful in the anti que st at ue

as e very ot her part o f the bo dy I t s beaut y dep en ds .

o n it s form an d t hi s i s i n p art base d on it s prop e r

,

t ion s ext rin s ic an d int rins i c : t hat is first in relat i on

, , ,

t o t he rest of the head ; sec on d in relat ion to it s own ,

p art s
. I t s po siti on an d len gt h are meas ur ed an d
determin ed by a line ext en di n g b ackwar ds from t he
external an gle of t he eye an d an ot her from t he b as e
,

of t he n os trils ; bet ween t h es e t wo lin es is place d t he

ext ern al car I t mus t n ot b e place d t oo far b ac k in

.

either s ex as h app en s in t he ! ew b ut it i s fur ther

, ,

forward in woman than in man When I examin ed .

the s omewhat celebrat e d st at u e of Thorwalds en n ow at ,

Trinity C oll ege Cambridge a st at ue of no great merit

, , ,

n ot wi t h st an din g t he celebrity of t he s cul p t or I t old ,

my esteeme d fi iends who showe d me the st at ue t hat

'

if the scul pt or had in thi s in st ance followe d N atur e or , ,

usin g a m ore c orrect phras e s cul pt ure d a fac s im il e

-
,

likenes s of Byr on in all respect s t hen t he great p o et ,

Se dgwick , C lar ke .

R 2
52 M A N UA L OF

and sati r ist mus t h ave head ; f o r

had woman ’
a s ,

making allowance for it s greater s iz e and elevat i on t h e ,

crani u m resemble d a woman s in all ot her resp ec t s

’

an d especially in t he s ett in g on of the cars .

I n front t he neck viewed from t he height of t h e

,

nasal li n e meas ures half a head in bre ad t h ; on a lev e l

,

with the su pra st ernal fac ette it is nearly as wid e

-
,

agai n .Divide t he lengt h of t he head and n ec k in t o

five part s , on e half ( t wo an d a half ) of t hes e will give
-

y o u t he b r eadt h of t he n eck at t he c ommen cem en t o f

t he sh oul ders .

Fro m one shoulder t o t he other 2 he ads .

Between t he haun ches on a lin e wi th t he

B et we en t he t rochant ers
Fr om the s houl der t o t he ni pple
Profile
T o the line of t he na el
v
To b eneath the butt ock
A rm ant eriorly
,
at t he el
b ow
1
A t t he art icu lati n o i
Ext ernally an d in t er nally, t he t hickn es s of t he ar m

e qual s t wo part s t owar ds the shoul ders an d on e par t ,

t wo t hir ds at t he elb ow ; a t hir d of a head b elow t he

-

ben din g of t he elb ow an d one part at the wris t

, .

Thi gh t ran s vers e diamete r upper part

, 3 p ar t s
, .

Thigh ,
di tt o in t he 25 “

Leg di t t o on a level wit h t he calf

, ,
21
Leg dit t o un der t he c alf
, ,
1 2 p art .

Leg di tt o un der t he ankle

, ,
I
O n t he inn er as well as out er s i de seen in profile the , ,

t high m eas ur es
3 } p art s .
 A R TISTIC A N A T O M Y . 53

E ddi e portion 3 part s .

T he kn ee an d calf of t he leg 2 1
7;

T he part below t he c alf Ii

A bove the ank le p rofile ,
. l l h ead .

F o ot ant eriorly di amete r

, ,
1 3 part .

I t i s u sual t o s ub di vi de t he di git al p art of t he foot

in t o t hree e qu al par ts or por ti on s : t he firs t compri sin g
t he gr eat t oe ; t he s econ d t he s ec on d an d t hir d t oe s ;
,

t he t hi r d the four t h an d fift h to es

,
.

B ehi n d t he lower p art of the leg t he par t above the ,

ank le an d t he b ack p art of th e fo ot or heel — meas u re ,

m en t on e p art .

T he foot viewe d in profil e gives fr om t he ,

sole to the in ste p I i part .

T he great divis i on s C ousin cons iders t o b e t he same

for woman as for man ; b ut t hey vary con s ider ably as ,

w e s hall after war ds explain more fully in Part III .

C ou sin gives in her

B readt h fr om one s houlder to the
,
6 p ar t s .

at t he w ai s t or ir dl e 5
g
at t he haun ch e s 8
S een in pr ofile ( an te ro post er ior di ameter ) the female
-

figure give s
O n a level wi t h t he b os om an d the haunches 5 par ts .

4:
T he thi gh below t he butt ocks
T he kn ee ,
t he same as t he n ec k
I 0
.

Wris t an d leg above the ankle meas ure one half the
,
-

n ec k .

Cous in rec ommen ds to the artist to give t o woman s ’

s t at ur e a head le s s t han t h at o f m an .

M eas urements of the C hild ( C ous ) i n —When Cous in

54 M AN UA L OF

wr ote , t he nature of human development and growt h,

t he s ignificat i n o of t he infantile, j uvenile an d adu l t
,

forms was ent irel y unkn own . This i gnorance o f t h e

philos ophy of human nature ,
t hi s ab s en ce o f all
rati onal t h e ory did not an d could n ot mi s lead th e
,

g r e at mas t ers of an ti quity ; t heir t alent for ob s er va p

ti on an d their di vine geni u s pen et rate d t he veil o f

N ature wi thout clearly comprehen di n g what th ey s aw
,

B ut t hey saw the tr u th; geni us and t ast e an d a love o f ,

the uni vers al an d of t he perfect ac co mpli s he d t he re s t

,
.

For t his an d
other reas ons I do
n ot att ac h m u ch

importan ce t o t he
s e - call e d measure
ment s of t he
”
c hild ,
by Jean
C ou sin .

T he growt h an d
development of t he
chil d is re ulate d
g
by laws which do
n ot exact ly fal l
withi n t he s co pe
of rul e an d weight ;

in other wor ds its ,

laws have not yet

been fully deter
min ed .T he chil d
“

m eas ures five part s

of w oman or five ,

heads in height
t he expres si on i s
li able t o a s erio u s
56 M A N UA L O F

of a head ; the leg, above t he instep meas ure s t h e

half of t he neck T he fore or anterior par t o f th e
.

foot is broad as the knee T he wrist meas ure s i n

as .

breadth the fifth part of a head .

These proporti ons are further st ate d to b e those o f

a chil d about t hr ee years old From t hr ee t o fo ur .
,

t he ent ire height i s five an d a half heads ; fro m e i ght

t o nine s ix heads ; fr om t welve t o fifteen s ix he ads
, ,
.

an d a half ; from fift een t o s eventeen se v en heads I , .

do n ot attach much importance to t hese m e as u re

ment s .

T he yste ms of proport ion s proposed by M Ger dy

s .

an d M M ontab ert do n ot differ es sentially from t hat

.

of J ean Cous in Gerdy di vi ded the whole hei ght o f

.

t he bo dy mal e or femal e int o eight equ al part s o r

, ,

heads . T he firs t comprise s t he head ; the sec on d e x

te nds t o the ni pple t he thir d exten ds t o t he .

navel ; t he fourth to t he genit al s ; t he fif th t o t he

, ,

mi ddle of the thi gh ; t he s ixt h t o below the kn ee ; t he ,

se venth t o t he m iddle of t he leg ; t he ei ght h

, t o t he ,

s ole of the foot .

T he head M G ordy s ub divi des i nto four equ al

.

part s ; thes e region s or part s as in the s yst em of ,

Jean Cou sin s erve as comparative measures for t he

,

other proporti ons of the body .

T he syst em of M M ont abert was more metho di cal ;

.

b ut he als o di vi des the head int o four equ al p art s .

The full height he divides i nto 1 00 equal p ar t s ; at

the pub is he plac e d the cent re or fifti et h p art It , .

i s unn eces sary t o foll ow out furth er a sys tem whi c h ,

an art ist may in the mal e or femal e fig ure c on str uc t

, ,

I nfl wm ea —A lthough a des cripti on of the exteri r o be .

 A R TISTIC A N A T O M Y . 57

l o ngs more properly t o Part I I of . t hi s work , it may

be as well t o advert t o it here . I n drawing t he
s kelet on arti cul at ed the art ist ic s tu dent may u n
,

h appily imagine th at he is ac quir ing a j u s t idea of

t he e xt erior an d of the cont o ur of t he hvi n g frame ;
an d he will b e t ol d t hi s by p ers ons unhappily s t i ll
c onn ect e d wi t h an d influencin g hi s e du cati on He wi l l.

b e t old that he must generally in hi s great pi ct ure s , ,

draw t he skeleto n fig ur e fir s t clothin g it aft erwar ds ,

wi th it s drap ery of flesh an d skin B ut no idea can .

b e more in co rr ect than thi s N e ither wi ll he e ve r

.

o b t ain a fin e c on t our fr om a bony fi ure ; t he drap ery

g
s p read over t he b ony figur e o r s kelet on b ears n o

re s emblance t o t hat whi ch clot he s t he livin form

g .

A fter co mplet in g the s t u dies

I have poin t e d out in thi s Par t ,

t he s t u dent s hould next pr o

c ee d t o draw t he great c on t our

of t he b o dy T he s ignificati on
.

of t h e se c ont o urs I re s er ve for

t he followin g se ct i on s ; a w or d
or t wo will s uffice h ere .

St udy an danal ys e the mas ses

n o geomet ri cal met ho d will an

Draw the outlines fre

quently fr om t he antique at ,

t en d n ot at present t o what
t hey me an ; all thi s will b e
e xplain e d i mme di at ely Vi e w
.

and dr aw t he o utlin e in fr o n t ,

in profile an d at t he b ack ; all

,

T h e Venu s de Medi ci
are be autiful i n t he fin e figur e
.
.

x
N e t let t h e s t ud e nt o b s er ve t h e v ar yi n g co l o ur of t h e

M r H
. ay s a
’
t te m p t al
,
th ou gh a fail ur e,i s t h e mo s t ing eni ou s .
58 M A N UA L OF

s kin in diflerent
'

o
re i ns
g hildren
in c ,
in woman ,
in
m an ; divers ified an d mo dified by age and race , an d
e ven a li tt le by hab it s and clim at e .

Study al s o the management of t he hair ; of t he fur

rows , whether caus ed by mus cular contracti ons o r ,

pro duced by age ; or finally due t o a nat ural develop

, ,

ment indepen dent of eit her T he colour varies als o

.

wi th mus cular exertion as over the joint s t he breadth

,

of s o me regions als o as of t he wris t s varies fro m t he

, ,

s ame cau se as was l on g ago s hown by Da Vin ci

,
.

I t i s n ot expect e d of t he arti st t hat he s hould s cul p

t ure o r p aint all t he s e wrinkles an d folds ; b ut he
must atten d to t heir eflect s on the colorat i on i n
'

paint ing T he great arti st s avoi ded paint ing or s cul p

.

tu rin g n ew born c hildr en or even t hos e a fe w day s

-
,

o ld . They were aware although t hey knew not t he

,

r eas on that s uch form s were n ot s t rict ly hum an o u t

, ,

of all pr oport i on an d dis pleas in g to t he eye

, The y .

avoided t h em t herefore in stin ct i v ely as a res ul t o f ,

t he ir t ast e an d geni us al t hough t hey knew n ot t hat

,

s u ch imp erfectly develo ped forms i n acc or dan ce wit h ,

t he law s o f uni t y of t he organiz at ion r epre s ent more ,

or les s oth er lower forms of the organi c worl d .

 A R TISTIC A N A TO M Y . 59

C HA PT E R V I .

OF T HE S KE LE T O N GE N E RALLY ,
AND S I A L LY
E PE C OF
T HE A
HE D , EX AM IN E D WI T H O T HE R V IE W S .

N o peculi aritie s of t he race s of men and o f in di vi duals

have receive d s o mu ch at tenti on from t he ar ti s t as t ho se
of t he head whet her vi ewed as a skeleton or when
,

cl ot he d wi th soft s t ruct ur e T he anat omy of t he head

.

for ms in fac t t he great an d sole st u dy of m os t artist s

, ,
.

I s hall fir st co ns ider t he skelet on of t he head res ervin g ,

man y remarks for t he chapter on t he form of the head

as c onn ect e d wi t h rac e .

From the earli est perio d of re cor ded his t ory man ,

ki n d has been di vide d in t o di stinct race s whos e form ,

an d phys i o no m y it i s in en eral e as y t o di s co ver

g g .

T he great mast ers of the art have eit her n eglect e d

or de spi s ed t hes e phy s ical tr ut h s T hey coul d affor d .

t o do s o ; b ut I qu es t i on mu ch if t he s maller min de d -

m en of t he pr e s ent day woul d admi t of t hi s Litt le .

m in ded men are apt t o confoun d physi cal fac t s which ,

t he y call c on s tan t s wi t h ar tis t ic t r uth s an d an ana

, ,

chroni s m t hr ow s off t h eir balan ce all mi n ds lo oking

o ut for con s t ant s R ub en s s D ani el i s n o ! ew ; hi s

’
.

'

Sabine women are large Dutch A mst er dam c r ows

s u ch Venus es an d Ju n o s as w ere n ev er s een out of

Hollan d Proper B ut all thi s w e are force d t o p as s

.

o ver or rat her n ever t hink of b e cau s e t h ere ar e n o

, ,

s uch men n o w as R u b en s R a phae l s M adonnas were

’
.

merely goo d lookin g Itali an women wit h a caste of the

-
,

ant iqu e st atu es ; G ui do B heni s M adonn as had di vine

’
CO M A N UA L O F

and an li fac es , h were never s een in J u dea ;

ge c su c as

b ut we never t hink of t his when lo okin g at R aphae l s

’

work s or if we think for a mo ment of t he as to undi ng

,

anac hr on i sms whi ch s u ch reat mas te rs overc ame it is

,g ,

merely t he more t o adm ire t heir art an d power .

I n mo dern art t hi s will s car cely do ; t he cons tan t

mu st I fear b e t hou ght of by t he art ist an d a low
, , , ,

u t ilit arian me chani cal mi n d deman ds a fit n e s s i n all

,

t hin gs ; in t ime in plac e in rac e ,

‘
A s t he rac e s of men
,
.

di ffer i n min d s o al s o do the y differ i n b o dy an d e s pe

, ,

c ial l i n t he h ead ; t h ey differ mos t in t he e xt ernal charac

y
t ers of t he he ad b ut t he s kelet on difler s al s o n ot a li t tle ,
'

at le as t in form ; an d i t i s t hese differe n ce s of whi ch

,

I am n ow ab out to tre at T he s o m uch t alke d of fac ial .

-

li n e or angle of C amper may as well b e di s cus s e d he re .

Let t he s t u dent look att ent ively at t he s keleto n of

t he Eur op ean head 1 an d dr aw it s everal t im e s,
'
He .

wi ll di s co ver s ome p oi nt s whi ch he mu s t af ter

war ds read thro ugh t he livin g stru ct ur es Let him .

firs t att en d t o t he male h ead Thi s i s char ac t er i s e d .

by great er st rengt h an d t hi ckn es s an d weight ; the

protub eran ces m arkin g the pres ence of t he fro nt al
s inu s e s ar e fir s t e sp eci ally ob s er vable in m an b ein g
, , ,

want ing b ut n ot u niformly s o in woman A bove t he

, ,
.

pr ominences ar e the front al pr ot uberan ces chiefly ob

s erv able in t h o s e i n wh o m at on e ti me t h ere e xi s t e d , ,

a t en den cy t o wat er in t he h ead ; s ec o n dl y in t h o se ,

whos e heads ret ain something of the infant ile form

t o mat ur e ye ars A t t he s i des are s een t he t emporal
.

fo s sa b oun de d by an o s s eou s cr es t run ning from

, ,

t he e xt ernal an gular pro ce s s of t he front al bon e t o

near t he mas t oi d pr oce s s of t he t em por al Thi s ri dge .

T he R aces o f M en 9 Fragm ent B y R Knox (R enshaw

: . . .
,

Lon don) .

1 S ee
'
Fi gure p ,
. 27
 A R TISTIC A N A TO M Y .

pr e sent s varieties in str ength ; I have s een it strong

i n the Hi n doo s kull occas i on all y b ut t hi s st rengt h i s
,

n o t ch aract eris t i c of any r ace I n the anim al n ear e st

.

i n form to m an it i s a remarkable feat ure formin g a

, ,

p art m erely of a system of crest s of whi ch man ret ain s ,

b u t t he r u diment s or vesti ges This is a common

.

oc c ur ren ce wit h man an d ani mal s each race an d eac h ,

s p eci e s e xhib it in g wh en perfect i t s own dev elopme nt

, , ,

—wh en imp erfect that of ot hers

,
.

T he m es ial lin e al on g t he vert e x i s sli ghtly elevat e d

i n s ome i n di vi duals ; it is the v es tige of crest s which are
promin ent in man y ani mals T he e xt ernal occipital pro
.

t ub eran ce m erit s the attent i on of the ar tis t b ut ,

e s pe ciall y an d ab ove all t he fo rm of t he con dyle s

, , ,

o f t he o cc ip it al bon e t he form of t he o ccipit al bon e

,

i t s elf an d t he m o de of it s art i cul at i on wi t h t he fir s t

,

c e rvi cal v ert ebr a or t he atlas Look at t he po sit i on

.

of t he s k elet on of t he h ead wit h r eferen ce t o t he ver

t e b ral column ; s t udy i t s m o vement s on t hat colu mn

e ven i n t he s keleto n form t he r e as on will b e give n
ou aft er war ds Ob ser ve t he greater bulk of t he m ale
y .

h ead an d ob serve how mu ch of it i s in front of t he

,

e ar ( m eat u s au di t oriu s ext ern u s ) c o mp ar ed wit h t he

,

fem al e h ead ; an d n ow plac e t he female skull b efor e

o u dr aw i t an d comp ar e it wi t h t he male A t
y , , g r ea er .

deli cac y of s t r uct ure dim in i sh e d cap acity fin er p r o

, ,

portio n s a lower ver tex a greater ext ent bac kwar ds

, ,

of t he occ ipit al bo n e or o ccipu t b ehin d the p o s it i on of

,

t he e ar ; t hes e characteri s e t he femal e sk elet on h ead .

A n arrow an d depr ess e d for ehead generall y s moot h ; ,

n o fr ont al s inu s es or at leas t n o pr omi n en ce markin

, g
t heir pr esen ce ; t h ese cir cum s t an ce s mark the he ad of
woman as of yout h T he front al proj ect ions s carcely
.

app ear b efore p ub ert y in man an d mo st fr e qu ent ly ,

62 M A N UA L O F

ne erv woman This C anova for got wh en he s culp

in .

t ured his Pari s forgett in g t o mark u pon t he brow

,

t hat groov e seen even in t he A pollo in t he yo ung ,

Bac chus in the young Hercul es char ac te ri sti c of

, ,

puberty and of manhoo d T he Paris t hen of Can ova .

, ,

leave s t he ob server doubt ful of it s s ex : n o an t i que

s cul pt or ever co mmitt e d t hi s e rror He wi s hed to .

make Paris b eau t iful forget tin g t hat althou gh b eau

, ,

t iful he was als o a man ; an d he carve d a figur e whi ch

,

has b een t aken for a M i ner va .

O f t he skelet on of t he fac e I n ee d s ay lit tle or

"

n othin g ; it b ears n o r es emblance t o t he li vin g fac e i t i s

i t s antithes is Draw it t o learn t o avoid i t ; the malar

.

o r ch e ek b on es so pro minent in t he dar k r ac e s o f men ;

-
,

t he upp er m axillary bones s o large als o in t hem ; t he

,

lower j aw bon e wit h it s s ymphysi s angles an d con

-
, , ,

dyles an d corac oi d processe s for t he att ac hmen t of t he

, ,

t emporal mus cles .

Before con si dering more in det ail t he remain der of

the s kelet on it may b e as well t o offer you a few
,

marks on t he s kelet on of the h ead wit h a refere nce to ,

i t s charact eri st ic differenc e s in in di vi dual s and in rac e s .

C amper an ingeni ous an d ob serving man a go o d

, ,

art i s t t ho u gh n o great anat omis t was t he fir s t t o

, ,

re mark t hat if t o t he outlin e of t he n oble an t iqu e fac e

, ,

as tr an smit t e d t o u s by t he Greeks two lin e s he ,

a pp li e d— o n e runni n g thr o ugh t he e xt e rn al meat us o f

t he t emporal bon e forwards un t il it pas se s an d proj ect s

beyon d t he incisive t eeth of the upper j aw ; t he s econ d
lin e des cen din g from t he forehead an d so int ers e ct in g ,

t he fir st im me diat ely in front of the maxillary bon e ,

t hes e lin es at the s e po in t s of in t ers ect ion would for m

an an gle whi ch in the ant iqu e figur es of Greece wo uld
, , ,

S ee Figur e p 2 7 , . .
64 M A N UAL OF

sub s equent c ah pter when descr ibing the head clot h e d

,

w it h s o ft p art s I s hall enter more full y i n to t hi s

,

q ues t io n I n t he meanti me let me s t ate h ere t h e

.

‘
vie w of C amper s i de as taken up by t he anato mi st .

I t was remarked by M C avi er t hat if C am pe r re all y

.
,
”
meant t he angle to b e us e d as a meas ure dir ectly o f
t he re lat io n of t he brain t o t he face or wh at he t h o ug h t
, ,

amou nte d to the sam e t hin g t he comp arat iv e rati o o f

,

t he crani al cavity an d t he rat io it b ears t o t he face

, ,

t his mo de of t he c elebrat e d D utchman was dec i de dl y

C rani um of t h e N e gr o .

C rani um of the Tas mani an .

 A R TISTIC A N A TO M Y .

d e fect ive . For, firs t , he had v

o erl o o ked the frontal
s i n us es ; an d, se con dl y if it were
, really inte n de d t o

c o m par e t he brai n with t he fac e t he ar ea , .

of the ver

t i cal s e cti on of the cavity of t he crani u m hould be

s

c o m par e d with the area o f t he vertical se ct i on of t he

face ; t he former in dicatin g the ext ent of t he en c e

h ali c or gan in on e s en s e at leas t ; t he lat ter fur

p
hin g what at most can b e called a vague est im ate
o f t he o s s eo u s cavi ti e s inte n de d t o lo dge an d pr o

t e c t t ho s e two which mo st prevail

organs of s en se

i n t he lower an imal s nam ely t he n o se an d t ong ue , , .

B u t after all n othing can b e m ore vague than s u ch

, ,

m e as urement s an d co mparis ons t hough s an ct ion e d by ,

t he great n ame of C uvier .

A f ter thi s it b ecame fas hionable to look at t he skul l

i n a v ariety of ways Blum enb ach s ug ge sted t he ver
.

t i c al vi ew ; it shows you the ext ent t o which the upp er

an d lower j aw s proj ect b eyo n d t he orb it s an d forehead

i i i the dark race s as comp are d wi t h t he fair

, I was .

t he fir st I beli eve to s u ggest t he b as ial vi ew whi ch

, , ,

s how s mu ch b ette r than either o f t he abov e the ab s olu t e

, ,

C rani um
'

of the C aflre .
66 M A N UA L OF

preponderance of the upper j aw in the dark rac e s o v e r

the same part in t he fai r .

Compare together the s kull of any dark pers on n o ,

matter to what rac race t h ey b elon

g
—ne ro Tas mani a n
g , ,

Es quimaux B o sj eman Hi n doo R e d In di an— wi th a

, , ,

skull of an of t he M o ean or ab s olut ely fair r a

y p ces ,

an d ou will dis cover at on ce t o whi ch t ro u p o f

y gre a g
the human family the skull in questi on b elon gs .

B ut n on e of t he s e vi ews give u s any compar at i v e

meas ure of the human or brute intell ect an d this w as ,

t he great error ; it e xt en ds un der ot her formulas t o t h e

pres ent day T he erroneous doctrine commen ce d wi t h
.

Camper ; hi s first fac t was a fals e one t horoughly fal se ,

.

I t was repeat ed by S ir Charles B ell an d M r Hay don .

,

who str ange to say had n ot the power of ob s er vat i o n

, ,

t o look about t hem in Lon don an d els ewh er e wh e r e ,

t hey woul d have foun d hun dreds an d hun dre ds o f

pers ons whose profile e qualled t he fin est mo dels o f
an t i qui ty I have n ever been able to ac coun t for t his
.

e xtr ao rdi n ary error i n ob serv at i on .

A p s eudo p sychology b as ed on mi sconc epti on s o f

-
,

man
’
s intellect ual nat ure , has min gled
t he s e has ty art i s ti c views of Camper ,
an d

C rani um of t he C hen ook .

 A R TISTIC A N A TO M Y . 67

m o re ri
gorous dem onst rat ion s of Cuvier . T o t hi s I
m ay aft er war ds advert .

Pas sing fi c m the skelet on of the head to that of the

t r unk I fin d it n ece ssary t o call att ent ion first to
, , ,

t h e v ertebral column : the head it self i s b ut an ex

t ensi on of the verteb ml colum n ; i t s ext en si on u pwar ds ;
i t s cephali c porti on A ll t he ot her bones dir ectly or
.
,

i n dir ec tly conn ecte d wit h t he vertebral column are ,

ap p en dages of it or m ay at least b e r eceive d as s u ch

,

wi t hout any great detriment to philos ophy or t o art .

W hat t he ar tist has t o con si der i s fir st it s form ;

.
, ,

s ec on dly it s m oti on s
,
Thes e we shall con sider in the
.

hi s to ry of t he arti culat ion s ; at present w e have t o do

c hi efly wi t h t he form an d con st ruct i on of t he colum n i
"

I t i s co mpo se d of thir ty t hr ee bon es ; if we in clu de

-

t h e ce phali c po rti on or head we mu st add four or five ,

m ore for t he n um b er has not as yet b een det ermin ed

,

by philo s ophi c an at omi st s B ut confini n g your atten

.

ti o n to t hat su cc e s si on of b on es t o which t he name of

v ert ebral column i s u s ually iv en ou will fin d i t com
g y ,

posed of thi rty thr ee bones arranged in five di vi sion s ;

-
,

nam ely c ervi cal ( s even ) dor s al ( twelve) lumb ar (five)

, , , ,

s acr al ( five) c occygeal ( four )

, T hes e oc cupy s o man y.

di fferent r egion s of t he tr unk T he bone s compris ing .

t hem vary greatly in t he di fferent region s b ut t hey ,

are all an alogou s b u t n ot homologou s ; th at is

,
eac h ,

bon e represent s i tself and no other T hey ar e com .

pose d of similar or i denti cal element s s uch as s pin ou s , ,

tr ans vers e ar ticular proce s ses or b o di es an d a s ho rt

, ,

c anal at the b ac k of t he bo dy of the verte bra; for

cont ai mng an d p erhap s prote ct ing a porti on of t he

s pinal marrow B v y v b difl om wh

'

u t .e er ert e r a e rs s e at
from e ach ot her ; t hey ar e n ot i denti cal or homologous
S ee Figure p 33 ,
. .

r 2
68 M AN U A L OF

t he arti s t lo c k t hem carefull y over ,

as a whole an d as

looked at . Draw it a goo d many t im es ,

so as to ac

quire a knowledge of its c ur ves , proportions ,

direc t i o n s,

head , sacr um , etc . T he ideas so ac quired t he art i s t

may fin d of utility when he leas t expects i t .

A nd now a few words as t o t he re mainin g s t r u c

t ures ; t he ribs breas t bone an d t he co st al car til ag e s
,
-
, .

Draw them in the male sk eleto n an d ob serve t h e ,

st rengt h an d arch lik e s hape of t he r ib s when co m

-

carefully compar in g it wit h the female t hey differ o r

, ,

t hey ought t o difler as mu ch fr om eac h ot her as an y

'

T he R i b s.
 A R TISTIC A N A TO M Y . 69

p ar t of t he body Be si des the slen dernes s of all the

.

b o n es the ribs have di fferent forms ; in woman t he

, ,

fou rth fifth s ixth an d s event h rib s repres ent small

, , ,

s e ment s of lar e arches ; in man t hey represent larg e

g g ,

8 e gm ent s of

sm all arc hes .

m al e skelet o n
b efore you, t an d
c ompar e it with

su cce s si n o . If
y ou mus t know
so me t h i n g o f
anato my — an d ,

t hat t he fir st ar

-
let it b e o
s un d

Osseous Pelvis , female .

A tten d ne xt bones found in the lumb ar re

to the five

g i on in t he mal e an d femal e sk elet on T he s p ace b e .

t ween t he chest and the pelvi s i s much wider in woman

than in man ; t he c aus e of thi s will b e explained afte r
wards T he collar bones are much stronger in man
. -

t han in woman ; they ar e di fferently s hape d T he s ame .

remarks apply to all t he bones of t he superi or or tho

raci c e xtremit ie s I agai n subj oin t heir names below ; I

.

Figure p 68
S ee , . .
1 S ee Figure p ,
. 16 .

I S cap ul a clavicle , , humerus , dius

ra , ul na carpal
, , metacarpal,
and digi tal b ones .
 M A N UA L OF

in drawing t hem, name t h em . An artis t s hould s how

so me s matterer an d pedant wit h a want of anat o

mi cal kn owledge .

T he pelvi s in man and e specially in woman mer it s , ,

t he attenti on of the art i s t I n man it nee d n ot b e .

,

p articularis ed ; in woman ob serve t he fin e o val it s ,

int eri or pre sent s the great breadt h of the haun c h

,

bones the want of dept h in the true pelvi s t he

, ,

arc h below the pube s whi ch i n man is a t r i ,

angle las tly t he gen eral deli cac y and ro un dn ess of all
,

the proces ses I t i s t hi s great br eadt h of the u ppe r

.

pelvis in woman which most deserves t he at tent io n

of the artist T hi s has not hing to do as the u tili
“

.
,

t ar ian philo sophy woul d mak e you beli eve wit h c hild ,

bearing ; nearly all the views of struct ur e b ase d on a

fin al cause are fal s e : t he t heory is incorrect fr om
beginn ing to end .

T he fin ely formed pelvi s of the I hi ropean woman

- ‘
,

li ke the finely fam ed head i s n ot very c ommon Per

-
, .

fect ion of form i s the law b ut n ot the r ul e ; it is ,

what N at ure aims at b ut what she seldom attain s ; ,

it i s the only t ruth ab s trac tedly b ut like other tr ut h s , , ,

it i s not always met wi th .

T he remar ks appli ed to t he t horacic li mb s will apply ,

muta tis ma tandus to the lower Let t he ar t i st draw

/
, .

them carefully studying at t he same t im e t he form s

,

of the joint s their bre adth t h eir relativ e po s it ion to

, ,

eac h other I n t he limb w e have the thi gh bon es an d

.
,
-

the bones of the leg the fibula and ti b ia an d the rot ula , , ,

which belongs to the syst em of the os teoids and n ot to ,

the skelet on I n the foot we have the t arsus metatars us

.
, ,

an d the bones of the toe s Al though the livin g foot .

,

when finest bears least resemblance to the skelet on

,
 M A N UA L OF

T he s keleto n of the infan t .

lt
a
di ffers in e erv y res
pe ct

from that of t he adult . T he facial angle is n ear l

y
t he
head pre pon derat es over all ; the j us tly de
velo e d forms s how t hems elves in t ime as the lim b s
p ,

lengt hen an d t he t ors o ac quire s str eng th .

I n con clu sion I have t ho ught it right to add i n a

, ,

s ub s equen t p art of t he w ork a fe w addi t i onal remar k s

,

on the mi s c on cep t ion s in re ar d t o t he form of t h e

g
ant iqu e br ow an d profil e in c onn e ct i on wit h C amper s
‘
’
,

facial angle an d t he still more m odern phr enological

vi e ws . T hes e vi ews we s hall fin d as re gards t he an
, ,

t i qu e he ad are u tt erly fal s e S ir Charles Bell s as ser

’
, .

t i on t hat a fac ial an gle equal t o t he anti que rarely if ,

ever now occ ur s i s an as s ert i on devoi d of all b as i s i n

, ,

fact t here bein g n ot hi ng more common in

,

this day .

S ee Figure p , . 55 .
 AR TISTIC A N A TO M Y .

PART II .

C HA PTE R I .

IN as far as regar ds art , t he human figur e may b e

di vi de d in t o xt eri or an d an
an e in teri or A porti on
.

o f t hat i nt eri or has been alr eady c on s ider ed ; dee p

as it i s it affect s t he ext eri or

,
Thes e shapeles s pro .

ce s s e s the s e un s eemly ri dg es an gles an d cr es t s t h es e

, , , ,

kn ott ed j oin t e d hi deou s form s whi ch you have s een

, , ,

c o mp o s in t he s keleton appr oach an d mo dify the e x

g ,

t eri or even in t he healthi e s t p ers on cont ribut in g n ot

, ,

a litt le as I sh all p re s en tly s h ow you t owar ds t he pr o

, ,

du ct i on of t hat n oble outlin e m askin g the in t eri or an d ,

b ecoming in t he youn g an d beautiful in t he Venu s in

, , ,

t he D i an a in the mat chles s forms of t he N i obe an d her

,

daug ht ers all t hat i s perfect

,
B ut over t he s e bon e s.
,

whi ch really have shap es in comprehen sible t o hu man

mi n ds N at ur e to s ui t her pur p o s es has s pr ead thr ee
, , ,

s yst ems of or an s : t he mu s c ular sy ste m t he a on eu

g p ,

rot i c
,
an d t he in te gument ar y c overin g of t he bo dy .

How t he se t hree affect an d ul timately pro du ce t he

e xt e ri or an d it s ou tli n e I s hall en deavour to explain
,

in t hi s s ecti on of t he work .

W hen the st udent commences

about t o b e de s crib e d he ou ght well t o co n s ider t he
,

nat ure an d charact er of t he mat erial s place d at hi s di s

posal These may t hus briefly b e summed up : firs t

.
,
74: M A N UA L OF

drawin gs of human frame complete ;

the mu scles an d

s econ d ecor c hee fi ure s an d plas t e r cas t s of t he mal e

’ ’

, g
an d femal e complete forms ; t hi rd di s s ect i on s of the ,

mu s cles of dead pers ons as placed b efore hi m in ,

anato mi cal roo ms ; fourt h as re gards t he exteri or ,

s olely , drawin gs fr om t he anti qu e an d from the

re at mas t ers ; fifth c op ies of t he s e drawi n g s ; s i xt h
g , ,

t he li vi ng fig ure ; s even t h the an ti qu e s t atu es an d , ,

t he origin al dr awi ngs t hemselve s of t he great mas ters

I shall say a few words in res pect of t hes e materials ,

whi ch are u s ually more or les s at t he co mman d of the

, ,

art i s t ic s t u dent .

I t is by means of the mus cular system t hat men an d

an i mal s m ove abou t ; t he mu s cles are t he im medi ate

o rgan s o f loc omoti on ; as s een in t he di s s ecti n g room -

,

t hey are all m ore or les s di s fig ure d alt ere d an d mi s , ,

s hap en .I n thi s s t at e t he s tu den t s houl d n ever dr aw

t hem ; his obj ect i s t o dr aw livi ng mus cle s n ot de ad ,

o n e s di s sect e d by anat omi cal st u dent s who do not even ,

kn ow t he obj ect the ar t i st has in vi ew in lookin g at ,

s u ch di s s ect i ons Let t he arti s tic s tu dent look at t he

.

fram e s o di s sect ed by all mean s ; let hi m li s t en t o i t s

,

des cri pti on b ut let him make t he di s secti on s hi ms elf

, ,

i t will b en e fit him an d give hi m a t horough kn owledge

,

o f th e s e all im port ant organ s ; b ut do n ot draw t h em as

-

dis s ec ted for m ere an at omi cal pur po s e s

,
Place n ear .

ou at t he ti me you in s p ect t hes e dead mus cles the

y , ,

livi ng figwre or if t hat cann ot b e plac e n ear the dead

, , ,

s ome fir s t rate plas t er cas t of an an t i qu e fig ure an d

-
,

s ket ch t he mu scle s ou have j u st s t udi e d from t he

y
figure b ut n ot from t he di ss ect ed mu s cles
, I n t hi s .

w ay wi ll the s t u dent learn t o draw livin g mu s cle s an d ,

n ot de ad on e s ; in t his way will t he s t udent lear n t o

r ead t he ext eri or of t he li vin fi ur e and of the an t iqu e

g g
76 M A N UA L OF

int o the az ure vault of heaven the bolder swoop of hi s

These remarks ome

xplain in g
go s way to wards e

o b ser vati on of daily occurrence namely how c om es i t , ,

t hat from a cont e mplati on of cert ai n hi ghly fini s he d -

productions we e xperience no pleasure feel n o emo ,

t ion s kindle not at t he s ight b ut remain p as s i v e

, , ,

heedl ess an d unmoved ; whils t a mere glan ce at a

,

perfect work gives ris e to the stronges t emot ions ? I t

an d r e r es ented
p her al ive in t he other ,
the pain t er
an d carver ( we can scarcel y sa
y arti s t an d sculpt or)

have seen dead N at ure an d followed her B e i t land , .

scap e or human for ms your painti ngs an d sculptu re

,

mus t have an aim an obj ect —they mus t s peak t o t he

,

min d of the ob s er ver ; if they fail in t hi s t hey re s emble ,

t he unm eanin g rhymes of mo dern poe tast ers who se ,

writi ngs contras t s o strongly wi th the t rue an d great

of an cient ti mes .

A ch
ef d m d b l w y b h w k
’
cewvr e u st ,
n o ou t , a a s e t e o r

of in s irat i on ; b ut i ndus t ry well directe d will do m u c h

p
in approac hing it an d kn owle dge is always valuable
,
.

T he ins pired geni u s s ees t he t rut h in stin ctively wi t h

out b eing t au ght t o ob s er ve ; others are taught t o

di stingui sh the tr ue from t he fal s e by educati on T hi s .

i s the course I propo s e t o you t o t ak e ; s houl d geni us

b e happily pres ent it will n ot suffer from e ducati on
,
.

T he ext eri or i s b ut li tt le affect ed by sli ght or dinary

movement s of thi s t he s t udent s houl d b e well advise d .

T he large muscular masse s s how t hemselves in bold

reli ef as di s tin ct fr om t he imp as s ible ten don s an d
,

m oti onl es s bone only during vi olent and e n erget ic

,

action T he ar tist t hen mu st n ot exagge rat e t he

.

act i on of the su perficial mu s cl e s ; it i s a gre at err or t o

 AR TISTIC AN A TO M Y . 77

do so , and ought pul ous ly to b e avoi ded I t

s cru .

o
s av ur s of pedan t ry als o an d t hi s contribut es t o mar
,

t he effect . I t al s o di splays i gnoran ce of the effici en cy

con

ceali ng the forms of all

bones an d j oint s the muscle s , ,
.

T he s u perficial layer of muscles contribute s m os t n o ,

dou bt t o the gen eral form of t he bo dy an d t o t he se

, ,

the artist mus t give hi s chi ef atte n t ion ; neverthele s s I

,

s h all show in t he c ours e o f t hi s sect i on t hat on t he

, ,

full development of certain deep mus cle s or at least ,

so me of t he se con d layer depen ds the b eaut y of certain ,

portions of t he human figure O n the full develop .

m ent for example of t he brachiali s flexor muscle

, , ,

whi ch i s a deep mus cle of t he arm depen ds mu ch of ,

t h e beaut y of t he arm t hat i s i t s to rosity an d tap ering

, ,

form T he roun dn ess of the femal e t hi gh depen ds

.

m ainly on t he st ren gth of the deep adduct ors an d pec

t in eu s ; t he roun dn ess an d t ap ering char ac t er of t he
forearm an d leg on the st rengt h of t he deep mu s cle s
o f t he se re gi ons A n d thi s remin ds me of a s ingle
.

o b s er vati on I ought t o mak e here I do not wis h you .

t o un derst an d t hat I dis s uade you from deep s na p

t omical an d physi ological st u di es ; follow t hem out by

all me an s if your min ds have that t en den cy b ut be ar
, ,

in min d t hat by doing s o you alt er t he charact er of

, ,

your stu di es : t he ext erior belongs t o ar t the interior '

t o s ci en ce and t o philoso phy T he exte rior has it s .

phil os ophy t oo whi ch you nee d n ot n eglect

,
.

IN FL UEN C E O F T HE SKE LE T O N O VE R T HE E X T E RIO R .

In de pen dent pro du ce d by t he mu scles

of t he forms ,

t heir t en don s an d apon eur o si s t he s kelet on it s elf ,

affect s t he e xt eri or T he b on e s n ever r eally al ter t heir

.

act ual forms b ut they s eem t o do s o by t he v arying

,
78 M AN UA L O F

c n diti ns
o o of t he muscles aro un d t hem, and of t he

t ime s ele at i ns
v o on the e xt erior ,
lin es , de pre s s i o n s ,

I t is t he cranium , of all
part s of t he body wh i c h ,

mo st influences the e xte rior form I t det ermi n e s t h e .

ovoid of t he h ead ; as age proceeds certain ri d e s

g ,

and prot ub eran ces s ho w t hemselves n ot ob servab l e i n ,

youth T he fi ontal sinu ses proj ect ; t he tem p or a l

.
'

cre s t s s h ow t hemselve s ; even t he over deve l o pe d -

mas t oi d proce ss es may b e seen I n t he face t h e .

,

s hap e of t he nas al b on es aflec t s re at ly t he for m o f

'

g
t he organ ; t he car ti lagin o us s keleton formi n g i ts l ow e r
part affect s the form s till more When the malar .

bones are lar ge t hey t otall y di sfigure the face I n

,
.

t he fin ely formed fac e t he o utlin e of t he sk elet on i s

-
,

n ev er s ee n n or doe s i t in any way influ en ce t he fin e r

,

forms of t he human coun t enance .

I n t he fin ely formed n eck t he s kelet on e xerci s e s

-
,

n o in flu en ce whate ver e xce pti n i n t he matt er o f

g ,

proportion or lengt h T he hyoi d apparatus

. is
n ever se en T he same r emar k appli es t o the ve r
.

t eb ral column savin g an d e xcept in g t he roun de d

, ,

s mooth proj ect i on of t he s p in ous p roce s s of t he se vent h

ce r vi cal vert ebra Thi s leadin g featur e in the con

.

t o ur of t he b ac k adds t o i t s b eau t y when c overe d ,

as in t he young wi th a den se fir m int e gum en t

, In , .

t he t ors o t he skelet on app ears in t he fin ely forme d

,
-
,

n ot as a s kelet on b ut givin g ri se to groov e s furrows

, , ,

and depre s si on s of e xqui s ite b eau ty I n the bac k .

an d loin s a medi an or m e s ial groove of tr ans cen de n t

,

beauty marks t he po siti on of the chai n of vertebra ;

S ee Figure p 24 , . .
80 M A N UA L OF

han ds t he b ones show t hemselves as dimple s an d dep r e s

si ons N ot hing can b e so u nlike t he finely form e d
.
-

forearm and han d as t he skeleto n of the se very par t s .

I t may be well howeve r to po int o ut to t he s t u d e n t

, ,

an ob se r vatio n s urg ical i t i s t ru e b ut whi ch may b e o f

, , ,

use t o t he art i s t an d whi c h i t may not frequ en t ly b e

,

i n hi s power to make When the bone s of t he lim b s

.

are dis place d at the join t s as in di s locat i on s or s o, ,

b roke n as to ri de over eac h other t he alteration in th e ,

form of t he li mb b eco mes occas ionally so well mar ked as

t o b e reco gni s able at fir s t s ight ; at ot her t im e s i t i s n o t
so ,
es pec iall y when t he pe rs o n is yo un g hi s lim b s full ,

an d fles hy B u t s hould t he di s l ocat io n n ot b e re du ced

.
,

t he limb grad ually was te s away an d aft er a t im e t hat ,

b eco mes vis ible to all eyes which t he mo st e xperi en ced

s ur eo n de te cte d wi t h diffic ul ty at fir s t V is it a p at ho
g .

lo gical mus eum an d compare a s oun d h eal thy arm wit h

,

o ne inj ure d so me years before by a dis lo cat i on of t he

h ead of the radi us an d t he obj ect of my remark will

,

b e obvi ou s I n drawin g t he li mb s t hen you mus t put

.
, ,

t he bo ne s in t heir plac e : t hey mu st n ot rec e de n or

approac h t he s ur fac e in an u nnat ural way I have .

alway s t hou h t that man y at leas t f t h n t m i l

g o e a a o , ca ,

—
drawin gs of Da Vinci an d I am now c ert ain of t he
fac t havin g e xamin e d for my s elf the s ket ch b oo k o f
,
-

—
t he great Leo nar do were made by him m er e lv t o
ac qui re an exac t i dea of t he po s i t ion of t he var i ou s

p art s of the skeleton an d the ext ent of mot ion in t he

,

j oin t s For every j oint as we have s ee n has i t s

.
, ,

c heck s of whi ch s om e are o s s e ou s an d s o me li a

, g
ment ou s I had alm ost forgot to s ay that when t he
.
,

t humb i s s li ght ly b ent the met acar p al bo n e gives ri s e

,

t o a sli ght elevati on .

I n t he lower or p elvi c ext remit ie s the in fluen ce o f ,

 A R TISTIC A N A TO M Y . 81

t he s kelet on i s see n main ly at t he troch anter an d

at t he p at ell a ; i n t he leg the form of t he t ibi a c om e s

i mm e di at ely t o t he sur face t hat is in man for in , , ,

woman s more b eautiful limb s it s hows it s elf merely

’

as a plan e s urfac e s li ght ly rais ed ,

T he mall eoli give .

ri s e t o promi n en ce s in all limb s ; in t he fin ely forme d

t h e y c on s t it ute r o un de d s moot h elevat i on s ; in t he

,

c o arse ly made in t he ag ed in t he emac iat e d by di s eas e

, ,

o r want of fo o d t he malleoli pre s en t s har p an gular

,

proj ec ti ons dest ructi ve of all i deas of beauty T hey

,
.
,

fact un der s uch circum s tan ces repres ent s keleto n

, ,

s h ap e s whi ch N at ur e en deavo urs as mu ch as po s sible

,

to con ce al .

I n the finely formed foot , we-

p erceive t he infl u en ce
of the keleton merely at t he join t s of the t oes where
s ,

t h e y form b eau tiful depres s i ons T he promin en ce of .

t he heel doe s n ot in t he leas t r esemble t he o s s eo as

pr oces s ben eat h it ; nor does the bal l of t he great t oe ,

t hou gh p art ly cau se d by the enl ar ged extr emity o f the

firs t met ac arpal bo n e dis play an y form to le ad t he
,

m in d to a c onj ect ur e t hat s o un se eml y a n d frightful a

s tr uct ur e e xi s t s b en eat h t he s urfac e .

I wi s h it t o b e un ders t ood that in the se re marks I

have in vi ew only the fin ely forme d femal e figur e T he -
.

e xaminat i on of L eon ar do s sket ch book c onfirms me in

’
-

all t h e s e vi ews Though a profo un d anat omi st phy

.
,

s i ological as well as de s cri pt iv e he n ev er c onfoun ds , ,

even in that s ket ch b ook t he record of hi s pri vat e

-
,

t houg ht s t he livi n g wit h the de ad

, By t he si de of .

t he dis s ected lim b he dr aws the livin g o n e wi t h a grac e ,

an d life an d b eaut y n ot t o b e app ro ach ed .

 C HA PT ER II .

E XT E RN AL FO RM S OF T HE HE D A .

UN D E R t he term head I wit h all artis t s I

in clu de ,
believe, the face and the head pro perly so call e d ,
.

St udy i t s ever varyin g forms in yout h an d age in ra c e

-
, ,

in in divi dual charac ter E very feat ur e of the fac e

.

m erit s t he deep est att ent ion T he port ion of t h e

.

head above t he setti ng on of t he hair s hould equal o n e

part ( on e len gth of the n o se) in height ; if not nat u
rally s o t he hair may b e so dis pos e d as t o meet t h e
,

deficiency Then comes the forehead i t self t hat i s

.
, ,

all t hat porti on of the fac e whi ch is ab ove t he e ye s an d

n o s e b ut b elow t he s ett in g on of t he hair ; i t s lateral

,

b oun daries ar e the t emporal cres t s T he s moot h .

( b ren t ) b ro w o f y ou t h c o n t ras t s s t ron ly wi t h t h e

g
wrinkled forehead of age an d with the fleshy forehead
o f the ros s an d h eav s ens uali s t wi t h t he br ut e an d
g y ,

s cowlin b r ow of s elfish c oarse mi n de d men T h

g e
-
, .

brow or forehead is a n oble feat ur e in t hinkin g man ,

large am ple elevat e d and bro ad ; i t i s hi s re deeming

, , ,

feat ure N ot s o in woman ; her brow mu st n ot i t i s

.
,

t rue , s eem cont ract ed, b ut it mu s t b e s mall, low , and

stri ctly pro portione d t o her small femin in e featur e s .

I t i s a gre at error t o s uppo se a large b row to b e a

b eaut iful feature in woman ; it i s n ot s o even in man ;
n ot hin di s pr op orti onat e i s b eau tiful
g .

T o ret ur n t o t he co n t our of the face it s s hift in g ,

form s it s vari e d as p ect t he st udent wi ll n ote as

, , ,
84 M A N UA L OF

well as of all other parts of t he body fall into wrin k l e s ,

.

O n t he b ro w these wrin kles or folds show still m o r e

t han in ot her part s of t he body T hus t he for ma t i o n
.

o f wrinkles is a nat ur al res ult of t he de velop me n t b

y
t i me a mark of age an approac h of the un fai l i n g
, ,

han d of Ti me I t is a mis t ake t o su ppo s e that s u c h

.

wrin kles have anythi ng to do wi t h t he contrac t i on o f

the fic n tal muscles I s hall pre s ent ly de scribe Th e s e .
,

n o doubt by co ntract ing can wr in kle t he b ro w at a n y

, ,

t im e an d it i s j u st po s s ible t hat in age t hey m a y

,

become perman ently cont racte d an d so wrinkl e t h e,

brow perman ent ly ; b ut t hi s theory I st ron gly qu e s

ti on. M us cles do not b ecome permanently rigid an d
co nt racte d by age ; s u ch a phen omen on i s unin te ll i

g ib le . W e mu s t look t hen t o t he ot her caus es for th e

producti on of t hes e mar ks an d furrows on the brow ,

an d I feel di s po s e d t o as crib e t he whole t o t he nat ura l

development by age to t he decay of t he p ort i on of t he

,

s ub cut aneou s cell ul ar me mbran e an d to t he m u scular

,

fasciculi falli n g in t o folds n ot fi e m r igidi ty an d li vi n g

,
-

c ontracti on b u t by their opp o s i t e s we akn e s s flac ci di t

, , y , ,

an d a len t h of fibr e n o lon er

g g
fitt e d t o the par t s t hey on ce
c ov er ed .

Ben eath t he in tegument ary cc

verin g then as t hus describe d
, , ,

the art i st wi ll fin d t he fles hy

mas se s I have j u st s poken of the ,

front al port i on s of t he fron te

occi pi t al mu s cle s ; a litt le low er
ll = =

down t owar ds t he n o s e t he mu s ,

cle called t he fron t o n as al or n as al -

,

N asal Mus cles s li p of t he fi on to o cci pi tal mus

'
-

S ee Fi gure p 8 5 , . .
 AR TISTIC A N A TO M Y . 85

cl e s ; aro un d t he q
or bit s
y exten din g
,
o
an d c n s e u en tl

t o t he t emple s an d check s the orbi cular mu s cles of ,

t he eye s ; b en eath t hes e an d b en eat h t he eyebrow s t he ,

m u sc les c alle d cor

r ug at o res su per
c ilii ( corr u gat ors

of t he yebrows ) ; e

las t ly oc cupyin
, g
t he t emp oral re

g i o n s t he
, t e mp o

ral m us cles t he m
s e lve s . Sc ar cely a
t r ait of
y an of

t h e se mu s cle s i s t o
be s e en in the
fin ely form e d -
liv
i n g fac e ; yet it i s
we ll for the art ist
to kn ow their po
s i ti on t h eir u s e s
, ,

an d in how far
t hey influ en ce the
Muscles of the Face and Scalp .

e xteri or as a e ad
g
van ce s . A fold or folds a pp ear at the ro ot of t he o
n s e,

fro m a laxi ty of the int e gum ent s an d a rela e d con x

di ti on of the n as al sli p of mu scle , n eit her b eing any
lon ger pp ort e d by the adi pos e
su cell ul ar membran e

wrin kle s app ear at the te mples t he r es ult of age T he ,

.

t he ory u s ually given for t heir app earance i s t he s ame

as was applie d t o t he wr in kle s of t he forehead namely , ,

a p erman en tly con trac t e d c on diti o n of t he orbicular

mu s cle s B ut thi s t heory mu st als o in t hi s in st ance

.

b e in correct : t h es e folds are the nat ural result of the

progres s of age up on the int egument ary covering ; the
86 M A N UA L OF

adi po s e ti s s ue di sappears , and the dermi s fall s int o

folds wrinkles conver gin g towar ds the ou t er angles
an d ,

of t he eye s A s age advances t he in te gument s was te

.
,

away becomin g thinner ; t he vein s show t h ems e lves ;

,

t he t emporal arteries may b e s een in wavin g lin es ,

as cen din g ob liqu ely for war ds fic m be fo re t he e ar s ;

t he mas s of the te mporal mus cle wast e s away at the

t emples flatt en s an d s ink s inwar ds ; t hen t he bo n es
, ,

begin to s how t hemselves an d the cranium as s umes ,

the hi deo us form of a s kull w ith a dry an d p arched ,

s kin drawn ov er it All t hes e chan ge s ar e n at ur al ;

.

t hey are the m ere result s of t he pro gres s o f m an

t owar ds dec ay an d di s solu t ion A s they proc ee d t h e y
.

ar e ob s er ve d if n ot wit h di slik e at leas t wi t h r e r e t

, g , .

However varied however trivial they may b e at fir s t

, ,

they affect t he b eauty an d perfect ion of t he form

qualities whi ch admit of n o compromis e n o compen ,

s at ion by mean s of ot hers T he in s tant t he i nter io r

.

s hows i t s elf t hr ou gh t he e xt eri or h owever tr iflin t h

g e ,

in di cation b e it mark s n ot s o much the appr o ac h o f

,

age as a t en den cy to di s soluti on I t i s t hi s whi c h .

rivet s t he att enti on of t he ob s er ver ; i t i s n ot t he a e

g ,

for su ch app earance s may occur in very young p ers on s ,

it i s the t en den cy t o di ss olut ion evin ced by s u ch c han ges

—to dis s olution the most dr eaded of all human event s
, .

T HE F AC E .

I t is t o t hi s se ct i n of o t he frame that t he paint er

nat urall y devotes mo st of hi s att enti on By a n eglect .

of first prin ciple s he c ontin u ,ally p aint s po rtrai t s of

o wh i h t hou gh m e chani cal fac s imi l e s t b

pers n s c
y e e ar -
,

no res emblan ce t o t he in di vi dual s an d fail t o b e r eco

g ,

ni sed even by their m o st in tim at e ac qu ai nt an ces B ut .

at pres ent our bu s in e s s i s wit h the analys is an d s tr uc

88 M A N UA L OF

are not precis ely on t he same plane the oute r bein g a ,

li tt le elevat ed I n cert ain races as in t he M ongol i a n

.
, ,

t he lin e is sin gula rly obli qu e T he orbit ar arc h e s

.

elevat e s li ght ly by t heir presen ce t he e xt e ri or inve s t ,

in g t hem at t he point t he s kelet on appro aches t h e

s urfac e . I do not t hink that the nas al groove has an y
t hing to do wi t h t he anteri or margin of t he c omm o n
levato r muscle .

T he ext ernal ears when finely formed are a bean

, ,

tiful reli ef t o t he s ides of t he face Their fim ct ion s .

A pe formed E ar
-
. A n t i que E ar .

are n ot well od b ut t heir beauty when s o

understo ,

forme d i s un qu est ionable Here t he utilitarian wi th

.

hi s co arse mechani cal t heories i s s adly at fault To b e .

beaut if ul an d perfect the car mus t b e s tr ictly pro por

,

—
ti one d firs t t o t he head an d face of the in di vi dual t o
,

whom it belongs ; s econ dly it s various figured porti on s,

must als o b e di s tinct an d as if chi s ell e d an d t hey als o ,

mus t b ear a strict proporti on t o each ot her Keep t hi s .

in vi ew in dr awing the human ear : first come forms ;

s e condly propor ti on
,
I t i s as difficult to fin d a perfect
.

c ar as i t i s t o fin d a p erfect human b ein g O ne of t he .

most common v a r i eti e s t at ,

f —
h is de ormi ties for all ,

varieti es are deformiti es as I s hall after war ds prove

,

—is the absence of the T he lobe is peculiar ly

S ee Fi gure above .
 A R TISTIC A N A TO M Y . 89

hu man ,
and when wanting in man or woman cau ses the
ear t o r e s emble the ear of an a e an d ou wi ll fin d t hat
p y ,

p ers ons wi t h ears so formed have s omething of the dis

po sit ion of the monkey When t he heli x is ill s haped .
,

s p re ad ou t an d large t he ear re s emble s t hat of t he

, ,

do g or as s an d s o on ; las tly t he ears may have grown

, ,

to t heir full si ze an d yet re s emble in form the ears of

,

t he mon key All s u ch variet ies are co mpri s e d in on e

.

law t he law of uni t y of the organi zati on

,
There are .

n o hm n a tur w s u ch i deas b elon g t o old women

an d t o t heolo gian s of t he old sc hool E veryt hing in .

na t ure ob eys fixed ete rnal un chan geable laws ; t he

, ,

laws of deformati on are as re gular as t he laws of

p erfect format ion T he one s hows a return t o the
.

uni t y of or gani z ati on ; t he ot her s hows t he carryin g

ou t t he full dev elopm ent of t he in di vi dual or t he law ,

o f s p eciali z ati on .

Behi n d the ear the skelet on approaches the s ur

face un der the form of t he m as to i d pr oc es s b ut even ,

here t he t en dinous att achmen t of the st erno mast oi d -

mus cle affect s the form of t he s kelet on as seen t hr oug h ,

Thus have we s een n ot wi thst an di ng the numb er of

,

mu s cle s bot h su p erfici al an d deep whi ch are foun d

, ,

b en eat h t hat sur face I have j u st described how li ttle ,

t he ext erior is influ en ce d by t he i n terior in the fin ely

forme d face in t he anti que an d in the livi n g figures
, ,

res embli n g t he anti qu e an d

yet we s hall fin d t he ,

feat ures deeply affec t e d by age pas si on s in stin ct s , , ,

edu cat i on s ent iment

,
To un derst an d t hi s we mus t
.

now att en d t o t he anat omy of t he in t erior for it i s in ,

t hi s we shall fin d t he key or e xp lanat ion .

S e e t hat meagre slou chi n g man as he creep s al on g

, ,

t he e dg e of t he pavement ; he i s readin g a p aper c on

90 M A N UA L OF

tain ing the lat es t qu otat ions of s t ock - brokers li s t

’
t he .

T luc m mo ney le nde r ; he has li tt le

'

n is a -
or n o fles h
on his b o nes ; he li ves in a
garnet , an d feeds wit h

moniac an d fie n di s h look he wears at t his m omen t

I will t ell you ; he is looking at hi ms e lf This i s t he .

secre t ; his mi n d be in wh lly se lfis h an d, o f a co n

g o

q
s e uence , in t e ns ely fien dis h—self being t he arc h fien d
o f t hi s world — the muscles of his fac e o bey t he
p re

vail n
i g c hara c t e r a n d ac t
,

again at t he same person ; he has s ee n

accordi ng ly

ou in t he m
N ow loo k .

y
t er vah— t he elect ric shock whi ch s hoot s fr om po le to
,

pole in a s pace of ti me whi ch a sec on d cannot reckom

is n ot so rapi d as t he change on t his man
’

te nance . His re ason has expelle d the fien d an d t he

fien di s h look t he dem on look whi ch re se mbli n g
, ,

n ot hin g on eart h mu s t t herefore n ot b e of t he eart h

, :

b ut a pers onificati on of the evil prin ciple A n d n ow a .

s mil e s it s on t hat vis age i t bri ght en s u p t he fearful

, ,

s cowl i v w t h rful invit in g on e ; et n ot hin

g e s a
y o a c ee
y , g
has happe ne d fur ther t han t hi s t hat t he pe rs on you
—
,

n ow loo k at s ee s ou an ins t ant b efore he m erely saw

y
hi mself ; from the brut e an imal he has bec ome a man .

To draw men s fac es then you mus t pain t t hem

’
, , ,

n ot when t h ey are loo ki n at ou b ut at so mebo d

g y y ,

els e .B ut b efor e I des cribe t he machin ery by whi ch

t hese s u dden changes are so eas ily effect e d p ermit m e ,

t o make a few furt her remark s on t he ext erior an d

inte ri or as t hey nat urally ac t an d react on eac h ot her .

T he n ew born infan t brin gs wi th it in t o t he world

-

much of t he embryo forms whi ch are n ot st ri ct ly ,

human ; hen ce the great masters always avoi d dr awi ng

or s culpt ur ing t he n ew b orn i nfan t -
I t ought never .

t o b e repres ent e d by t he chi sel or p encil .

 M A N UA L O F

s urpas s ing b eauty , wi t h t housan ds re semb lin t h

g e

ant i ue
q st at ue called t he N i obe ,
with ot hers resem
bling t he Jun o and the Venus of M elos ; b ut i t i s
at a varyin
g p e ri od a lt er t he,
b ea uty o f you t h h as

had its seas on an d the adult b eauty when i t occ urs

, , ,

has s hone for perhaps a s till s horte r perio d when

’

t hese c hanges commence in man an d in woman di s ,

t urb ing all t he proport i on s an d so disfigurin g t he

,

in divi dual as t o re nder our young frien d of t wen t y

s carce ly rec o ni s able at t hi rt y s t ill le ss at fort y le ast
g , ,

o f all at fift y N ow what has happen ed ? T he phi

.

losophi c hi s to ry of t hese metamorpho s es moment o u s ,

t o man b ut es peciall y to woman has n e ver b een give n

, ,
.

Briefly and befo re ente rin g on t he t as k whi ch I

,

mus t reserve for t he n e xt chapter let me t rac e wi t h ,

o u t he anato my o f t he face t h hi s to ry o f t ho s e
y e ,

agent s t he mu scles te n dons an d apon eur o se s whi c h

, , , ,

play so import ant a part in t he metamorphos es I am

abo u t t o s peak o f whet her t hese c hanges b e m
,

t ary as in t he cas e of t he money len der or alternat e ly

,
-
,

fle et in g an d p ermanent as t he cas e may b e, A fe w .

pages will suffice for t he des cr ipti on T he occi pi t o .

frontal mu scles corr ugate the sc alp an d forehead al

t ernat ely an d rais e t he eyebro ws ; t he orbic ular is
,

p al pebrar um close s the eyeli ds ; the corrugat or s upe r

cili i cont ract s t he eyeb ro ws ; t he nas ali s elevat es t h e

n o se or ac t s as a fix ed p oin t for t he fr ontal mu scle s ;

,

t he triangular is nas i e xpan ds t he n o str ils b ut t here ,

are s mall r udi ment ary m us cles c onn ect e d wi t h t he

cart ilagin ous s kelet on of t he n o s e whi c h also ac t i n ,

s t r on xpr es s i on Th ese have n ot b een well descri be d

g e .

by anat omi st s .

T he great an d the small zygomat ic mu scles elevat e

t he an gles of the mout h ; t hey caus e t he cheek t o
 AR TISTI C A N A TO M Y . 93

pr oj ect
,
an d they dee pen the furrows an d di mples of

t he fac e ; t he orbi cular the li p s i s the great mus cle

of

of e xpres sion ,
an d t he ant agoni s t of m o s t of the others .

There are t wo muscles , call e d levat or labii su p eriori s

an d levato r comm uni s , on the c heek ,
an d clo se to t he
n os e t he s e v the upp er li p an d t he wi n g of t he
ele at e

n o s t r il s. They are al s o powerful mu s cles of expre s

s i on ; b ut t he s ame re mar k appli es t o t he depr e ss or

l ab ii su peri ori s t o t he levat or m ent i t o the depres s or

, ,

an uli oris I t i n t h li vin f e th at t he ever

g . s o e g ac

vari e d combinati on s of t he s e mus c le s mu st b e s t udi ed .

N o kn owledge of anat omy can s u pply a defect in

po wers of ob servat ion I t may make the p edant t he
.
,

an at o mi s t t he h ar d m e ch ani cal paint e r an d scul pt or

, ,

wi t hout feeli n g an d without t ast e b ut it cann ot make ,

t he t r ue art is t He must onl y draw what N at ur e

.

in t en de d s houl d b e s een t hat i s t he ext eri or

, A .

kn o wledge of the in teri or can avail him only in cor

r ect l re adin t h other
y g e .
94 M A N UA L O F

C HAPT E R I I I .

u r xm n o xs n :
'
m r o an or r un n u n m F AC E
IN m ; r an N A T L R A L a ns t L r
‘
'
or ms D E VE LO P

Wu efiec t in
'

abso l ute can alt er in t he

g
'
r a e
g
a e,
g
forms of t he head has be en g phi
ra call y po rtr ay e d b y
M . Fan in t he desc ript i ve te xt of hi s e xcellent wor k .

M o rali s t s of all a es
g have n ot failed to n ote it ; it 1 8 a
painful su bj ect on whi ch man li kes n ot t o dwell
, .

”
A ge has it s b eaut iful also say s M Q t m i
“
u a re ,e re n .
,

his view of t he Obj ect s of t he Plast i c an d Imit ati ve

A rt s b ut t here I differ from him i n to to an d by t hat ,

e xp re s s i on alon e c ould I readily have di s c ov ere d t hat

M Quat remere s t heo ry however ingeni ous want ed

’
.
, ,

t hat s olidi ty whi ch ab solu te t r ut h can alon e be s t o w .

T here is t here cann ot b e a beautiful in age

,
I do n ot .

speak of t he re volu ti o n o f years I s pe ak of t he s m

y ,

bols of age as they show t hems elves in m an an d in all

animals in e very li vi n g t hin g
, T he e xcepti on i n favo ur .

of t he v en erable an d n oble r ui n t he s ere o f t he au ,

tumnal leaf — t he e are b u t s ee ming e xce p t ions n ot

s , ,

real Y ou th an d you thf u l f or ms fo r t hese te rms are n o t

.
,

s n on ymous are b u t acce s so rie s to t he ab s o l ut ely

y ,

b eautiful n ot the es s ent ial s ; b u t age an d age d forms

,

i mply it s ab s ence on every an d all oc cas i ons .

I n man as r e gar ds the head age des tr oys the pro

, ,

porti on s an d cont ours ; for firs t the adi pose cellular , ,

-

c us hi on of b eauty di s app ears e xpo s in t h i n t i

g e e r ,o r
96 M A N UA L O F

adult , anti q ue form but comp ar ati vely fine ; the ey e s

,
”
are full an d lu s t r ou s ; an d i n a w ord t he in t eri or , , ,

with it s fr ight ful apparat u s of bon es an d s in ews an d , ,

mu scles i s wholl y con ceal ed ; b ut s oon er or lat er as

, ,

the case may b e a chan ge c ome s over t he form s o f th e

,

face an d n e ck Twenty is at han d : the adipose layer

.

b egin s t o leave the s urface t o decrease t o di sappe ar ; , ,

an at omi c al form s show t hems elve s in t he n eck ; t he bro w

an d eye s ap pe ar s mall er th an t hey were n ot t h at t he y ,

are ac t u all y di m i ni s h ing b u t t he j aws are gr owin g an d

, ,

wi th t he m the mout h an d car tilage s of t he n ose : t he

proport ion s of the fac e are revers e (1 N ow watc h t he .

furt her progres s of t he developmen t fr om t w en ty fou r -

an d t wen ty five t o t hirty four an d t hi r ty five : t he br ow

-
,
- -

has b eco me s maller an d s mall er that i s t he fac e , ,

w h rown lar er an d la r er ; t he s ympat hi e s

(j a s ) as g g g
of t he thoraci c ab dominal an d p elvi c organ s are t elli n g
, ,

upon t he face an d head Di s prop orti on s of every kin d

.

may appear even at twenty s even or t hirt y an d t hat -

,

int ell ect ual lo oki n g s pir itual

-
fin ely formed yout h
, ,
-
,

whom you mi ght have p erhap s mi st aken for s omething

of a geni u s or at l eas t t al ent e d, an d if n ot t alen t e d, at

least an in genu ou s ,
hon our able str aight forward an d , ,

t r ut h lovin g per son ha s eit her as i s s ai d t o b e t he

-
, ,

cas e u niformly wit h t he N e ap olit an as s ume d t he ,

form s of t he un mi s t akable s coun dr el or as in t he , ,

'

S axon an d oth er races ac qui re d proporti on s in t he ,

face an d h ead s t ampin g t he s elfi sh s en s ual grovellin g

, , , ,

do dgin g ser vile sn eakin g cun nin g ani mal in all i t s

°

, , ,

p erfecti on T he gran d err or c ommit t e d n ot mer ely

.

by the arti st b ut by the t each er an d by all oth ers i s

, ,

t he pr on oun cin g t o o early on t he charac t er of you th .

Wait t he development of t he pas s i on s b efor e you v

deci de ; wait un t il you s ee t he re s ul t s of the symp a

 AR TISTIC A N A TO M Y . 97

t hi e s of t he
organ s of the chest an d the ab domen and , ,

t he p e lvis u pon the fac e wh ere all t hese organs have ,

t he i r c omm en cement or at leas t th eir s ymp at heti c an d

,

s ym p at hi s in t yp be fo u p o n o u n n t h in
g e s re
y o , r ce o e

t e llect ual characte r of t he man .

Bet ween the ext remes there ar e all shades of deve

'

lopment : from the youth who at t wenty seven degen e ,

-

rat e s i nto a selfis h

grov e lli n
g a,n i m a l t o t he m a n wh o , ,

at fift an d s i xt y an d s event y s t ill r etai ns on hi s fac e

y , , ,

the r emain s of yout h of int ellect an d of grac efu l an d , ,

youn g proporti on s For in s ome the development .

,

whi ch t en ds to degradation progress es b ut slowly ; in ,

ot hers it i s rapi d an d deci ded I have watche d these .

ch an ge s i n hun dre ds of young men m w n s t u dent s

y o , ,

who have grown up as it were un der my own ob s er , ,

vati on and whom I have seen s ome years after the

,

s ym p at heti c chan ges I s pe ak of have t ak en plac e I .

can n o m ore doub t t he phenomen a an d t heir r eal cau s e s ,

t han I can t he eviden c e of my s en ses N u mer ou s in .

s t an ce s will no doub t su gges t t hemselve s t o my

‘

, ,

d
r ea ers .

Sho ul d t he youn g man happ en t o b e an athlete or

h ave a s omethi n g in him of t hat temperament the ,

c h an ge s are mo dified b u t do n ot es s en ti ally difler

'

.
,

N 0 on e s h ows m ore hi deou sly t he an at omy of the in

'

t erior than the athl et e when he has un dergon e t hat ,

development whi ch mu st s ei z e him s oon er or lat er

, ,

an d whi ch i n him i s oft en premat ur e .

I f you n ow lo ok to woman we s hall fin d th at ,

chan ge s p reci sely s imilar h appen t o her gen erally les s ,

marke d i t i s tru e t han in man b ut s till di st in ct an d ,

qui te ob s er vable There i s a burst of beauty in woman

.

at p ub ert y at t ime s as t on i shin g all b eholders ; t hi s

,

may las t for t wo or three years b ut seldom s o long ; in ,

H
 M A N UA L O F

s ome only a few months I n short the sympathie s o f

.
,

t he chest the ab domen and pelvi s tell at last on t h e

, ,

fac e head and n ec k and on all t he features

, , , T he .

j aws enlarge and wi th t hem the month and n ose di s

, ,

figur ing t hat fair face of eighte en an d t wenty whi c h ,

t he admiri ng lover fancies mus t b e permanen t ; an d

at t wenty four it is n ot unli kely t hat the perso n c an
-

no longer b e re cogni s ed even by t he mo st in ti ma t e

acquaint ances of t heir youth T he ill looking girl o f

.
-

twelve may become a b eautiful woman T he b eau t y .

O u t lin e o f t he N io b e.
 1 00 M A N UA L O F

C HA PTE R I V .

LO O K at the k of a fin e woman an d obs erve ho w

n ec ,

li ttle of t he inte rior that i s the an at omy is di s playe d

, , ,

or int en de d t o b e di s playe d by N at ure T he he ad .

moves on a pivot takin g al ong wi th it the fir st ver

,

te bra of the n eck hen ce it s free dom of m ot i on ; all the

,

ot her m ovemen t s are di vi de d amon s t the rem aini n cer

g g
vi cal vert eb rae . I s hall fir s t speak o f the forms of t he
n eck in wom an n ext in m an an d add a few words o n
, ,

the forms whi ch t he athle te di s plays T he form s s een

.

in t hi s region in t he very youn g an d very old will al s o

b e advert e d t o Woman full grown b eautif ul woman
.
,
-
,
’
,

is the stan dard of all excell en ce all b eaut y all perfec

, ,

t io n
. O n t he fr ont of t he n eck the sli ght e s t elevat i on
i magin able mar k s t he po siti on of the t hyroid cartil age ;
a li tt le lower down i s a r o un ded s moot h elevat i on or
, ,

rat h er fuln e s s ; thi s i s du e t o t he pre s en ce f the thy

o
r oi d b o dy or l n d A d epre ssi on seen below t hi s
g a .

i s t he s u pra s t ern al fo ssett e j ust apparent b ut n ev er

-
,

abs en t in t he fin e s t an ti qu e b u st s ; i t i s oc casi on e d by

t he s w ellin gs whi ch t he s t ernum an d s te rn o mas t oi d -

mus cle s form aroun d t he cavi ty B ut n o thin g can b e

.

s o unlik e t he b e au t iful e xt eri or I n ow de s cr ib e as t he

int ernal an at omy whi ch p ar t ly gives ri se t o it I n fin e .

an d h eal thy per s on s t he in t eg umen t s wit h whi ch I ,

inclu de t he superfici al fas cia are c om p ar at ively t hi ck

, ,

firm an d full of j ui ces ; t hey com plet ely c on c e al t he

,

i nt ern al forms givin g t o t hem an ot her form an ext e

, ,

S ee dr awing of the N i obe p 98 , . .

 AR TISTIC A N A TO M Y . 1 01

r i o r, t hat form whi ch N at ure int ended houl d meet the s

B ut all t hi s has b een alre ady explain e d an d

e
y e.
,

m a y readily b e co mprehen de d by attenti vely ob s ervin g

t h e n eck of a finely formed st at ue or t he woo dcut of
-
,

t h e N iobe at page 98 of thi s work ; s car ce ly an yt hin g

m ore i s t o b e s een in the fin e roun ded t aper n eck of , ,

w oman T wo transvers e li n es cr o ss the neck ; t hey

.

b el on g t o t he inte g ument s T he t hyr oid car tilage

.

m us t not b e s hown nor anythi n g more savin g t he

, ,

p r o m in e n ce at the bott om of t he b ack of t he n eck ,

formed by t he spin ous process of t he last cervi cal ver

t ebra an d t he sli ght depres s i on j us t above the collar
bone s mar ki n g t he s pac e bet ween the stem al and cla
,

vi cul ar attac hment s of the st ern o mast oi d muscle -

.

Su ch is the neck of b eautiful woman an d of yout h

g e n e ra ll y b efo re,t he full de v el op men t o f mas cu lin e

an d imperfect forms When these have taken place we

.
,

di s cover more or les s distin ct ly in t he neck t he follow

, ,

ing t race s of the interi or A n elongated cervi cal

.

depres si on on either si de of t he form of the lett er V

, ,

T he xternal j ugular vein may occas ionally b e seen

e .

T he elevat i on s of t he collar bon es whi ch in the han d -

,

s o me n eck for m b eautiful s moot h elevati on s ma b

y
, e ,

traced in t he coars e neck t hr oughout t heir whole

length T he cour s e of the stern o mast oi d mu scles may
.
-

be trac ed als o the supra clavi cular holl ow

, T he t ra
p . p

ezii mus cles seen so di st i nctly i n t he ill formed n eck

p
-
, ,

are repres en ted in the woo dcut at p ag e 1 1 2 wit h t he ,

latis simu s dors i an d the great lumbar aponeuro s i s To .

that woo dcut I r efer the st u dent for a vi ew of t he

superficial mu scles cauti onin g him t hat it is not upon
,

the s treng th of t he se that t he beauty of the b ac k of

the neck of the back properly so called and of the
, , ,
1 02 M A N UA L OF

loin s depends ; and to ren der my meani n g clear er t o

him, I have cau s e d t o b e plac e d her e tw o woo dc u t s
di s playing, though imperfect ly, tho s e deep mu s c l e s
whose h
st re n gt or weakne s s affe ct in s o re mar kable a

degree the form of t he back .

These woo d
cu t s ( 1 an d 2
)
are in t en de d to

gi v e t he ar ti s t

a vi ew of s o m e

of t he mu s c le s ,
whi ch begin t o
s h ow them
s elves t hr ou h
g
t he e xt eri or in
e m ac iat e d
p er

s on s . I n figu r e
1, 0 m ark s t he
c omplexus ma
1 2
j or mus cle ; 6
D eep Muscles of Deep Muscles of the
th e N ec k —side N eck —back view .
15he t en dl nou s
Vi ew '
attac hment s of
the pleniu s colli ; the t op of the spleniu s c apit i s m a
s y
al s o b e s e en b etw een t he let t er 6 an d t he t op o f t he

c omplexu s ; a point s t o t he li gamen t um nn chae t hat ,

elas t i c li gamen t whi ch fillin g up the s p ace b e t wee n

,

t he oc cipi t al bon e an d the sp in ou s proc e s s of t he las t

c ervical vert eb ra an d fir s t dor s al s t an ds in t he p lac e o f
,

elon gat e d s pin ou s c ervi cal v ert ebr ae r e n dere d imp o s ,

s ible by the movem en t s of t he h e ad .

I t is t hi s elasti c ligamen t always s omewh at t en s e

, ,

b ut imperceptible in the fin ely form ed n eck in con s e

-
,

u ence o f t he s tr en gt h of t he deep mu s cles whi ch in

q , ,

t he ill forme d n eck s how s m o st unpleasingly in t he

-
,
1 04 M A N UA L OF

ciput to the bac k hollow of the neck t hu s

, the di s
appe aring as i t were
,
in cons equence of th e
,
v as t
s trength of t he dee p mus cles T he head is se t
. in t o
t he top of the c olumn as if it were
,
the ca
p

Head and N eck of the Y oung A thlete .

o
st ne or r un ded
o t ermination of i t an d n ot a p art
,

dis tin ct
. Thi s gives t o the head t hat bold look of
defian ce whi ch charact eri ses t he athlet e whether he
,

b e a str ong man or n ot I t i s the ment al charact er

.

and t he forms in di cat in g that characte r n ot t he ab

,

s olut e s tren gt h or siz e of mus cles whi ch dis ti n ui s h

, g
 A R TISTIC AN A TO M Y . 1 05

t he at hlet eo am ngs t
all ot h er men I n t he youn g .
.

at hl et e t he n eck t herefore i s h an ds ome ; wi th a e t he

, g,

markin gs of t he mus cles an d other int ern al str uct ur es

s ho w t hemselve s as in ot h er p er s on s an d t he n ec k ,

be c omes un sightly T he chan ges effect ed in t he forms

.

of t he n eck by it s var i e d mov em ent s mu s t b e st u die d

i n t he livin g bo dy I n str o n g acti on t he elevat i on s

.

du e t o the mu scular mas s e s swell m ore an d more ; t he

te n din ous str uct ures an d bon es remain unaltere d .

E XT E RN AL FO RM S O F T HE TO RSO OR T RUN K .

T he trunk is c ompos ed hest the ab domen

of the c , ,

an d the p elvi s T he art is t vi ew s t hese great di vi sion s

‘

as on e callin i t t h t o rs o R e coll ectin wh t I h v

, g e .
g a a e

s ai d wi t h r eferen ce t o the di vi s i on of the e xt ernal

forms in the h ead an d n eck wi th referen ce t o t he ,

in di vi dual I s hall at once procee d wit h th o s e form s

,

we meet with in the finely forme d woman next in -

,

t ho se of the well made man t hen in youth an d age

-
, ,

las tly in the athlet e

,
I t ake it for grant ed t hat t he
.

s t uden t whils t r eadin t hi ch a p t er h as b efo re hi m

, g s ,

e it h er the livin m o d l r a cas t of t he Venu s of M elo s

g e o

or of s ome ot her an ti que Venus .

I n t he mesial lin e an d j us t b elow the st ernal facett e

, ,

c omm ences t he et ernal fur row o t hi s furrow exten ds

,

t o t he pit or holl ow of the s t omac h T he furrow i s .

cau sed by elevati on s on each s i de whi ch dep en d on t he ,

st rengt h of t he p ect oral mus cle s an d fuln e s s of t he

bo som ; the bone forming the bas e of the hollow i s t he

bre ast bone T he holl ow of t he st omach is in woman
-
.

a s oft cavi t y cau s ed by t he pr omin en ce of the cartilag e

of the s even t h rib an d adj oinin g hard structu res Here .

the stem al or mesi al furrow resumes it s course down

S ee Woodcut p 1 06 ,
. .
1 06 M A N UA L OF

wards b ec oming the ab domin al furro w p e xtendi n g t o

, , ,

t he u mb ilic us or navel or a little lower

, This furro w
.

o ve co rres pon ds t o t he t e n di n ous li n e call ed t h e

or
gro ,

li nea alba ; t he s welli n g rect i muscles on e ither s i d e

Mu s cles of the To r s o —fi
-
ont vi ew.
1 08 M A N UA L O F

t hree on e it he r si de , b ut they var

y i n nu mb er . T he s e

di vi de t he re c ti musc les int o so man y dis tin ct p o r

A groo ve mav b e ob w r ved o n eac h si de , c 6 , foll o w

ing t he outer margi ns of t he re cti mus c les T h es e .

of t he great bdominal
a muscle s . O n t he outer s i de
of these groo ves is a somewhat plane sur face e xt en di n
, g
qui te to t he groo ves T his flatt en ed . s urface is cau s e d

b y t he te ndinous c aracte r of
h t he su bj acent st r uct ur e ,

ter nal oblique mu scle of t he bdomen

a ,
w t he co nv e x
ili ac groove, caus e d by t he lin e or cur ve d margin o r
crest of t he iliac bon es , i s n ot seen in t hi s vi ew T he .

t hese gr ooves li mi t t he to rs o inferiorly an d laterall y .

t he s tr e ng t h of the mus cles an d a un dance

b of t he

Laterally, t he t ors o terminates in t he axilla T wo .

powerful folds of skin s hut in the axilla behin d an d

before . ver an d conceal in t he fine figure t he
Th ey co

margins of the p ect oral mus cle in front an d t he lati s ,

simna dors i mu s cle b ehi n d : t h ey may b e call ed t he

t ors o humer al folds

-
By r ai sin g the arm t he ar ched
.
,

outline of the rib s may b e seen in man b ut n ot in ,

woman an d the inte rc ostal s pac es descen din g oh

, ,

li quely from above downwar ds an d enlargin g or ,

wideni ng as they des cen d .

Laterall y may b e s een es peci ally in man a c on vex

, , ,

li ne n n wi th elevat ion s an d depressi ons ; t hese are

, ,

formed by the di git at i ons of t he serrat us mag nus an d

 A R TISTIC A N A TO M Y . 1 09

e xternal oblique mus cles : t hey e xt en d t o the t ent h

r ib .

T he hi p s or haun ches in reality

for m a portion of t he lower ex

t remi t i es , b ut y in clu ded

are u s u all

i n t he descript i on of t he t ors o .

T here i s first a dep ress e d s ur

face correspon din g to t he glut eus
,

me dius muscle an d t o t he t ens or

of t he apon eur o s i s ; n ext t he ro
p
mi n ence of t he t ro chant er maj or ,

an d t hi s i s follo we d by a de re s
p
s i on cau s e d by t he t en di n ous
n at ure of a p ort ion of t he lu
g
t eu s mu s cle T he ample convex
.

pr omin ence behin d thi s is caus ed

by t he glut eus maximu s mu s cle
an d by a thi ck layer of t he s uper

ficial fas cia lai d over it I t is t o.

t he s omet imes e n ormou s depos i

t i on of fat in t he s u perficial layer
or t i ssu e over t he lu t eu s mu s cle
g ,

t hat t he Hott ent ot woman aft er

marriage owes her p eculi ar form .

T he great elevat i on of the glu 1

7\ t eu s maximu s es ecially r emark

p ,
31 11 5
c
of t he Lo wer
I t em t) “ r i
ab le in t he fin el forme d w oman
y
-
,

is lim ite d b elow by t he tran sver s e inferi or gro ove ; t hi s

divides t he h aun ch fr om t he thi gh B ehin d t he swell .
,

in g ext ends t o a tr i an gular plane s ur face an d deep

i nt er glut eal gro ove t ermi natin g t he t ors o inferi orly
,

an d b ehin d .

Still further t o as si st the arti stic st udent I have ,

t hou ght i t ri ght t o plac e th ese t wo woodcut s b efore

 mus cles, which from ,

abo ve down wards ar e ,

t he t e ns or fas c iae a ,

s mall o rt i on of t he l
p g u

t eus medi us an d maxi

mus Thes e form t he
.

haunch as s een in t his

,

view ; below it i s t he
t high an d kn ee j o in t as -
,

s een o n t he o u t e r s i de .

N o lette ring has b ee n

plac ed on thi s woo dcut ,

as no t b ein q u ire d ;
g re

t he vas t u s e xt e rn u s an d
b icep s muscles are t he
o nl y o n e s pro min ent ly
s ee n here T he vi e w .

has b een given t o ac cu s

t o m the art i s t t o s k etc h
t he out lin e of the haun c h ,

t he thi gh an d t he kn ee
,

j oin t wi th t he hollo ws
,

an d elevat i ons t o whi c h

t he mu scle s , t en dons , an d
bones gi ve ri s e I n t he .

ac comp anyin w o d u t
g o c ,

m ar ked whi ch may b e

vi ewed as t he c omple
ment of t he on e j us t des cri b e d I have given a vie w of
,

t he b ack of the thi gh haun ch an d knee the in te gu

, , ,

me nt s s uperficial fas c ia an d ap oneur o s i s havin g b een

, ,

r e m ove d.

S ee page 1 09 .
112 M A N UA L O F

proac h thekin als o cause sli ght depres si on s T he re

s ,
.

i s a sli ght elevati on where the rho mboi d i s s ub cu

t ens o n s .T he lateral dors al grooves are forme d by t h e
o ut er mar ins of t he lon m u l f t he b ack
g g sc e s o .

Mu cles of
s t he Tors o—back view .

70, T op of t he s t ern o mas t oi d ; a , trape ziu s ; 2, del

-

t oi d ; c , infra s pin atu s mu s cle ; d, t er es min or ; 6 , t eres

-

maj or ; k, porti on of t he great p ect oral ; g att achment

,

of t he s err atu s magnu s ; b, fleshy port i on of t he lat is

 A R TISTIC A N A TO M Y . 1 13

s i mus dorsi ; ob li q m l of t he b domen ; p p

f f; u e us c e a ,

g l u t e us

A t t he lower par t of t he region I am des cribing

i s a lozenge sh ap e d surface forme d by t he lumb ar
-
,

a p o n e ur o s i s I t exten ds fr om t he las t dorsal ver

.

t ebra t o the medi an groove of t he hip s ; at t he

a n gles ther e ar e fac ett es or dep re s si on s c au s e d by

t he p res ence of t he iliac b on es whi ch h er e ap ,

p roach t he s urfac e or b ecome s ubc ut an eous T he

,
.

v ert ical gro ove in dicate s t he lin e where t he t en

di n ous origin s of the ab domin al mu scles uni t e aft er ,

havi ng in clos ed withi n aponeur ot ic s heath s t he long

m us cles of the back and t he quadrat us lumb oru m
mus cle s .

T he t ors o of t he c hild "

is n ot worth
describin g ; it
has no proper form s . T he infant ret ain s many of t he
foet al forms ; I have already explain ed t hat su ch s hap es
al way s un pleas in T h n avel i s in t he mi ddl e of
g e .

t he bo dy ; the vertebral c olumn i s s t raight or c ur ve d

—
forwards a form conn ecte d wi t h t he law of un ity an d ,

n ot pr o du ce d by t he p osit ion of t he chil d in t he w omb .

A s the child grows t he che s t b ecomes develope d ; still

, .

t he h ead i s t o o lar ge By an d b ye with years the

.
, ,

youth appe ar s t o b e c omp os ed of limb s so great ly do ,

t hey e sp ecially the lower pre pon derate over t he to rs o

, ,
.

A t pu b ert y t he fine forms app ear in man an d woman

.
,
Y
e s p e c ially in woman .

T he degrad at i on of the to rs o i n old age n ee d n ot b e

dwelt on I t i s en ou gh t o s ay t h at t he strin gy mus
.

cle s an d t en dons wit h even t he o utlin e of t he hi deous

,

s kelet on ,
may b e t rac ed thr ough t he wrinkle d s kin .

T he vertebr al column b en ds forwar ds wr in kles an d ,

fol ds of skin app ear everywhere O f the dec olorati on .

S ee Figure p 54 , . .

I
1 14 M A N UA L O F

of t he artis t , an d n ot to b e

words .

Mus cles f the B ack of the Tr unk

o .

T he annexe d woodcut s howin g a dee p di s secti on of

,

the b ack of t he t r unk di splay s t o t he s t u dent c ert ain

,

of thos e mu scle s whi ch as s i s t s o mat eri ally i n givin g

b eauty t o the back s o long as t hey are covered by a

,

fin ely developed en velop e b ut whi ch wh en s e en in t heir

-
,

n ake d deformity was t e d by s i ckn e s s or t hinn e d by

,

age de s tr oy at o n ce the b eaut y of th at region wh i ch all

,
 T he breadth of t he haun ches is remar a k bl e in
woman and , ghis
t t o b e
or muou
ch w i der t h an

t he s houl de rs N evert heless it is n ot on bul k t h a t

.
,

t he b e nty o f the haunches in woman depen ds b u t

p ,

on t heir forms an d pro porti ons T he overhea t e d .

i maginat ions of s ome Frenc h arti st s have led t h e m

i nt o thi s error A co mpar is on of a mo dern fem a l e
.

of t he Venu s will c onvince any person of t as t e t h a t

,

e xa e rat e d forms eve n here do n ot cons ti t ut e t h

gg e

per fect an d t he bea utiful .

Las tly it is in woman t hat the s ubcutaneous ce llul a r

,

fas cia longes t retain s somet im es for life t hat ad i

, ,

pose tis sue whi ch in her as in you t h so effect uall y

, ,

c o nceals t he emblems of decay of di s s olu ti on th at i s , , ,

t he appearance of t he in te ri or anato my B ut it i s als o .

an emblem of yo ut h : t hus at all point s i s wo man

armed by N at ure wi t h s edu cti ve forms whi ch s he has ,

t ot all y den ied t he mal e figur e O f t he movement s o f .

t he t ors o I nee d say li tt le ; t hey de pen d mainly on t he

m ob ility of the vert ebral column All exaggerat ion of .

t he mu s cular form s of t he t ors o ou ght t o b e car efully

avoi de d I t w as n o doubt a great error in M i chae l
.
, ,

A n gelo t o do t hi s Had he s ee n t he Elgin M arbles

.

he n ever could have fall en into t his error whi ch he ,

himself dis covered it i s s ai d when t oo late

, ,
.
 AR TISTIC AN A TO M Y .

C HA PTE R V .

E XT E RN AL FO RM S OF T HE T HO RAC I C OR S U PE RI O R
E XT RE M I T I E S .

s ca pula and collar bon e -

.

6, Outlin e of the delto i d .

0, A n gle of t he deltoi d, where the

a n d exten s i vel y at tac hed to the hu merus .

Thi s m us cle, t he d elt oid, i s t he gr eat

a b d u c t o r an d elevator of the arm ; when
p raly ed the arm c nnot b e rai ed o r
a s ,
a s

a bd u cted B ut it eldom o ver s hows

. s r e

i t se lf very fl hy in w oman es .

d M k t he aponeur ot i porti n of
ar s c o

t h e delto id whi ch will b e b s t s een in

, e

t he u b equen t w o o dcu t
s s .

e Mas ses of th exten sor and flsxor

e, e

m u s cles , formi ng the hollow of the

bend of th e el bo w , an d
gi vi ng ris e to

d pres s i ons
e , in co nn ec ti on wi th the co n .

dyles of the humer us .

f ;
Semi fi -
at s urfac e o f the forearm .

g, G r o o ve fo rmed t h e tendo ns of by
p
t he great almar (flexor radialia of ana !

t omi s t s) palmar muscles

and long .

E xt remity of the radi us bone .

0 Thenar emi n encc o

, ball o f the r

t humb .

p H yp o,
t h enar emi nence .

Thes e fleshy emi nen ces are pecul iarly

human an d when large as t hey ought
, ,

Superficial Muscles of
t he A rm—front vi ew .
118 M A N UA L O F

to b e in the fine han d

, add greatly to its beauty . They ar e , in
fact, human characteri s tics .

q, T he dep res s i o ns an d elevati ons i n t he palm of the h a n d ,

cause d by
the aponeuro ti c sli s in whi ch t he p p lmar apo neur o s i s
a

termi nates .

T HE shoul der forms the root or commen cement of t h e

t horacic ext remity I t i s r oun ded an d promin e n t ;
.

t here i s firs t a sli ght elevat ion cau s e d by the s cap u l a ,

and collar b on e a-
n ext foll ow t he ou t li n es o f t h e
,

deltoi d b b ut li tt le marke d in w oman ; t hen t h e

, ,

delt oi d an gle c t o b e seen onl y in mu s cul ar per son s

, ,
.

T he half flat surface t o b e s een o n t he b ack of t h e

-

s houl der i s cau s e d by t he ap on eur ot ic port i on of t h e

delt oi d .

I n the arm,
pr operly ao call ed there is t he oval -
,

reli ef forme d by t he bi cep s mu s cle h b ut t his i s n o t ,

well mar ked in the fin e ar m in which t he brachi ali s ,

mu s cle i s al s o fully develope d T he depre s s i on in .

,

feri orly i s cau s e d by the te n don of t he bi cep s mus cle ;

,

t he depr es si on at t he b en d of t he elb ow c e i s forme d , ,

by the large mu scular mas s es conn ect e d wi th t he ou t er

an d inn er c on dyles of t he hu merus an d wi t h t he s haft

o f t h at b on e .

A half flat surface on t he ant eri or sur face o f t he

-

forearm j , follows t he depres si on at t he b en d o f t he

,

elb ow . I n it in the coar s ely forme d ar m at 9 may

,
-
, ,

b e ob s erved t he outlin e of t wo t en don s li mi ting a

s hall ow groo ve T he ext ern al cor d i s forme d by t he
.

t en don of the great p almar mus cle ; t he inn er by ,

t hat of t he long p almar Thes e t en don s di vi de t he .

forearm as it were in t o t wo p art s A t t he lo wer p art

, ,
.

of t he forear m i s s een t he p romin en ce forme d by t he

s t loi d p ro ce s s o f the radi u s t h t n don f t h

y 91 e e o e , .

flexor car p i ulnar i s m limi t s the gr o ove k 11 in t ernall y

, , , , .
1 20 M A N UA L OF

part dis appearing t owards t he radi al s ide of th e

,

han d ; t he four others wi t h the c utan e ous an d s harp

,

folds place d between t he b as e of t he fin gers form a ,

fest ooned arch t he ext er nal ext remit y of whic h de

,

s cends lower t h an t he ext er n al T he firs t ar ticula

’
.

t i on of t he phal ange s has als o it s do uble arti c ular fol d ,

oppos ed to each other by their con cave s i des ; an d

finally t he four last fin gers h ave a fold corre s po n di n g
,

t o t he las t j o in t .These art icular folds or grooves are

n ot plac e d on t he same lin e ; t he groo ve of on e fing er

i s hollowe d out O ppos ite to t he s welli n g of t he ne xt

finger . T he fold o f t he t hu mb i s n e ar ly on a leve l
wi t h the lower en d of the firs t porti on of the figur e
( s ee p ag e f orm e d by t he p al m ar gr oo v es T h e fi
.r s t
roov e of t he in dex co rre s pon ds to t he ex tre mi ty o f
g
t he t h um b ; t he secon d t o t he mi ddle o f t he s ec on d
phalanx of t he medi u s t he t wo folds of whi ch are
,

s it u at ed t he firs t opp o s it e t he mi ddl e p art o f t he

,

s ec on d phal an x of t he rin g fin ger t he s eco n d o pp o s ite

,

t o t he p ul p of t he s ame finger . T he folds of t hi s las t ,

t he ri n g fin ger divide alm o s t exac tly t he t w o fir s t

,

ph alanges of the me di us ; t hose o f the litt le fing er are

bot h below t he firs t phal an gean art iculat ion s of the
rin
g fi n ger . Th e s e arran g e m e n t s v ary n o dou bt b ut
, ,

n ever wi dely fro m t hat I h ave poin t e d ou t .

The se minute di recti on s as t o s ome mechan ical de

t ails in re spe ct of the fol ds an d prop orti ons of t he
fin gers I copy from t he exc ell ent w ork of M F an . .

T o many t hey may app ear trifli n g an d un import ant b u t ,

with t his opini on I do n ot al t ogether agree I t is t rue .

t hat it i s t o t he form an d prop o rt i on s of t he var i ou s

M Fan has t ken the trouble to mention these and

. a

oth er det ail s whi ch at t imes may s afely b e left to t he ar tis t

,
 A R TISTIC A N A TO M Y . 1 21

part s of han d t hat the ar tist shoul d devot e mo st

the
o f hi s att en ti on ; t he s e c on s i derati on s n o dou b t ,
M ,
.

F an an d m o st ot hers have overlo oke d I shall give .

h
t e m v
e er y c o n s i derat i o n in a s u b s e qu en t ch apt er of
t he w ork ; in t hi s I mean t o oc cupy my s elf chi efly wi t h

O n t he palm ar s i de of t he fin ger s
m ay b e b s erve d in t he h ealthy
o , ,

fin ely formed han d rou n ded emi

-
,

n en ce s s ep arate d fr om e ac h ot her
,

by t he ar t icul ar groove s ; t he las t

of t h e s e i s form e d by t he p ul p of

t he fin gers ; it i s al so t he mo s t
pro minent .

A n in ter digit al c ut an e u s o fold

e xi s t s bet ween all t he fin ger s t o
a c ert ain ext en t v aryin g in dif
,

fer ent pers on s ; it i s widest an d

l ar ges t bet ween t he t hu mb an d
t he i n dex T he import of all t hese
.

s tr uc t ur e s I h ave all u de d t o in

var ious part s of this work .

I n the anne xe d woo dcu t the

lett ers r r are plac ed on t he t ri
cep s e xt en s or an d it s t en don ; t
,

t he an con proces s T hi s proce ss i s

.

a p or ti on of t he ulna or c ubit b o ne
,

as i t was c alle d by t he an ci en t s .

I n t he fin ely formed arm whet her

-
,

male or femal e , it forms , lik e so

m any other os s eous proces se s in

t he b o dy a b eautif ul dep re s s i on
, .

Imb edded in the sup erficial fas cia

M uscles ”f the A n “
c ov erin g t hi s proce s s t owar ds it s , —b kac view .
12 2 M A N UA L O F

lower an d where the bone c om e s

more proj ect ing par t,
more i mmediat ely as it were t o approach the inte g u
, ,

men ts there i s found in mos t persons a little b ag o r

,

bursa as it is called by anat omis t s containing a fin e

, ,

bone . protec ts equally the skin an d t he bone from

It
t he e ffec t s of frict ion an d it is t he pre se nce of t hi s bur sa
,

whi ch e nables man t o re st so eas ily an d for su ch a len gth

of tim e u po n t he poi nt of t he elb ow I t may b e r ight t o .

mention he re t hat a s imilar anti fr ic tion apparat u s -

,

t hat i s a s yn ovi al burs a li e s imb edded i n t he s u perfic ial

, ,

fas cia s tre tc hed over t he rot ula or pate lla an d an ot her
, ,

o n t he o ut er s i de of eac h m all eolu s e xt ernus Thus .

j ury to t he int e gument o r bon e ; an d in t he ori en t al

fas hi on o f s itti n g on t he di van wi th t he limb s cro s se d,

t he b urs ze over t he malleoli prote ct these part s from

all inj u ry by pre s s ure .

To ret ur n to the ancon proces s we find t hat in the , ,

emac iate d or c on enit ally ill forme d arm t he proce s s

g
-
, ,

in s t e ad of givin g ris e to a beautiful depre s s ion forms ,

a hi de ou s p roj ect ion at all tim e s di s pleas in g to t he

,

e e u poin t s t o a facett e or plane s urface as t he

y .
,

c as e may b e b et ween the proce s s an d t he i nn er con

,

dy ole f t he u m —
h erus there is a well marked cavi ty on -

t he out er s i de of the an con pr ocess ; 0 t he an con eu s ,

—
mu s cle groove s are forme d by t he apon eur oti c
partit ions of the muscles ; w ext ens or car pi ulnaris ; ,

w t he uln a ; y the lon g ab du ct or an d extens ors o f

, ,

t he t hu mb ; z t he t en dons of t he e xte ns ors ; at the

, ,

head of the ulna ; n the lower end of the radius ; l l

, ,
1 2 4: M A N UA L OF

forme d, they g ive rise t o a se ries of proj ecti ons ,

see n

readily t hr o u h t he in te ume n ts T he in te gum en t s

g g .

over t hes e e le vat ions are furro wed wit h man y folds o r
wrin kles cro s s in g eac h ot her i n all direct i o n s
, T he .

arti c ular folds o n t he b ac k o f t he fin ers are n ot plac e d

g
o n t he same level wi t h t he ant e r ior folds b ut b e l ow ,

an d ab ove t hem O n t he las t phalange s the re are

.

t he nails pres ent in g many form s b ut b eau ti ful o nl y

, ,

when re s e mbli ng t he ant ique nail T he nail owes i t s .

beau t y t o it s form ; ill form ed nails de st roy t he ap

-

ran ce of t he fin e s t han ds F ac t us a d a n uem w as

p e a
y.

t he pithy phras e o f t he R oman poe t to e xp re s s n o , ,

dou b t what w as beau t iful an d pe rfe ct Wo man s n ail s ’

, .

are e n e rally t he fin es t s o als o is her han d an i n d e x

g ,

of her te n dere r n at ure , o f her m or e

of her softer , more perfect s t r ucture
beautiful ,
m or e .

O n the e xt ernal s i de of t he ar m t here i s a gr oove ,

forme d by t he brac hi ali s fle xor an d t rice p s On .

t he in n er s ide of t he arm t here i s al s o a groo ve ,

e xt e n di n fr om t he axil la as far as t he l o w er t hir d

g
of t he li mb ; i t i s cau s e d by t he bice p s an d t ric ep s

mu scle s T he inn er con dyle of the humeru s for ms

.
,

in t he fin e ar m a s li ght elevat i on or pr omin en ce ;

,

a s h allow depr e s s i on foll ow s i t L ower down t here .

i s t he s tyloi d proce s s of t he ulna an d a p ort ion of

t he head of the b on e ; t he s e give ri se t o tw o s mall
emin en c e s s ep ar at ed by a v ery s h all o w gro ove
, .

I n chil dhoo d t he s ub cu t an eo u s fas cia wit h it s adi ,

pos e cushi on the emblem of yout h c on ceals all m us

, ,

onl ar an d o s s eou s fo rm s ; t he an c on gi v e s ri s e t o a

facet t e ; s mall di mple s m ark t he art i culat i on s ; whe n

t he arm han gs e xt en ded by t he s i de t he elb o w re ac he s ,

t o t he level of t he b as e of t he ch es t ; t he han d to a
li ttle below t he hip j oint With year s t hes e forms
-
.
 A R TISTIC A N A TO M Y . 1 25

al t er , an d the limb i s often foun d meagre an d st ring y

X
j u st b efor e pubert y . A t t hat per io d ,
or s hort ly after ,
/

t he ar m i s fin es t in woman ,
r oun ded, s m oot h an d ,

t aper . I t i s t he s am e in man ; b ut in him t he adi

p os e cus hi on b egin s often t o di sappear at t went y or

t wen ty on e e xpo si n g the mu s cul ar ou tli n e s an d de
-
,

s t r oyi n g all b eau t y I n wom an on t he contr ary t he

.
, ,

b eaut y of t he arm often cont inu e s t o fifty or even sixt y .

I n old age in con s e qu e nce of t he t hinn in g of t he in

,

t e gum ent s an d mo re es p ecially t he di sapp ear an ce of

,

t he adi po s e c ell u lar cu s hi on of b eaut y an d of you th ,

t he w as tin g of the mu s cle s t he ar ms an d t he li mb s ,

e n er all y b ecom e fri ght ful an at omi c al di s play s excit

g ,

i ng merely pit y an d horror ; t he vein s s well s h owi n g ,

t hemselve s everywhere ; even the nails woul d s eem t o

alt er t heir form .

A sin gle addit i onal r emar k as t o t he fin e form of

wom an s arm an d of t he athl ete
’
,
.

I n wom an t he pr oport i on s of all t he p ar t s of the

,

upp er ext remi ti e s are finer t h an in man an d t h ey ar e ,

plac ed more grac efully on the tr un k T he fingers ar e .

t ap er as well as the en t ir e arm

,
B ut t he ar m of .

t he youn g at hlet e i s al s o b eaut iful t hou gh n ot so ,

mu ch s o as that of woman ; it i s t ap er r oun d full , , ,

an d s m o ot h ; n o an gles app ear u n til lat er in life ; it i s

ar ti cul at e d t o t he t ors o s o mewh at di fferent ly t h an in

other men B ut in order that t he arms b e fin e whe

.
,

t her in man or w oman it is n ece s s ar y t hat t he deep

,

mu s cles b e fully develop e d an d that t he lon g mu s cle s ,

of t he for ear m s houl d cont in u e fles hy t o n ear t he

wr ist T he s am e r emark we s h all fin d applies t o t he

.
, ,

lower limb s A ny r emarks on t he varyi n g forms t he

.

ar ms as s ume durin g ac ti on , s eem t o me un call e d -

for
here ; b ut it will b e n ecess ary for t he stu dent to
s t udy t h ese varyi ng forms in t he livin mo d l
g e .
 1 26 M A N UA L O F

C HA PT ER V I .

EXT E N R AL FO RM S O F T HE L I MB S , OR L I
PE V C
E XT RE M I T IE S .

T HE hip j oint -
haunch connectin g the limb to the
an d

t ors o h ave b ee n alr eady des cribe d ; w e have t here

fore onl y t o s p eak of t he t high t he leg an d t he foot , , .

I n t he front of t he t high the rect u s mu scle forms a

"l l

fine reli ef ai de d by t he convexi t y of t he t high bone

,
-
.

There i s a slight angular depres s ion above indicati ng ,

a h ollow s p ace b et wee n t he ten s or an d sar t orius

mus cle . A plan e s urfac e follow s t he relief of t he
s art orius as far as the rot ula ; t he ou tlin e of t he

s art orius n is sli htly p erce pt ible O u t s i de t he t hi h

, g ,
.
g
t here i s a large co nve x s urface te rmin at in g belo w in ,

a deep depre ssi on ; b ot h are du e t o the rect us

mu s cle A nt eri orly an d above j u s t b low t he gr o in
e
.
, ,

t here i s a s mo ot h s ur face c orre s p on di n t d p

, g o ee

mus cles .I n t he fine lim b of woman the thigh s are

fleshy an d r oun ded an d t hey meet or t ou ch each,

ot her above I n man t he t hi ghs are flatt en ed an d

.
,

t hey do n ot t ou ch when br ou ght t o get her T he .

addu ct or s s t r on n d fl hy i wo m
r
p 0
, are , , ,g a e s n an ;

s o als o i s t he vas t u s in t ern u s T he t high slope s gently

.

inwar ds in every well forme d li mb male or fem ale -

, ,

b ut mo st in woman Straight t hi ghs ar e an un sightly

.

deformity ; the thi gh s of t he fast us and of s ome qua

T he prominen ce of the p atella must b e es pe

S ee w oodcut and explanati on on the oppo si te page .
 M A N UA L OF

e le vat io ns an d slight depre s

s io ns o r oov t h
gr es , as e ca s e

may b e ; behi n d thes e is t he

re li ef of t he gemelli and ao

le ns d e f g ,
— fo rm s n eve r, ,

s t ro n ly marke d i n t he fin e
g
ly fo rmed li mb s of w oman
-
.

T he bac k o r dors u m of
t he fo ot s hould b e convex
o r arche d I n t he fin e foot .
,

n eit her t e n dons n or m u s cles

n or b one s nor li ame n t s ar e

g
vi s ible I t is only when
.

t he adipose t iss ue is leaving

t he inte gument s t h at t hese
anat o mical element s b e in
g
t o s how t hem s elve s T he .

m o s t pro min en t p art of the

b ack of t he foot corre s pon ds
to t he firs t an d s ec on d

w ed e haped bone s an d to
g s
-

t heir art iculat ions w i t h t he

fir s t met atarsal . T he t oe s

E xp la natio n f
o the Womb at —S uperficial mus cles of t he leg

an d foot , o u ter s i de per ficial f ci nd

; t he i ntegumen t s , su as a, a

apo neuro s i s have b n em o vedee r6 Lo wer port i on o f t he t i

. 0 , r

ce p s or quadri cep s exte n o f t h l eg ; biceps fl xo u i ;

s r o e a, e r cr r s

d gas tr ocnemii and l n o t i cep exte nso of t he f o t ;

,
so e s, r r
j ;g s r o 8, ,

te n do A chilles
- k t i bi li n t i n ; i h l te n don s of t hi mu l
, a s a c s , , , s sc e

n d o f t he adj oin ing n m ely t he xten sor p opri us po lli ci d i

a ,
a , p e s e r s

and ext en sor c o mm uni s ; tarsal li gamen t o r

m, an te ri o r ret i n a

onl um , bindi ng d plac e ;

o wn an d re tai n ing t hese ten do n s i n t he i r s

p o, n p
, o in t
,
t o t h e at t achm ent o f an extens o r musc le uspe , s r

a dded in s ome li mb s t o t he comm on exten so r of t he t o ; t t h es o e

ten dons of the. peroneal mus cles and t o t he abd uc tor mi ni m1 ,

digit i pe di s .
 AR TISTIC A N A TO M Y . 9

enla r xt remi ties the second should b e

to war ds their
ge e

t h e l on ge s t ; t he t hir d four th and fift h di mini sh ra

g , ,

d u a ll y ; the extremity of t he little

t o e r eaches t o t he last j oint b ut
o n e o f t he s ec on d toe T he su per .

fi c i al veins s hould n ot b e s een in

t h e youn g limb ; t h ey are t he
s a p h e na and t heir bran ches .

T o co nclu de : t here i s a groove

i n t he t high bet ween t he vas tu s
,

e x t er n u s , c, an d flexor mus cles , p .

T h is is s car ce l y perceptible in
w o m an ; in t he emaciate d li mb i t
i s m o s t s triking Here the ap o .

n e ur s is o di ps down t o t he b on e ,

fo rmin g di st inct heaths for t he s

n e i ghbouri n g mu s cles There ar e .

d epre s si on s an d elevat i ons on t he

o u t er s i de of t he kn ee e xplain e d ,

b y t he form of the vas t us ext er

n us c by t he t en don of the bi cep s
, ,

by t h e r ot ula an d by t he h ead of t he fibula on t he

p , ,

out er s ide of the leg ; the fibula Io forms a t n angular , ,

o s s eou s plane t ermi natin g in the malleolu s externu s

, .

I n t he finely formed limb t he per oneal mus cles s houl d

-

b e fully developed b elow .

T o en able t he st u den t the b ett er to comprehen d

T he woo dcut re pres en t s the bac k of the foot an d aport ion o f

the leg adj oining . e, d, c, b
t i i ali s ant i cu s and exten o r po lli ci s
s

pedis cu t acros s ; a, pe r oneal muscl es an d fibula ; f , an teri or an

nular ligamen t of point to t he origin of the ex

the tars us m s

te ns or brevi s c mmun i s g addu ct or polli c is ped is ; l abduct or

o , ,

minimi digi ti ; L k the retin ac ulum o li gamentous sheat h bind

, ,
r
,

ing down and retaini ng the tendons i n their plac es .

1 30 M A N UA L OF

t hese forms , I have t hought it right to place before

him a woodcut re pre sen tin
g a di ss e ct i o n of t he s uper

ficial mus c les of t he haunch

an d thi gh, i nclu di n g the ex
te rnal si de of t he knee
joint . T he in tegument s and

moved, so as to di s play fully

t he causes o f forms in these
re
gi ons , namel y t he prox
i mity of b on e ,
t he pres ence
of t en don s , an d t he swell
ings of t he mu scul ar mas ses ,
whet her in acti on or in re
po se a t he obli que mus
.
,

c le of t he ab do m e n ; b the ,

head of t he sarto ri us ; c the ,

tens or of t he ap on eu rosis ;
r, t he glute us m e di us ; q,
l e us maxim us ; d ; t he
g ut j
e xtensor mus cles of t he leg ;
6 t he vast us e xt e rnu s ; p
, ,

bice p s flexor of t he leg ; y ,

s hort head of t he fie xor ;

o n inn er hamst rin g mus

,

cle s ; h i to of t he ti biali s
p ,

ant i cus an d co mmon e xt e n

s or ) f t he t oe s ; k fib ul a ; ,

l m he ad of t he tr icep s ex
,

ten sor of the foot .

T he arti s t i c stu dent would do well to s k e t ch t he

forms seen in t hi s woo dcut frequ ently ; to comp are
t h em wit h the plas ter cas t s b efore him wit h t he b ean
,

t iful li mb s of t he Elgin M arble s an d ot her an ti qu e

1 32 M A N UAL OF

j , t he r e ct us ; i ,
t he vast us internus h, the gracilis ;
;
I m, t he semi - mem ran os us
b an d ten di nos u s , forming

the inner muscles of the hams tring s ; 0 points to the

top of t he fles hy calf of t he leg .

T he anat omy and t he forms i t produces are well dis

played in the ann e ed
x woodcut ,
representi n g t h

si de of the leg an d foot .

d, c, b, m us cles of t he inner
hamst rings and sarto rius cut
ac ro ss ; f ; inner head o f t he

tr ice ps e xt ens or of t he foot ;

as t ibi ali s ant i cus as i t pro
, ,

j eet a in the fleshy li m b b e

yon d the crest of the ti bia ;
h
g, , , i i nn er s urfac e o f t he

t ibia, when it bec om es sub

c ut an eo u s throu gho ut it s
whole lengt h l, ant er i or re

ti nac ulum of t he t ars u s ; on,

s ole of t he foot an d ab du c

tor muscle of t he great t oe .

made fi om the male limb s ,

'

mus cul ar an d fleshy, st ron g

ly mar ke d, well propor
t ion e d, b ut devoi d of beau ty .

For t his he mu s t loo k to

t he limb s of the Venus and

of the living woman re s e mblin g her .

 AR TISTIC A N A TO M Y . 1 83

I t is in the lower part of the leg b etween the calf and

,

t he ankle joint that the Engli s h ( S axon) li mb chi efly

-
A
,

fall s off T he limb ought t o continu e roun d an d t aper

.
, ,

an d full t o t he ankle Thi s falli ng off of t he limb above

.

t he ankle i s a peculiar ity of the race an d n ot an acci ,

dental deformi t y as S ir Charles Bell suppo s ed occa

, ,

s ion ed by t he hab it of wear in h vy ho I n t h

g e a s e s .e

C eltic rac e t he calf of the leg i s str ong an d well formed ;

et t h e maj ori t f t h w t h h vy b t S i
y y o e ra c e ear e e a e a o r .

Char les s error did n ot st 0 p here He as cribe d t he

’
.

st r ong calf oft en s een in t he le f h P i i C l i

g o t e a r s an ( e t c)
women to there bein g no side pavement in Paris an d ,

he calle d su ch legs hands om e ! B ut t he stren gth of

the calf of t he leg in Fr ench women i s not due to the
pavement b ut t o the rac e t o whi ch t hey belong ; and
,

a s t ro ng calf in t he leg of any woman i s a def ormi ty ,

an d n ot a b eau t y Th .us f r om on e fa l s e p r in c i pl e — t he
idea t hat t he form of the h uman body may b e per
manently altered by ext ernal cir cums tances flowed —
many errors of detail .

T he t ubero sity of t he cal caneum proj ect s sli ghtly ,

b ut di splay s n o o s seous configurati on Slight depres .

s i on s an d ele vat ions of gre at b eauty may b e s een

aroun d t he malleoli cau s e d by t en don s an d m us cles

, ,

an d eas ily unders to o d T he ext ernal si de of the foot

.

sho uld b e r oun de d t he inner n early strai ght

, N0 .

thin g on t he s ole of the foot in di cates the c omplex

anat omi cal st ructures situate d above t he integument s

an d t he plant ar aponeur o si s ; t he great st rengt h of

the epi dermi s an d in tegument s generall y assi st als o

in c on cealing the anatomy T he sub malleolar gro ove
.

ri m s int o t he botto m of the foot with whi ch it i s

,

indeed cont inu ous .

I n the infant the limb s never worth drawi ng nor

, ,
t he mi ddl e of t he t high, anot her o n a level with the

T he degradati o n of forms caus ed by age n ee d not be

T he foo t is , pro po rt i onally t o t he whole s tat ure,

s maller i n w o man t han in man T he fo ot of t he Venus .

rese m bles that of t he chil d . T he hands an d feet of

gro ws up with t hese forms ; in her t here i s develop

ment wi t ho ut degradati on of forms .

To catc h t he varying forms of the lim b s dur ing

act i on, draw fro m t he n ude figur e ; s t udy dee ply the

t he dead an d the dyin g ; s t ron

g men en
g g
a ed in m ortal
co m at , or r e o s ing
b p peacefully in groves an d t em ples ,

wi t hou t bet rayin g a s ingle bur les qu e or gr ote s que

att it ude ; n ot hin g vulg ar n ot hi n f d n ot hi
g o rce , ng ,

t heat rical n ot hing hyperboli cal in t hese n oble figur es

, ,

— all is dignit y and N at ure in her mo st ma e s t ic forms

, j .

T he late M r Haydon was once as ked b y a

.

s pruce dapper Cockn ey what t here was in t he El in

, , g
M arbles t o mak e t hem so mu ch admire d Thr ice .

happy Cockney whom N at ure had formed wi t hout

,

taste b ut had suppli ed wit h a su perabun dant s hare of

,

s elf con cei t ! What u s e is ther e in payi n g

-

for such mu tilated fr agmm t s as t he se without a mean ,

in g Have we n ot S t Paul s and Wes tmin ster A bbey

.
’

,
1 36 M A N UA L OF

PART I II .

C HA PT ER I .

O B ! E C T A N D an ! o r R i — MA T E RI AL S A T T HE C O H
k

—
MAN D O F T HE ST UDEN T A H A N ALY S I S O F
BEAUT Y A N D A T HEO R Y O F T HE BE AU T I F UL
,
.

I T is not en u
g o h that t he arti s t be enab le d, by me

in plas te r in marble, v N at ure

’
sent ,
or on can as , s

cellent , however n ec es s ar y they b e to com plete the

ar tis t , do no t in themse lves c nst it ut e
o t he arti s t ; t h ey
form t he st at uar y an d t he pain te r, b ut n ot t he artis t .

What ommon
the c an d t he vulgar mind t akes for the

end an d t he cons ummat i on of ar t is onl y t he hand ,

mai d the workman s share in t he work the mec hani c s

’ ’
, ,

part T he real object t he artis t must ever have in

.

plain my views on t hi s point I have t hou ght it advis ,

able t o add t hi s con clu din p a t omp i in n o tli n

g r c r s g a u e ,

sumed the young arti s t has access to in t hi s an d in

ot her countries and a t heory of beaut y whi ch I have
,

vent ured t o call new By t hi s expression I do n ot

.

mean t hat the practi cal res ults of the t heo ry were
unknown t o t he great mas ters of an ti quity ; Ho mer

knew t hem as well as he immortal t hrou gh hi s works, ,

et unk nown who car ved t he A poll o and t he M edi

y ,
 A R TISTIC A N A TO M Y . 1 37

Venu s ; b ut if t hey kn ew the t heory they have

left n o account of i t This theory I b eg t o offer to
.

t he can di d e xami nat ion of art is t s an d t o men of t ast e

of all co un t r ies requ e s ti n t h m t t t i t t t h by
,g e o e s s r u ,

applyi n i t t t h w k f t h t m t d
g o e o r s o e g r e a as e rs an

ot hers I have mys elf often done so and do n ot fear

.
,

t he r es ul t .

T he mi s di recti on of the st u di es of the ar ti st dat es

at least from the t ime of M ich ael A n gelo ; it was t hen
t hat t he y of the
an ato m scho ols , I m ean t he me di cal

s choo l s t ook,
t he p lace o f t h e li vi n g a n at o my— t he o nl y
i ns tr ucti on of real utili ty t o t he ar tis t .

T he que st ion has b een as ked by men gifte d wi t h

e xqui s ite t aste what woul d have been the con di tion
,

o f art now had n ot t he ant iqu e marble s b een di s in

,
o

t erre d That it woul d have been mo st deplorable ,

all mu s t admi t B ut had t he sket ch b oo k of L eo

.
-

nar do b een publi s hed it woul d at any t ime have

,

revoluti oni s e d ar t checke d at on ce an d for ever t he

,

false dire ct ion given t o art by M i ch ael A ngelo put ,

R aphae l an d hi s school in their pr oper plac e removed ,

p edantry and fal s e philos ophy from art clo sed the era ,

of t he m os t di s
gu s t in g o f a ll ev ils — conven ti onali t
y ,

na ti ona li ty in art Whils t I wr ite thi s I hear of

.
,

R aphaeli te s and pre R a phaelite s -

Leon ar do prece ded
.

R a phae l : go b ac k t o Leonar do an d Phi dias ; go back

to N ature .

That the ar tis t ought als o t o b e acquaint ed wi th the

an at o my of t he dead at leas t t o a cert ain ext en t t hat
, ,

he ought t o kn ow how t o comb ine scien ce wi th art I ,

admi t . Let him avail hims elf of all legitimat e r e

s ources of hi s art learn how t o e s chew t he err ors of
,

t ho s e who tell him or who have t old him t hat on the ,

one hand he may have ready made phys iognomi es

,
-
1 38 M A N UAL O F

s ui te d to all occasi ons ,

and, on the ot her ,
t hat from
t he lifele s s an d ket ch wi th
di s secte d o
c rse he may s

s afet y : co dead forms for livin g one s ; for m s which

py
N at ure n ever inte nde d sh oul d b e se en ; form s whi ch
s he has in t he hi h t i de of b e au ty an d you t h most
, g ,

carefull y co nc ealed fro m human s i ght T o enable t he .

arti s t in fac t to es cap e fr om a mi s dir ect i on whi ch is

, , ,

s ure dee ply an d fat ally t o in flu en ce all his fut ur e aims

and works i s the obj ect of t hi s wor k

,
.

M Ger dy a di st ingui sh ed Fren ch s ur geon an d lec

.
,

tu rer on anatomy s eems to me t o have b een t he firs t

,

to apply the rigorou s met hod of anat o mi cal des c ri ption

t o s t at uary pain t in g an d gen erally t o the wo rks o f the
, ,

at mas ters an cient an d mo dern T he n ot e s he has

g re ,
.

appen de d t o hi s work c ont ain valuable cri t i qu e s on

mo st works of art t o b e foun d in the mu seum s of

Paris ; and the st u dent vi sitin g t hat capital for t he
purposes of stu dy and impro vement could n ot do
bett er than con sult hi s work O n t he other han d .
,

it i s right t o ob serve t hat in the c ompo sit ion of his ,

si ngle v olume ( for it is in complet e) t he aut hor has ,

n ever for gott en or overcome hi s anato mi cal an d s ur

i c al t en den ci es an d on t hi s accoun t I h ave n ot been

g
able t o pro fit by hi s labour s in the c ompos iti on of t he

pres ent M an ual A descriptive manual of external

.

forms t o b e of u se t o the ar tis ti c s t u dent mu s t b e

, ,

bas ed on ar ti sti c vi ews I n thi s coun try on the other

.
,

han d t hos e who have writt en on the subj ect of art

,

have either in dulged in un profitable reveri es or ad

vanced t heorie s unin telli gible or easily r efut able I t .

has n ot far ed b ett er wi th t he ar ti s ti c stu dent in

Ge rmany We have the as sur an ce of the illus tr i ous
.

C orneliu s an d hi s coll eagues that n eith er the literat ur e

n or phil osoph i c wri tin gs of hi s coun t rym en had ever
1 40 M A N UAL OF

su erflu u s
p o . He xt ernal forms ;
cared n othing for e

t he obj ect of hi s st udy bein g the pre cis e attac hment of

muscles t hei r te n dons an d t heir s hape s when rigo
, ,

rous ly di s s ect ed N ow to the artis t t he repre se nt ation

.

of t he ext er nal an d of t he in t ernal as m o difie d by

,

t he exte rnal i s e veryt hin g : it is ot her wise wi t h the

,

s ci ent ific man who p urs ues kn owledge for the sak e of
,

knowledge who seek s t o dis cover i n the in t erior the

,

secr et s of t he organi zati on t he myste ri ous laws of ,

transcenden tali s m an d t he t heory of life ’

By t hese .

remark s I do n ot wi s h t o dis s uade t he s tu dent fr om a

dee p s tu dy of anat omy b ut s imply to point out t o hi m

,

t he nature of t he p ath on whi ch he t hen t re ads Da .

Vinci trod it an d es caped wi th hi s tast e uninflu en ced

In m
, ,

b ut it may n ot so happen t o ot hers y y oun er

g .

days in flu en ce d by the great names who advocated

,

t his vi ew I fan ci ed for a brief s pac e that anato my as

, ,

t hen t aught t o t he s u rgeon was e s s en t ial to the arti s t ; ,

b ut dee p re flect i on mature year s an d a wi der experi

, ,

en ce adde d to a nat ural feelin g for t he b eau tiful as

,

c o nt ras t ed wi t h t he c onv en ti onal t au ght me t he c on ,

t rary B ut even when a st udent I felt amaz ed at t he

.
,

appli cati on of t he t erm b eau tiful t o t he s e in t ernal

s hap es ; s hap es wi thout form or c olou r frightful , ,

hi deou s shockin g t o behold T he true relation of

,
.

t he int eri or t o t he ext eri or has b een s hown I hop e , ,

In r es pect of ot her material s at the command of the

ar ti st ic st udent , I may ob s er ve t hat har d anatomi cal
S ee j ust published entitled Great A r tis ts and Great
a wo rk ,

A n at omis ts ; a B i ographi cal an d Phi lo s O phi cal S t udy by R

”
.
,

Kn x J Van Voors t Lon don 1 8 52 I n t h t work I have ex

o : .
, , . a

plain ed the relation of descriptive anatomy t o science li terature , ,

an d art.
 A R TISTIC A N A TO M Y .

drawing s ought unif rml

o y to b e voi ded
a . T he em

ploym ent of the lay figur e by the ar ti st has le d t o

sad res ult s in Britain Sket che s may and p erhap s
.

mus t b e made fr om plast er cast s b ut su ch cast s an d ,

t he drawi n gs made from t hem ought in every in s t an ce

t o b e comp ar ed wi t h the livin g figur e or wi t h t he
an ti qu e . S ome galleri es of art ar e open t o t he st u
dent ; the book of N at ure i s always pat ent t o tho s e
who kn ow how t o read it What we admir e in su ch
.

mast erpi eces as t ho s e of Teni er s i s t he ab s olut e per

fecti on of t he work I n N at ur e 8 compo sitions t here
’
.

i s a p erfecti on whi ch geniu s al one can perceive an d

t as t e appreci at e .

T he st udent of art will fin d the ab s olut ely b eautiful

in the ant iqu e T here i s as I have alr eady explain e d
.
, ,
”
n o s uch t hin g as i deal b eaut y I n t he Briti s h .

M u s eum t here are b ut a few marbles fr om whi ch t he

s t u dent ma safely dr aw W ere t he Elgin M arbles
y .

p erfect the entire world c oul d not mat ch su ch a work ;

,

for even in their pres ent s adly mu tilat ed forms what ,

t ran s cen dent b eaut y do t hey n ot di s clo se ! What

figure can excel the I lys su s an d t he Th es eus !
A deep st udy of the ant i qu e will at all ti mes enable
t he stu dent t o mo di fy t he en dl e s s var i eti es of form we
meet wi t h in mank in d givin g them a t en den cy t owards
,

t h e p e rfect. I w
t as h a pp ily r e mark e d by P u t —
la u s for
even at s o e ar ly a p eri o d had a t h eory of t he i deal

made i t s way int o R ome t hat the p erfect was n owhere

an d yet was ever wh er e t o b e foun d I t i s even s o
y .

for in N at ur e 8 manifest ati on s you mu st learn t o read

’

her in t ent ion s learni ng t o t race her great s cheme of

,

p erfect form ; t hat form s o often aimed at an d s o

s eldom att ai n e d Cicero though a lawyer a scholasti c
.
, ,

logician and a utili tar ian valued t he Fine A rt s b ut

, , ,
1 42 M AN UA L OF

was no j udge of them His t aste was b ad ; yet h e

.

s agacious ly t hought t h at a hi gh e xc ellen ce in ar t o r a ,

o ss essi on at leas t of t he n oble pro ducti ons of geni u s

p ,

was es s ent ial t o t he charact er of every nat i on pret en d

i ng to b e great . So thou ght the immortal hi storia n
of t he D eclin e an d Fall of t he R o man I hn pir e In a ‘ .
.

few expres s ive words in di cative at on ce of his hi g h

,

t as te an d t he deep p enet rati o n of hi s in t ell ec t h e ,

s u ms u at on ce hi s e s t i mat e of t he R o man em p ir e in
p
t he t ime of D i ocleti an t he t rue nat ure of ar t an d it s
, ,

tru e relat ion to mankin d We are in forme d ob

.
”
,

s erves M r Gibb on. by a recent j u di ci ous t ravell er

, ,

t hat t he mon ument s of archi tectu re ar e n ot le s s ex

pre s sive of t he declin e of t he art s t han of the gre at n es s
of t he R o man emp ire i n t he t ime o f D i o clet i an If .

s u ch was i n dee d t he s t at e of ar chite ct ur e w e mus t ,

nat ur ally b eli ev e t hat p ai ntin g an d s culpt ur e had expe

ri en ce d a still m ore s en s i ble decay T he prac t ice of .

archit ect ur e i s di rect e d by a few gen eral an d e ven

mechan ical rules B ut s cul pt ur e an d above all p ain t

.
, ,

i n g prop os e t o t h em selve s t he imi t at ion n ot onl y of ,

t he form s of N ature b ut of the p as s ion s of t he hum an

min d . I n thes e s ubli me art s t he dext erity of the
han d is of li tt le avail un les s it i s animat e d an d gui ded
,

by t he most correct t ast e an d ob servation .

Thi s sin gle pas sage i s wort h a thou s and A cademy

lect ur es an d would al on e have immort ali z e d i t s au thor
, .

I find that in the s chools t here prevails an i dea or

t h eory of the c hoi c e of f orms ; t hi s theory 1 s wholly at
fault. I t gives ri s e t o i dealiz ed t hat i s imagin ary, ,

forms whi ch exis t n ot in N ature whi ch the human

, ,

eye th er efore n ev er saw an d whi ch are r ec t ed ali ke

, ej
by human s en s e feeling an d pas si on I t i s wi th t he
, ,
.

ab s olut ely r e al wi th N atur e s m an ifest ati ons as t hey

’
,

n ow r eall y en s t t hat the min ds of men harmoni z e

, ,
1 44 M A N UAL O F

Why , t herefore , s hould ou

y ex aggerate Even i n
s t ro ng men t hi s is t he cas e . Certain dee p musc l e s
x
e er t , no doubt , t he highest influence over t he ex

t he su pra sp in at u s , t he
brachi alis flexor t he dee p ,

flexors of the forearm an d t he s oleus , I n re s pect o f .

atti t udes st u dy t he livin g movement s as regul at e d

,

by t he j oints and all t heir possi ble combin ations D a

, .

Vin ci di d so ; a desire t o kn ow perfect ly all pos

s ible c omb inat i on s of li vin g at t it u des ma have le d to
y
his great an at o mical st udi e s A s in man so in other .

ani mals A glance at t he s kelet on of a living serpent

.

woul d have enabled the art is t whos e eng raving I

exami n ed to avoi d c ommi tt in lu di u n
, g so cro s a erro r as

repre sent in t h re p t ile abou t t o en a e in c ombat

g e g g
wit h a li on in such an attit ude as to en s ure fract ure
,

in every part of it s spin e .

T he ancient mas ters n ever exaggerat ed as may b e ,

proved by those mut ilate d b ut immortal frag ment s

which thi s coun try an d ci vili z ed Eur ope owe t o the
lat e Lord Elgin Thes e fra gment s are now plac ed in
.

t he Briti s h M useum in Lon don and are kn own by the ,

name of t he Elgin M arbles T o a deep st udy of s ome

.

of t hes e work s I s t ron ly re c ommen d t he art i s t

g .

The se st atu es once decorat ed the Par thenon an d ,

were rescu ed fr om de str uct i on by the late Lord Elgin ,

fr om whom they were purchased by t he n ati on As a .

whole they mu st have sto od un equalled in the hi story

,

of ar t. O f the intri ns i c valu e of t hes e works I requir e

t o s ay n ot hin g h ere ; t heir mut ilat ed con di t i on pre
vent s the pos s ibili ty of gues sing at t heir valu e I n .

drawi ng fr om t hem I ven tur e t o rec omm end t he st u

,

dent n ot t o draw thos e s urface s whi ch have b een

reat ly i n ure d by t ime an d ac ci den t
g j .
 AR TISTIC A N A TO M Y . 45

C HA PTE R I I .

T HE F I N E —
ART S T HE O RY OF T HE BEAU T IF U L IN

N AT URE AND IN ART .

L I T E RA T URE , s ci en ce , an d art c n s t it ut e u n
o qu est i on
a bly human civili zati on ; by t he actu al con di tion of
t h es e t he hi s t orian j u dges of the con di tion of all the
nat i on s an d t he rac e s of men Wealth an d it s u sual
.

c on c o mit an t power a happy s o cial con di ti on com

, , ,

merce manufact ur es the laws ob serve d dome s ti c

, , ,

happin es s an d e ase refin e d luxuri es an d ri ch fur

,

n i tur e n ot unkn own even to the cott a e p t

, g r e s e c ,

abro ad — all t h e s e n o doubt

,
form a pictu re whi ch
,

man y n ati ons n ow pr e sent an d which mi ght at first ,

b e mi s t aken for a high civiliz ati on T he future his .

t o rian will corr ect thi s an d do man j us tice

, A weal thy .

b arb ar ian ign orant of s cience, lit eratu re an d ar t an d

, , ,

e quall y despi s in g all i s n ot a civiliz ed man call hi m

, ,

by what name you will Hi s home may b e a pal ace .

,

b ut he i s s till a b oor Let t ho s e who in ten d b ec omin g

.

art is t s b ear t hi s in min d : A t hens was n ot al on e r e

markable for ar t she ab oun ded wi t h mas t er min ds -

in all t hat con stit ut es civiliz ati on What the modern .

art i s t has chi efly t o c ont en d wi th i s the mi s di r ecti on

of art . N ati on aliti es b ase d on low an d s elfish prin

,
”
ci ple s he i s apt t o ac cept as
,
t he uni ver sal forgettin g ,

that geni us is n ot p eculi ar t o an y country or race .

T he arti st t hen mu s t fir st dives t him s elf should his

, , ,

natur e admi t of it of all nati onalit ies

,
N ext look at .

L
1 46 M A N UAL OF

the mate rial world as N at ure made and remakes it , an d

as man t rains an d modifies it ; and s eparati ng each

unaltera ble laws whi ch bind that mind what ever ,

b e its scope to t he exte rnal world

,
Thus will he .

di scriminate the co nventi onal fr om the real ; t he

conventi onal i n mate rial an d the co nven t i onal in
mind ; fas hi on from taste ; t he beau i dea l from t h e
’
-

mere imagin ary Hi s great and ul timat e obj ect i s to

.

di s cover b eauty in what b eauty res i des

.
B ut ar t .

has als o ot her views ; t hes e will unfold t h emselves as

we procee d T he repre senti ng the e xternal world in
.

marble or on canvas in such a way as t o to u ch t ho se

world to call forth hi s feelin gs and t o fin d a re sp on se

, ,

—
in them t his is al so the ai m of the arti st He alon e .

t o whom N at ure has given certain quali ti es of mi n d

an d hand can e ffect t hi s great obj ect A n eye s kill ed
.

in t he percepti on of j u st an d beaut iful form s an d a ,

han d to chis el t hem in mar ble these const i t ut e t he

s culpt or T he pai nte r requi res thi s an d more ; a kn o w
.

le dge of colouring mu st b e part an d parcel of his

nat ure . Both requir e grandeur an d clearnes s of min d ,

in order to group or compo se But sculpture an d

.

paint in g are n ot the s ole Fin e Ar t s ; thi s at leas t i s

t he more general beli ef Poetry ar chi t ect ur e mu si c
.
, , ,

pant omime gardeni n g have been added t o them by

,

in geni ous lit erary men ar t i st s an d s cholars

, , Let me .

c ons i der h ere the clai ms t he se hav e t o b e es te emed an d

ranked among t he Fin e A r t s .

First O f the ao called Fine A r ts mus ic has ever

.
-
,

been con si dered one and on e of no mean consi derati on ;

b ut m
,

u si c i s n ot a Fin e Ar t in a n n s e of t he t erm
y se .

Thi s at least i s my firm convi ction afte r the most ,

1 48 M A N UA L O F

power ,
of his tyr anny, of his fanat icis m, of hi s wealth .

Go thi c hedral you see shadowed forth the Sclavon ian

cat

and Got hi c mind ; the A rab esqu e speaks of t he E aste rn

and pyrami d from S can dinavian produ ct ions i

t he "

A rchitect ure t hen has n o t heo ry ; it cann ot have

, ,
.

There are buil ding races of men as t here are wan der
,

ing races T he st ories invent e d to explain t h

.

o rders of archi tect ure orig in of the arc h etc are

, , .
,

puerili ti es b elo w the noti ce of lite rary and sci entific

,

m en .

I have yet to learn t hat the Celt ic an d Saxon rac es

have a style an d form of archi tect ure belongin g to
t hem .They seem to me to borrow fr om all ot hers ;
an d as peo ple ma bo rrow in st rument a an d es pe c i all y
y
prin ciple s t hey do not righ tly comprehen d so the ,

modern citi es of E uro pe peopled by t hes e races pre

, ,

s en t grot e s qu e an d b urles qu e c opies of an ci ent build

ings b elongin g t o ot her races e xciti ng n o doubt

, , , ,

s ur pri s e an d won der in t he loft i er mi n ds of t hos e

belongin g t o races on whom at ur e had be st owed an

N
Wh at modern arti st s perhaps shoul d do when occu
pied wi th imit ating that por tion of the exte rnal world
which man has creat ed or fas hi oned is t o avoi d the ,

vul garit i es of C elt i c or S axon nat ur e T he s quare .

,
 A R TISTIC AN A TO M Y .

un s i
gh t ly,
fowalled hous e with a door in the mi ddl e
ur -
,

an d a win dow on each s i de whet her i t s t an d ap art or ,

j o in it s nei ghbour the vulgar mi nd will repeat for ever

, .

They are m odel doors m odel hous es ; in fact models , ,

o f the min d of t he race From Lon don t o G rafi keyn et

'

.
,

fr om Scan di navi a to Washi ngt on it i s all the same I , .

have been informe d t hat a monument is t o b e erected

s om ewhere in t he Unit e d Stat e s whi ch will as t oni s h t he

world I have n ot t he least doubt of it Wh en the

. .

min d works wi thout an aim t he resul t mus t b e ,

Wh en qui te a young man I vi sited London at a ,

t im e when t here s to o d in Hyde Park certain Chin es e

bridges pagodas an d heathen deiti e s I was lost in
, , .

won der I may vi sit it short ly an d will fin d s o I

.
,

learn t hat n ot far fr om t he s ame locality a lar ge con

,

ser vator r hot hou s e u pon the mo s t approve d m o del

y o , ,

has b een erected There i s a fat ali ty in cert ain coun

.

tries ruinous t o the art s A nati on of shopkeepers

.

( th e ph r as e i s n ot mi n e ) c on s tr u c t e d t he w ork s hop of
the earth I n it s heat ed atmos phere trees may
’
.

live b ut geni u s and art m ust decay an d peris h

,
.

Thi s glass hou se or mon st er glaze d cast met al cas e

- -

i s n ot a building Wh at then i s it and un der what

.

cat e gor s hall we place it ? I t i s merely a n at i on al

y
mi st ak e n ot at all unusual wi th the race t o whi ch the
,

nati on b elong s .

Thi rdly Pantomime i s esteemed by s ome the

.

'

humblest of the Fin e A r t s an d De Quin cy s t heory ,

’
,

were it tr ue would explain thi s b ut t hi s theory i s

,

n ot true N either pant omimes nor theat ri cal r epre

.

s cut ati ons n or movi ng p an oramas b elon g t o t he Fine

A r t s ; if they require b eing clas s ed at all we shoul d ,

perhap s call them imi tati ve stri ctly They endeavour to .

1 50 M A N UA L O F

p
re resent through the medi um of the eye men ali ve an d

in act i on . I allude more es pecially to panto mime an d

t he drama ; they addres s the t hin king min d of t he

o
e ct at r , not ey are s ure to fail
t he ins ti ncti ve
Th
s
p . .

T he poet alone can place li vi ng his t ory before you : t he

t ale of Helen ; of O reste s an d hi s griefs ; of Des de
mona .I t i s a t al e which might b e pai nt ed by t he
p oet requi ring not the ai d of s ceni c devi ce A n d has
,
.

it n ot been so ? R ead t he Homeric b allad .

N either poetry then n or the dr ama n or pant omi m e

, , , ,

belong to t he Fin e A r t s They form part an d par c e l .

of t he hi s t ory of t he human min d of i t s manifes t at i o n s ,

under vario us circ umst an ce s a sect i on of it s lite rat ur e .

T o improbable r oman ce t hey len d t he ai d of t r ut h ;

over dry and tedi ous hi story they spread a life li k e -

covering Before your eyes by the magic of t he Ho

.
,

meric s on g you s ee and hear t he host s engage at t he

,

S cean Gate ; A gamemn on and A chille s t hun der over

t he plai n ; las t in hi s t urn t he noble Hector ; A s tyana x ; ,

C as sandra N or less immort al Shakespeare was thy

.
, ,

power : your M acbeth an d Hamlet will outli ve the

n at i on whi ch clai ms you for her son .

Poet ry t hen an d hi s tory pan tomi me an d the drama

, , ,

are n ot Fin e A rt s ; t hey merely fur ni s h mater ial s

for t he arti st They mu st b e u s ed cauti ously an d
.

j udi ciou sly A voi d rhodomont ade an d cari cat ur e :

.

they are n ot in nat ure T he arti s t who would draw.

the blast ed he ath on whi ch t he S cott i s h chi ef met

t he weir d s i s t ers
’
fr om a st age repre s ent ati on I
s aw of t hi s lat ely in would deserve dly
b e laughe d t o scorn by every man of t as t e I t was .

an att empt an d a very awkwar d on e t o i mpro ve on

, ,

S hakes peare ; t he result as was t o b e exp ecte d was , ,

Macready at the Princess s Theatre ’

.
1 52 M A N UA L OF

in manner wor thy the mighty name of him who n o w

a

re poses un der t he dome of t he In vali des a R a phae l ,

was wanted, a M i chael A n gelo, a Da Vin ci . No s u ch

A
L ND C S APE GAR DEN I N G
-
.

representing the e xt ernal wo rld ought at least m ay , ,

for in t hi s he has a choic e vi ew it first as fre s h fro m , , ,

N at ure s hand ; sec on dly as tr imm ed an d mo dified by

’
,

human agen cy Un der the fir s t head st an ds the lan d

.

t he lands cape modified by works of human in dust r y

an d geni us , ble domai n the I tali an t errace
t he no , ,

t he champai gn co untr y alive wit h archi te ct ural re

mains the cas cades an d villas
,
Thi s form of ext ernal
,
.

world embrace s ali ke t he gorgeous p al ac e an d it s

boun dl ess park the ruine d cathedral the peas an t s
, ,
’

humble cot the vi llage church an d pleas an t dell ; it

, ,

aboun ds wit h as s oc iat ion s app eali n g t o t he pas s i on s

an d feelin s of m en t heir fears t heir love s t h eir di s 3

g
-
, , ,

lik es .

T heonwar d and nat ur al progres s of mo st races i s

towards what is u s u ally t ermed civili z at ion ; every r ace
modifie s t o a great er or les s ext ent the s urface of t he
, ,

e arth the lan d an d t he wate rs as t hey co me ori gin ally

, ,

from N at ure s han d T he m o difie d lan ds cape i s t h en

’
.
,

to a certai n ext ent na twra l als o t hou gh mo dified by

, ,

human agency ; it appeals t o the min d of man civi ,

li zed an d s avage affectin g each quit e different ly

,
B ut .

the st rictly nat ural lan ds cap e un t ou ched by man seems

to affe ct all mankin d alike fro m t he dapp er cit i z en ,

t o t he wan dering b o or ; fro m the weal t hy bloat e d ,

 A R TISTIC A N A TO M Y . 1 53

m aster of a palac e in Belgravi a an d the R u e S t Hon oré .

t o the un trammelled M on gol or li s tles s Bo sj eman

t he chil d of t he de se rt the h ous eless homeles s T ro
, ,

g lod t e
y . T he cau s e of t hi s m erit s from t he art i s t ,

m ore t han from y h

an er p erhap s s p ec ial att en t i on
ot ,
.

He is called to repres ent the ext ernal world as I have ,

j u st explained un der two forms What are t hese

,
.

forms ? How i s it that t he cont emplati on of each

aflor ds ple as ure ? an d how i s i t t hat t he hi h es t excel
'

g
len ce of the mo difie d form— t he lan ds cape as influ en ced
by m a n s h
’
an —
d i s t o repro duce an d repres ent com ,

b in ed wi t h the m o de an d p eculiar asp ect a portion at ,

leas t of t hat as pect whi ch N at ur e b e st owed to the s ur

face of t he glob e ?
I f we gaz e over the lands cap e in t he exp an s e of ,

whi ch however vast or limi te d human agency and

, ,

hum an lab our human t hought an d hum an contrivan ce

,

have had no shar e we un iformly derive an amount of

,

deepfelt pleas ur e from su ch a glan ce as n othin g

else ive s or can iv s avin alw y t h c s tas y
g g e g ,
a s e e

derived fr om a cont emplati on of the p erfecti on of all

’
—
N ature s works woman t he perfect hu man fig ure, ,

c lot hed wi t h t ho se forms whi ch the i mmort al chi s el

o f t he Greek s c ul pt or emb o di e d in t hat marble which

enchant s t he worl d .

A s I wandered by the b ank s of t he R io d I nfant e

’

an d cli mbe d t he hei ht s s ep ar at in t h v ll y f t h

g g e a e o e

r iver fr om t ho s e b eaut eou s y n d m b

gra s s a u r a
g eo u s

plains thr ough whi ch win d t heir way the clear an d

,

crys t al s tre am s of the Koona in i n v i w f t h

p g a g a , e o e

vas t plain s of het la/nd den t hems elve s shelv

in g t owards the In di an O cean in t he di s t an ce repos ed
,

in s olemn gran deur t he Wint er Bergen and A n at olo

M oun t ains thr ough whose wooded and deeply t angled
,
-
1 54, M A N UAL OF

ravines once roamed freely the dreaded C aflre I cou l d

'

not fa il to recollect t hat on t he spot where I t hen sto o d

Le Vaillant gazed on that i dentical lan ds cap e ! Simp l e

and unaffecte d lover of t he s i mple an d be aut iful i n

B ut how was it t hat the lan ds cape before me tran s

porte d me with pleas ur e ? N o castle rose t o view ,

nor churches nor s pires t ur rets n or p alac es

,
man n o r
man s han ds had touche d thi s field N at ure prevaile d
’
.

everywh ere : antelop e and o st rich zeb ra an d quagga , ,

bustards of all hues bir ds of every plumage decorat ed

, ,

t hi s glori ous lan ds cape ; dark forest s clothe d t he stee p

s lop e of the Wint er B er en n early t o t hat s ummi t whose
g
g ras s y a n d s h el vin g ro cky c r ow n re ac he d far i n t o t he

heavens Why i s t hi s scene so beautiful seen as I

.
,

s aw it or paint ed on canv as or i mitate d by t he n oble

, ,

domain of an Engli sh p ark ? T he same prin ciple per

v ades all an d it i s to thi s t he artis t mu st look
,
.

There i s a feeli ng in the human mi n d that i s in the , ,

min d correctly formed whi ch n o artific ial co nditi on

, ,

n o con vent i onali ti es n o civi li z ati on can over co me ; i t is

,

the feeli n g whi ch conn ect s i t with t he ear th it s p arent

—its mother earth t eemi n g with life I n her wi nter
,

g arb ,
m an f ee ls t he d e s ola t i o n aro un d him ; i n h er

black robe s of winter hi s ins tinctive s en se s ee s the

,

e mblem s of death al t h ou gh hi s e xp eri ence an d hi s

,

j udgment and hi s re as oning mind t ell hi m t hat N at ure

will revive B ut spring ret urns and all that lives
.
,

rej oices This i s the conn ecting link b etween hi m

.

an d the dec orat ed earth t he p arent from whi ch h e came

, ,

unto whi ch he retur ns T he l ands cape I have de

.

s crib ed wheth er formed by N ature or im i ta ted by

,

hum an han ds call s fort h feelin gs an d pas sions he has

,

n o language t o describ e ; a chord in his brain which ,

1 56 M A N UAL O F

wh
rang en it for et s t hi s prin ci ple it fails I t i
s
p ; g s .

t he same with all t he Fi n e A rt s They can have n o .

other obj ect b ut to recall t hose inst in cti ve s prings or

chords whi ch conn ect man wi th t he mate rial world ; an d

t his leads us t o a brie f cons i derati on of t hat Fi ne A rt ,

for s uch n o doubt i t is whi ch by t he me di um of o ut

, ,

lin e t hat i s form an d colour su ccee ds i n placin g

, , ,

b efore men s min ds not only t he vis ible org ani c an d

’

inorgani c worlds b ut doe s so in such a way as to mee t

,

a res pon s e in all human breast s .

A
O F P IN T N I G A S A F IN E ART .

I f it b e t rue th at s culptur e al on e i s hi gh ar t ,
it i s
v h
n e ert eles s cert ain t hat by outlin e an d col our
, an d

c ompos iti on t he m as t er arti s t c an att ain on can vas t h e

,

u t mo st e xt en t of hi s wi s he s t hat i s a worl d s ad mi
’
, ,

rati on I t i s compos iti on which places p ain t ing on a

.

level with s culpture Wh at I mean t o s ay her e re

.

s p ect in g p ain t in g m u s t b e brief I t i s n ot wit hin the .

s cop e of t hi s work n or is i t n eces s ary t hat I o r an

, y
on e s h ould b e c all ed on t o prov e painti n g t o b e on e o f

t he Fin e A rt s ; n evert heles s in the han ds of many ,

art i s t s i t sc arcely am oun t s t o a Fin e A rt .

T he ar t it s elf has b een s ub divi ded by s ome into

figure p ainti n g an d lan ds cape
-
T he e xt ern al world .

iv e s n o groun ds for t hi s di s t in ct i on T he fi ur e that

g g .
,

i s man drap ed as well as nu de i s a part of nat ur e a

, , , ,

p art of t he ext ernal world ; on e of nature s m aterial ’

manifes t at ion s He who can dr aw t he human figure

.

well can draw everythin g els e in the world St udy .

,

t herefore the hum an fig ur e

,
let it b e the b e gin n in g
an d t he en d ; n ot t h at you prop os e t o devot e your

att ent i on ex clu sively t o thi s N ot hin g of the kin d i s

.

n ece s s ar y ; b ut mas t er i t if you c an being as sured ,

 A R TI STIC A N A T O M Y . 1 57

t h at all the rest will foll ow . I n t his work I have

en deavoured to xplain to you the s ources or materials
e

t o whi ch you may apply or whi ch you may u se wit h ,

s a fet y ; I n ee d not re enumerate t hem h ere -

Seek .

t h e s o ci ety of t he great mast ers of the art ; you will

d erive mu ch from their hin t s an d ob servati on s Draw
e s pecially from the an t i que marble s ; t hese ar e pe r
”
feet . Fill the mi n d with the beaut iful us ing it ,

when re quired an d sufferin g its suggesti ons al ways t o

,

prevail B ut first I admi t comes tr ut h wit hout a

.
, , ,

dir e ct percept ion of whi ch the po et is no poet an d t he ,

What pai ntin g might now have been had not t he

ant i qu e marbles b een di s cov ere d it were impo ssible ,

to s ay .A n gelo Urbin o Da Vinci drew their in api

, ,

rat i ons fro m t h em ; the d i d n t im i ta te them n opy

y o or c ,

them ,
b e aware of thi s ; t hey simply fil led t heir
-

mi n ds wi th t he c ont emplati on of t hese mat chle s s

s t at ue s leavi n g the re st t o t heir own geni us an d
,

abili t y .Herein lay the gran deur of thes e lofty minds :

t hey imi t at ed t hey co pi ed n o one ; alive to the fact
, ,

t hat the anci ent s culpt or had carried hi s art to the

highest po s s ible perfec ti on and takin g for grante d ,

that the p ain t ers of that day were e qual at leas t to

t he anti qu e s cul pt ors t hough their work s unhappily
,

—
had n ot s urvi ved they t hough belon ging to race s of ,

men n ot remarkable for invent ive p ower or at leas t in ,

t his re s pect not equal to t he Greek avoi de d all s ervile ,

copyi n g b ut looked di r ectly at N at ur e an d the world

,

aro un d t hem T he r esult was t hat they drew from her

.
,

an ot her expre s si on ; t hey made t heir wa i nt o the s m

y y
pathi cs of the spect ator by an other road R aphae l .

painte d the M adonna in the likenes s of an Italian

woman of no great beauty b ut of matchles s expres
, ,
 1 58 M A N UAL O F

o
si n ; G ui do c i added, in his co n ce pti on of t he
M adonna, beauty xpre s si on ; A ngelo
of fo rm to e

ant hrO po morphiaed t he E ter nal in his Las t Ju dg me n t ,

an d Da V in ci re res e nt ed by t he pen c il an d br us h
p
t hat S upper t he las t on whi ch t he hopes of Chr is t i an
,

men rest —all works beyo nd w mpare

,

A n d why .

t hey so T he ans wer is s h ple en o ugh ; t hey are

pe rfect .

en
gra vin g of the Cena of Da Vin ci admi ring it i n ,

all i t s det ails an d arrivi n u n o nsc i ou s ly ( for I di d n o t

, g c

kno w t he fact at the ti me) at t he conclus i on t hat t he

work was pe rfe ct t hat it had been deemed s o by a
,

mas te r mind ( R a phae l) greate r if po ss ible t han t hat

, , ,

of Da Vin ci hims elf t here sto od by m e a yo un l d y

, g a ,

an En li s h lady f s t ron m in d d eep sym pat hi es

g o , g , ,

c lear j u dg ment an d eve ry wa i nte ll ect ual T o her I

, y .

”
pointe d o ut so me o f the b eauti es of the C ena and ,

e s pec ially t he di fficulti e s t he art i st had overcom e an d ,

more e s peciall y t he s ingular fact t hat al thou gh repre ,

s en t in ou p f m n m n y f wh om had b een an d
g a
g r o e a o ,

e ven t hen were mechani cs n o co ars ely made vulgar han d ,

-

appe are d on t he canvas ; st r on g han ds t here were b ut ,

n ot hi n b i h t hi v l n o t hi n deformed
g oo r s n o ,
n g u ga r g ,
.

Whil st thus engaged I was su ddenl y st ar tled from my

,

reverie by m fai r co mp an i on p oin t in g o ut t o m e t hat

y ,

on t he t able b efore t he Holy of Holi e s s t oo d bo tt les

an d glas ses of a m at erial an d s hape whi ch c ould n ot

have exis t ed in t he days of the A postles B ut .

alt hou gh s omewhat s t art led t he curre nt of my

,

t hought s b eing t hu s dis loc ate d and cast from heaven ,

”
t o ear t h by t his dis covery of an anachroni s m in a
faul tles s work as I cons i dered an d c on si der it to b e I
, ,

was n ot su rp ri se d Exp eri ence had t old me t hat

.
1 60 M A N UA L OF

C HA PT E R I II .

—
AN C IE N T A R P C O PT I O E R A E GYPT IAN A R P R E
MARK S O N T HE RE MAIN S O F C O PT I C S C U LPT URE
I N T HE B R I T I S H MU S E U M .

D IFF I C U LT qu est ions ari se from t ime t o time in the

hi st ory of the Fine Ar t s T he confli cting O pini on s
.

o ffere d in r e spect of t he s e difli cul ti es contr ibute

atly t o emb arras s t he st u den t an d in duce hi m t o
g re ,

t hi nk either th at art has n ot an d can n ot have any

fixe d princi ples —t hat everyt hing in ar t i s in fact
c on vent i onal — or t h at t he Fin e A rt s lik e other hum an
, ,

o p er at i on s
,
aro s e from s mall b eginni n gs in t he Eas t ,

du ll y i mp v d s t h ey m ove d west war d t o rec eive

g r a a r o e a ,

at las t t heir co ns ummat i on in Gr eece T he followi ng

.

re mar ks on t he con di t i on of ar t amon s t t he an cient

g
E gyp t ian s or C O P t s will I tr u s t di sabu s e t he min d of
, ,

t he s t u dent i n res p ect at leas t of s ome of t ho se

th eori es.

T he foll owing brie f r emar ks on the con dition of the

Fi ne Ar t s in an cient Egypt may as sis t the st u dent in
s olvi n s ome of t he difficul t i e s whi ch b eset t he hi story
g
o f an ci ent art . They explain s om e of Winkelman s ’

o b s ervat i on s ; they b ear on t he qu es t i on o f mann eri s m

in ar t ; las tly t hey eluci date it i s hope d Borne of the

, , ,

qu es tion s in re spect of art whi ch a tr ue hi s tory of race

al on e can s olve .

Hero dot us us ually styled the Father cf Hi st ory

, ,
 A R TISTIC A N A TO M Y . 1 61

reports that the Egyp tian s of hi s day wer e blac k men .

Thi s i s n ot i mpos sible t hough by no mean s prob able

,
.

B ut rat her than b eli eve t hat t he hi st orian r eally n ever

w as in Egyp t it may b e as s umed t hat by t he
,

T he Y oung Memnon .

M
 M A N UA L OF

black Hero dotus merely meant that t he C opt s of

his day were o f a dark c olour when co mpare d wi t h
Europ ean Greek s hi s coun t rym en ,
However t hi s .

may b e one t hing is c ert ain namely t hat t he remai n s

, , ,

o f t he C opt i c race n ow in E gyp t an d gene rally un der ,

s t oo d t o b e t he descen dant s of t he an cient Egyp t ian s are ,

co mp ar at i vely a fair o r s all ow r ac e n ei ther N ub ian a ,

n or N egr o es n or Hi n do o s b ein g a rac e ap art fr om al l

, ,

o thers : t hat t h ey s t ill e xi s t i n E yp t t ho u h m u h

g g c ,

r e du ce d in num b ers an d t hat t hey res e mble s tr o n ly

, g
in t heir feat ure s the s t at u es an d drawi ngs of t he
an cien t Egypt ian s N o w man y of t he origin al bus t s
.

an d drawin s an d ent ire fi ur es of t he an c ien t r ace o f

g , g
t he C opt s are at pre s ent i n t he Briti s h M u s e um ;
,

s o me o f t he s e h ave an an t i qu i ty of at leas t 4000 year s .

T he bu s t of A m en oph t he S e cond s om etime s call e d the ,

Y oun g present s perhap s the utmos t perfec o

t ion of an cien t Copt ic ar t B ut t he feat ur e s of t hi s

.

admi rable b u s t whi c h so w ell m eri t t he s t u dy of the

,

art i s t ,
ar e n ot t ho s e o f an y b lack r ac e b ut s tri ctly ,

Jewis h Chal dai c A s syr ian T he s ame r emar k applie s

, ,
.

t o all t he o ther b u s t s an d drawi n gs I have e ver s ee n o f

t he C o pti c rac e .

A c areful examina t io n o f t he feat ur es of t hi s b u s t

s ho ul d b e ma de by t he ar t i s t an d a com p ar i so n in s ti ,

t u t ed wit h t hose of t he J ew i s h rac e ; he will in man y

c ases fin d t h em t o b e all b u t i dent i cal There is t he .

s ame slop i ng for eh ead e lon gat e d fu ll e ye s s tr et chin

, g ,

t owar ds t he t emples r oot of t he n os e n arr ow n o s trils

, ,

e nl ar e d e xt en de d ap ert ure of t he mou th slop in g or

g , ,

r e t reat i n chin an d elevat e d ear s Th e s e feat ure s mark

g ,
.
,

t h en n ot merely t he p res ent ! ew b ut als o t he an ci en t

,

C op t an d probably many m ore Syrian an d A s iati c races

,

S e p ge 1 6 1 e a .
1 6 4: M A N UA L O F

clear l b o l
loverut e t rut h an d of the b eauty of
of a s
y a

fin e forms We shall see present ly how wi dely the

.

Greeks differe d e specially as regards art from thi s

, ,

an ci ent C opti c race wi th whom t hey have been oft en

,

b ut erroneo us ly affiliate d That t he Coptic race .

showe d in t heir lab ours e s p eci ally ar chi t ect ur al

,
a ,

g ran deur an d s u b lim i t y t o wh i c h n o ot her r ace ap

roaches I freely adm it : t he r uin s of Thebe s an d t he

p ,

Pyr amids s peak for t hemselves .

—
S C U L PT URE GRE C IAN ER A — T HE O RY OF T HE

B E AU T IF U L .

S culpture alone is high art I t s ai m i s t o represe nt .

the b eau t iful in form ; b ut the b eau tiful i n form mus t

als o b e p erfect S culpt ure t hen i s t he hi ghe s t of all
.
, ,

t he art s ; for it repre sen t s t o human eyes t ho s e forms ,

the human figur e whi ch all N atur e proclaim s to b e

,

t he for emo s t manifes t at i on of the mat erial world A .

t h e ory of t he b eautiful th en i s n ot a fan ciful idea, ,

n o t an ideal or unreal t hin g Beauty i s n ot conven .

t i on al nor comp ar at ive as was t he opini on of Volt air e

, ,

Al i son Hay don ; n or wrappe d in t he s e mblan ce of

,

you th as Winkelman t oo h as t ily c on clu de d ; n or bas e d

,

on low or rovelli n u ti li t as Pal ey t au ght an d

g g y ,

S ocrat es declar e d T he b eau tiful an d the perfect

.

ab solu t e fixe d an d det ermin e d ; i mpers ohati on of

, ,

N at ur e s ult imwe aim ; p art an d p arcel of her grand

’

s ch eme ; a fr agmen t of t hat mi ht y law or mi n d

g p er

vading di rect ing creatin g the u niver se

, ,
.

I t were mi splaced in a work of thi s kin d a mere ,

manual of art a hi st ory as it were of t he ext ernal

, , ,

form s of man an d of t he in t ernal in so far as they ,

influen ce an d affect t he extern al t o att empt m ore t han ,

a mere outli ne or bri ef analy s i s of the prin ci ples whi ch

 A R TISTIC A N A TO M Y .

first le d m e t o ad opt t he foll owin g t heory , as t he o ne

whi ch re
g ulat e d t he labours of t he an cient mast ers ,
influen ce d all t heir t hought s , an d ult i mat ely led t hem
t o t he executi on of works n ever to b e excelled b ecau s e ,

p erfect ; n ever t o b e looke d on wi th or dinary t h ou ghts ,

”
b ut as cont aining wi thi n thems elves the b eaut iful ,

n ot t o b e s urp as s ed ; t o b e admir e d and almo s t w or

s hi pp e d as emblems of a e n i us n early aki n t o t he

g
un s een un kn own cre ative p o wer it s elf
, , .

I f y ou place b efore you a very young infant ,

drap ed whos e s pan of life meas ur es as yet b ut a day

,

or t wo ,y o u m a
y at once ob s e r ve t hat i s in cas e your, ,

s i ht b e adapt e d t o di s tin g ui s h the b eau tiful and t he

g
p erfect in for m from all th at deviat e s from it that thes e ,

i nf an ti le f orms are unpleas in g ; n ay m ore t hat t hey ar e ,

ev en o c cas i onall y fright ful N 0 great mast er of art

.

woul d ever t hink of copyin g s uch forms in marble or

of t racin t h em on can vas : t he effect s he s ee s ; t he
g
cau s e s r emain hi d Wit h the pract i cal men of all ages
.

t hi s w oul d b e s ufiici ent ; en ou gh t hat su ch form s are

un pl eas ing . What signify says t he pract i cal man
, ,

what t he caus es of thi s may b e pr ovi ded we kn ow the ,

fact in the effect — a co mm on wa f r eas onin if i t

y o g ,

can b e s o call e d wi th t he g reat m as s of men who

, , ,

havi ng n o desire t o know t he unknown remain in ,

i gnor an ce of the cau s es of all t hi ngs u sin g ins tead , ,

of a s oun d t heory s o me ex t reme m et aphys ical ab s t rae

,

t ion whi ch t he y di gnify wit h t he n ame of met aphy s ic s

,

or m oral s ci en ce .

T he human mi nd when en dowed with the exqui site

,

power of correctly perceivin g form is fitted for t he ,

di s crimin ati on of t he p erfect from t he i mp erfect the ,

b eautiful from t he coars e t he pr oporti on ed from t he

,

di sproporti oned the full y develop ed from t ho se forms

,
 M A N UA L OF

whi ch still s how imperfect development T he forms .

of t he newly born b abe sh ow no pr op e r dev elopm ent ;

-

t hey are in a tran s it i on st ate ; they wan t pr oport ions ;

t hey repre s ent c ert ain approach es t o brute forms
brute form s which st ill exis t and t o an t iqn e forms , ,

reli c s of a world whi ch has ceas ed to b e T hes e forms .

,

t he e mbryonic are st ill within t he gras p of t he law s of

,

unit y wh i ch re gul ate t h eir gr owt h up to t he mo m ent

, ,

perhap s when app ear ing in the world t hey t hen first
,

form a part of it T he laws of in di vi du ali ty an d of

.

s pec ies have n ot et had tim e to exerc is e t heir full in

y
-

flu ence dev elopin g t he ti ny infant in t o t hat full gr o wn

,
-
,

l o r i ous fo rm hum an an d w on derfu l i t ma aft er war ds

g , y ,

as su me . T he fine an d co rrect mi n d s ee s this ; it may

n ot b e able to gi ve a re as on for it b u t it di s li k es s u ch ,

forms or shape s an d avoi ds r epr esent in g t hem i n art

, .

I appeal t o the pract ice of all the great mast ers for
t he t r ut h of my vi ews or t he ory .

I n t he p er si s tence of t h es e infantile form s t o the

adul t c on dit i on of m an an d woman may b e traced ,

mo s t of t he vari et ies of human forms I t i s in fact .

, ,

t he p ers i s t en ce of the law of uni t y w hi ch leads t o

variety ; t he prevailin g of thi s law again st t he phy
s i olo gi cal law o f s p eci al i z ati on leadin t t h f ll
g o e u v

develope d perfect hu man form

, .

In num erable e xample s might here b e given of these

/gr eat law s Lo ok at t he man or woman for ex ample
.
, ,

wi th t oo s h ort ar ms or li mb s ; it i s t he infant il e form

pers i st ing t o the adult s t at e T he s emi ben t ar ms an d
.
-

limb s of s ome repres ent merely t he t ran s it i on forms ;

t he sh ort n eck n arr ow h aun ches s t rai gh t vert ical
, ,

backb on e short an d s craggy n eck ar e all faat al forms

, ,

p er s istin g to y out h an d manh oo d .

Let us n ow t race t he infant t o t he chil d Ob s erve .

1 68 M A N UA L OF

i ng an in tr in sic
porti on of our nat ure we have n o ,

ade quate expre s s i on s .

I n my bri ef outli ne of the h is t ory of landsc ape

g ar d en in g an d lan ds cap e p ain t in g I h av-
e all u d e d t o

o ne of t hes e ins t in ct s c onnect in g us to the li vin g

,

external worl d I now advert t o an ot her ; it is t he

.

ov —
l e of life not t he fear t o die to go we kn ow n ot ,

where an d t o s ink int o n othi ng Thi s is not t he

,
.

love of life I s p eak of now ; it i s t he deep in s ti nct

by whi ch we perceive in the e xternal world whatever
c ons t it ut es an emble m of life c ont ras ti n g it wi th
,

whatever i s an emblem of death T he healthy lovely .

,

c hild or youn g pers on i s t he mo st agreeable emb le m

of t he et ernal life of N ature ; bein g human it b e st ,

sati s fies t he cravin g of t he s oul for ete rnal life .

A ll one s hop es ar e t here ; our hopes of to morrow

’
-
,

p erhaps our hO pes of an hereafte r B ut b e thi s as .

i t may t hi s emblem of life b efore u s t hi s lovely

, ,

child as s ur es u s t hat t he life of N atu re st ill li ves i n

,

t hose forms an d in t hat mani fest at i on whi ch being

, ,

human we m ost love an d adore An d n ow obs erve

,
“

how we love all emblems of r et urning life an d di slik e ,

all emblem s o f app r o achi n di s olut i on T h y

g s e o un g .

an d bri ght re en leave s of s p rin t h i h v dure of

g g e r c e r ,

the c omin g p as t ure ; t he lamb i s s porting on i t ,

an ot h er emblem of yout h an d of et ernall y ren ewin

g
-

an d revivin g N at ure : all t hes e ar e lovely as p r o du cin

g
one feeli n g M ark on t he other hand t he leafles s
.
, ,

tr ee of win t er t he embrown ed and fade d p ast ur e t he

, ,

blackened heath the wintry sun rolling on to t he

,

b rumal s olsti c e ; all emblems of decay an d death .

What mak es t hat lan dscape before u s unpleas in g an d

un wort hy t he art is t s labo ur t ho ugh bri ht s ki es an d
’

g ,

suns hin e ar e pre s en t ? I t is t his : t he forest seems

 A R TISTIC A N A TO M Y . 1 69

dead, al t
hou gh our reas oni ng j udgment tells us it i s
n ot s o t hat s pri n w ill m i n n d lif an d all it s
, g co e a
g a a e,

j oys ; b ut our in s t in ct lis t en s n ot t o it s s uggestion s ,

ac cept in n ly l t h t wh i h t h x t n l wo rld
g o as r e a a c e e er a

present s A wi n t er s cen e even in t hos e coun tri e s

.

where a warm s un forbids u s feeling chi ll ed i s s till t o ,

—
t he u n errin g i n s tin ct a Wi nt er sc en e an emblem of
death . I fir s t ob served thi s f act for it i s on e in , ,

Sout h Africa T o pr o du ce t hi s effe ct you requ ire n o

.
,

s n ow s n or i c e n or froz en lake s ; u t on t he can v as

, , p
t he leafle s s t ree t he wit here d p as tur e t he emblem of
, ,

deat h ; t hat i s en ough S o i t i s wit h yout h an d

.

hum an forms : t he youn g an d heal thy su ggest et ernal

life ; t he di s eas ed an d emac iat ed an d t he age d us ually
c all fort h feelings of repu gnan cc com passi on or , ,

horror as the cas e may b e W e s ee in su ch ap

,
.

e aran ce s t he emblem s of di s s olu t io n an d of deat h

p .

M an t hough occ asionally r ati onal an d al ways a

,

reas oni ng animal has yet deep s ym p athies inn at e

, ,

an d i ns tin cti v e ; t h es e form t he b as i s of hi s cha p

ract er . His min d i s n o tabu la rag a A love for t he .

e mblem s of you t h i s on e of t h e s e ; hi s fon dn e s s for

zi n on t he de corate d eart h an oth er

g a g ,
.

Winkelman t hen w as in error when he proclaime d

, ,

beau ty t o r esi de solely in you th t h at t he young alone

ar e b eau t iful . whose abilities merit e d a
b et t er rewar d b ewilder ed in t he difficul t ies beset ti ng
,

t his gre at in quiry the di s c overy of t he b e au t iful w as

, ,

c o m pelle d aft er maint ain in g n ear ly ev ery ot her hyp o

,

t he s i s an d r ej ect i n g t hem s o s oon as ann oun ced t o t ake

, ,

refug e at las t in an ab s t ract pr op osit i on fir s t enou/nc ed ,

by myself that in woman a lone res i des the p erfect an d

,

t he b eauti ful ; b ut even t hi s vi ew as n ot b ein g ar rived

,
 1 70 M A N UA L O F

at by legiti mate de duction on his part ,

he als o mi st ook .

F or us ing in strument s he di d n ot un ders t an d, he ex

t ended t he view ( it could not b e calle d t heory as b e

viewed it ) t o ot her obj ect s in nat ure other manifes ,

t at ion s of the mat eri al world : h ence ar os e lamentable

c ontradi cti on s as t on is hin g all hi s frien ds I need not .

furth er advert t o t hem here .

T HE B EAU T IF UL AND T HE PE RFE C T .

In order th at young shoul d b e obj ect s of l ove

t he
an d t en der feelin i t i n y t h at t he ar ms an d
g ,
s e ce ss ar

limb s s h ould have t aken on t hem s om e of t he form s

t hey more fully as sume in t he adul t T he t or s o c ome s
.

last in the hi s tory of development of for m T he face .

firs t ac qu ires de finit e for ms which t hough n ot b eau, ,

t iful ar e lovely an d expr e s sive ; b ut above all t he

, , ,

adi po s e cellular layer in te rpo s e d b et we en t he in t egu

ment s an d t he apon eur ot i c an d cell ular s he ath s of the

muscle s mu s t b e full s t ro n g an d j uicy
,
By it s mean s
,
.

all trac e s o f t he i n ter ior are c once ale d an d ever y ,

emblem of di s s oluti on an d o f deat h rem ov e d fr om t he

vi ew When t o t hi s t he progres s of development

.

wi th y ear s that i s fr om s eventeen t o t went y s even

, ,
-

the hi ghly s p ecial ize d an d n oble forms of t he adul t

—
woman are s uperadde d t hat i s the b eauty of form to
, ,

t he lovelin es s of yo uth N at ur e has t hen att ained per

,

fection . Thi s the an cient s culptors s aw : t h eir genius

led them t o di sc over wherein b eauty r es i ded ; t h eir
n d ab ili t y enable d t h em t o repre s en t t hi s b eaut in
g r a y
marble an d on canvas Their geniu s an d ab ili ty over
.

came all difii cult i e s t he re su lt s were in an cient t ime s , ,

t he Ven u s an d the A p ollo ; in more m o dern days ,

t he C art oon s of R aphael t he C en a of Da Vinci the

, ,

fres coes of the Si st in e Chap el an d t he Vati can .

1 72 M A N UA L O F

of the modern foo t ; next design it wi th all it s t e ndons ,

mus cle s , li gament s ; t hen draw over t his anat omi cal
foot , if I may s o s ay, an outlin e followi n g i t s cur ve ,
and u will have a drawing of t he ill s h apen long
yo -
, ,

narrow , s k elet on l ookin g foot of s o m any E ngli sh

-

women N ow place b efore y ou t he foot of the Venus ;

.

s ee in wh at i t di ffers from t he narrow En li s h foot ;

g
draw i t again an d again fill your mind wi th i t s form
, ,

for it cannot b e sur pas se d and s o wit h every other

,

part of t he body .

T o ren der this work as u seful as I can t o t he

s tu den t I here s ubjoin t he application of the t heory
,

t o the female figure t o a s tat ue s e emin gly an ti qu e or

, ,

at leas t s culp t ured i n acc ordance with t he l o ri ous

g
fo rms of ancient Greek s t at uary What I rec ommen d
.

t o the s t udent and amat eur i s t o read t he s ubjoine d

des cript ion in presen ce of t he st atu e whi ch he will ,

fin d in t he B ri ti s h M u s eum ; b ut i n i t s ab s en ce any ,

o ther original Ve nu s or goo d cast of any anti que

Venus will s uffice T he principles en oun ce d apply
.

to all o r to n one I n the ant i qu e Gree k figure alone

.

re si des p erfecti o n ; all na ti ons an d all rac es mus t yi eld

t he palm to Greec e .

O F T HE E L GIN A N D O T HE R MAR B LE S IN T HE B RIT I S H

M U S E UM .

Al tho ugh t he ollecti on of st atue s in t he M u seum

c

b e n ot of fir st rat e quali t y wit h the exc epti on of t he

-
,

r emain s of the s cul pt ure of t he Part he n o n us uall y ,

calle d the El in M ar ble s I h av e t hou ght i t ri ght t o

g ,

a fe w wor ds r e s p ect in g t h em T he m utilate d con

sa
y .

di tion of the m ore val uable t hat i s the Elgin ren ders
, , ,

it a matt er of great difli cul ty wi th the s tu dent how to

 A R T ISTIC A N A TO M Y . 1 73

profit by t hem T he fir st s tatu e as being the least

.
,

obj ecti onable one is a fig ur e of a full grown woman

,
‘

abov e t he nat ural s iz e I have calle d it the Townley .

.

Venus as it u sed t o stan d amongs t the collecti on

,

which bears t hat name From t hi s fig ur e t he student .

may I t hin k dr aw safely I f in hi s s ketches he redu ce s .

i t to five feet four inches whi ch I t hi nk he ought to ,

do, let him b e car eful i n hi s management of all t he

proporti on s an d re ui sit e q re- arran
gement s cau s ed by
s u ch re du ct i on s .

T he att i t ude of t he figur e is one of re pose ; the

entir e s urface i s life like, -
an d the fig ure is half draped
-
.

hair s o as t o balance t he figure on the trunk is

, ,

ob servable in thi s st at ue T he car finely formed i s ad .

, ,

mirably place d ; t he face oval an d clas s i call y b eautiful

n ot a tr ac e of the int eri or i s t o b e s een anywhere ,

an d y et cert ain line s dep en dent on deep str ucture s as ,

t he ridge an d ext ernal an gle s of the fr ontal bon e ,

s uffici ent ly charact eris e the full gr own woman fi om t he - '

child or gir l Thus we s hall fin d t he Gree ks ever

.

act e d n ever forgetful of t he t rut h

,
n or s eekin
g t o ,

e xaggerat e b eaut y by meretr i ci ous ornament or inj u di

ciou s in con gruiti es .

T he di s t in ct s et t ing- off of t he
o n se an d
other feat ur es
of t he face fro m the maxillary b one s or more s oli d
c omp age s of t he fac e, i s t he gran d an d leading feat ure
i n the an cient Greek head, di s t in guis hing it from all

ori ental nat ion s ! ew Copt A s syrian etc I t is pe r

, , , , .

fect ly well s een in thi s s tatu e T he eyes as in all .

,

clas s ic h eads ar e dee p s et ; t his was t he grand pec a

,

li arit y of t he clas si c h ead .

T o s how t hat the Greek s culpt or whil st he never

sto op ed t o any littleness ye t n ev er neglec te d det ail , ,
1 74 M A N UA L O F

t he st udent s
’
o is called to the indi vi duality
at tenti n

repres ente d i n t hd s u pra or bi tar rid es in t his fi ur e

g g
-
.

O n one s ide onl y t he ar tis t has marked the s upra

orbit ar foramen as a no tch a variety by no means ,

unc o mmo n in di fferent in di vidual s .

T he n o strils are fir m b ut dis play n o trace s of t he

,

cartila inous skelet on s u pporti n g them n or an i n di

g y ,

cat io n of t he ac tion of t he deep s ympat hi e s o f t he

c he s t ab domen an d p elvi s ; t he s ame ma b e s ai d of

, , y
t he mou th . I n t he nec k which is admir able a little
, ,

fulnes s mar ks t he po s iti on of the s tern o mast oi d -

mus cles ; that i s all I n the t r unk an d arm s i t i s

.
,

worthy of remark that t he cont rac ti on of t he deltoid

in rai s i ng the arm is s hown more by a flatte nin g of the
u pper part of t he b o s o m of t he same s ide t han by an y ,

dis play of muscular power A bo ut an i n ch and a half

.
,

or at mo st t wo inche s abov e t he nav el i s t he wai s t ,

or rather t he s len dere s t p art of t he t ors o in woman .

A s was t o b e expe ct ed t he outlin e s of t he ten dons an d

,

muscles have b een everywhere conceale d Depre s .

s ions roove s gen tle hollows an d eleva t i o ns mar k t he

, g , ,

pre sence an d t he influ ence of bones mus cles t en don s , , ,

an d apon eur o s es t hat hi deo us interi or whi c h t he

,

mo dern artis t is at time s so an xi ous to di s play T he .

c haracte r of t he ab do me n i n t he figure i s p erfect ly

fe minin e ; i n t he lower p art cutan eo u s t rans vers e , ,

roov e s ma b e s een whi ch t he arti st mus t n ot n e lect

g y , g
t o chi s el ; it i s the n e glect of su ch det ail s whi ch cau s es
hi s figures t o resemble s t at u es ; their ob servanc e give s
life to t he s t at ues of an ti quity .

St udy well t he drapery an d t he b alan cin g of t he

body on the feet T he li mb s are perfect so al s o is t he
.
,

di s po sit ion of t he drap ery ; on nO ne b ut a fin e woman

c an dr ap ery b e s o arr ange d or o u p i t lf i t o h
g r se ,n s u c
 W O R KS PUBLI S HE D

HEN R Y s s s sa aw, 3 56, S T R AN D, LON DON .

DR . KN O X O N T HE N A T URA L HIS T O RY O F M A N .

T HE R A CES O F M EN .

BY DR . KN O X .

C rown 8 0 0 , c loth, p r ic e 1 08 6d . .

I LL U S T R A T ED BY N UM ER O US WO O D EN G R AVI N G S .

T he A u thor of thi s w ork ascri b es to M an as a gr oup s an

an ti qui ty coe al wi th t he l st geologi cal epo h He p o ve by

v a
c
. r s,

i ndi s put ble mon ument al and other ec ord the un lterable ch
a r s, a a

ruet er f R ace ; di p ove t he effect s of hybridi m ; n d by an

o s r s s a

a ppeal to pas t hist ory confutes t he pretensions of any one R ace

t o p ead i t elf o ve t he whole e th s a do mi nan t ace p o
s r s r ar a r ,
s

as es ora and c u lt i vat o rs of the s oi l To each eat u of

.
gr
gro ps

R ac es the A u th or p
as s igns a s ecial c on t in en t , beyon d whi ch they
cann ot pas s and li ve, and s how s t hat i n human hi s t ory R ace i s
e ver ythi ng .

T h er e i s an i mp ress i ve vi g o u r i n hi s s ty l e th at en c h a i n s t h e a tte n

ti o n . T h e l e ct u r e s c o n t ai n b o ld a nd o ri gi na l s p ec ul a t i on s —T ait s ’

M ag az i ne .

Dr . K nox i s th e o n ly et h n ol ogi s t wh o h as s ei z e d t h e t rue fund am ental

el e m en t s , wh i c h m u s t f o rm t he b as i s o f o ur r e a s o n i ng s u p o n m an y of the
mos t i m po rt a nt a nd i n t er es ti ng q ues t i o ns co nnec te d wi t h th e n atu ral
hi s t o ry of M an .
— M ed ic a l Ti mes .

Dr . K no x i s on emos t el ega n t a nd fa s c i nat i n g of wri t er s T h e

of th e .

k k k
wo r a bo u n d s i n s t r i i ng re mar s o n h i s to r a nd i n fo r c i b le d eli neati o ns y
”—
of t h e pe c u li ari t i e s o f n a t i o n al c h arac t e r D a ily N ews . .

T h i s wo r k e xh i bi t s t h ro ug h ou t t h e i mp res s of a h i gh l y o r i gi na l

b y
"

t h oug h ve ry e rr a ti c m i nd , w h ic h d are s o ld l t o gr appl e wi th lo ng .

s t an di n g d og ma s , a nd i n n ot a fe w i ns t a nces l ay s b a rs th ei r h oll o w
nes s .
” —L ancet .
 A M A N UA L
OF

HU M A N A N A T O M Y ,

DE S C R I PT IVE GEN E RAL A N D PRAC T IC AL

, , .

B Y R O BER T KN OX M D ,
. .

ru vs m am B r c r wm ns o r 200 m e n u m am -
WO O D
m e nu !N os .

F ools c ap 8 0 0 , p r ice 1 23 6d . .

WA L KE R S ’
O R IG I N A L .

T HE O R I GI N A L .

p
C o ns is t ing o f a s eri es o f Pa ers on whatever is mos t i n tere s t in g
p
and i m or tan t i n R eli gi on an d P oli tics , in orals an d anners , M M
b
and i n o ur H a it s an d C us to ms .

BY T HE LA TE TH O MA S W A LKE R M , . A .
,

B A R I I BT BR AT L A W, AND O N E H P LI E
OF T AT E O C I A GI OT I BS 0! T HE
I I TRO PO LI C .

F ools cap 80 0 , c lo th,

p r i ce 58 .

D I S E A S E S O F T HE HUM A N HA I R .

Fro m the F rench o f M .C az enave, P hysi cian to t he Hospital

S t Loui s , Pari s
. .

WI T H E
A D S C R I PT I O N O F A N A PP R A AT US FO R F UM I G A T I N G
T HE S C AL P .

BY T H
. . B UR G E SS M D , . .

F oo ls cap 8 0 0 , p r ice 2 3 6d . .

T HE A N A T O M Y O F SU I C I D E .

BY FOR BE S WI N S LO W M D , .

8 0 0 , clo th, p r ice 1 08 6 d . .

T he tre a tment of th e su bj ect

i s enti rely o r ig i nal ; a gre at m as s of
b b
i nfo rm at i o n i s roug h t t o g e t h er wi t h l a o r i o u s i n d u s tr , a nd r e n d er ed
”
y
i nt eres ti ng b y t h e d emons t ra ti ve p o w er s of t h e wr i t er .

b k
T h e oo remi n d s u s o f ol d B u rt o n b y t h e vari e ty an d ex te n t o f t h e
au t h or s r es ea rc h e s , a n d t h e a m u s i n g m a n n e r i n wh i c h h e h a s c o n t r i ved
’

t o h andle a mos t t ri s te a n d r ep ul s i ve s u j e c t b
M od C hi ra rgtoal R evi ew
.
— .- .
 A TEX T B O O K -

OF

HU M A N P HY S I O LO GY .

I LL US T R AT ED R E 450 woonc urs A ND N U M E R O US E N GEA vI N G s

O N c or e s ]; A N D S T O N E.

BY DR . G . VA LEN TIN ,

PR O FES S O R OI PH I Y S O LO G Y IN T HI UN I V RR S I I Y
‘ ‘
OP BI RN .

T rans late d and Edi te d from t he th ird e it io n o f the d G run dr i ss

dsr Ph ysiologie ,
”

BY W I LLI A M BR I N T O N , MD . .
,

LI O R N T I A I R 0 ? T HE R O Y A
‘ '
L C O LLB G R O P P Y S C I A H I N S A N D I R DI C A L T UT O R 0 ?
KI N G 8 C O LLR G R .

I n 8 0 0 , p ri c e £ 1 1 s .

O U T LI N E S O F BO TA N Y ,

UDI N G INCL

A GEN ERA L HIST O RY O F T HE VEGET ABLE KIN GDO M I N ,

W HIC H PLAN T 8 A R E ARRAN GE D AC C O RDIN G T O T HE

SYST E M O F N AT URAL AF FI N IT IE S .

BY T HE LA TE G I L BE R T T . B U R N E TT,
r s or s s so a o r BO T A N Y IN
’
x t N G s C O LLl G l , LN N O DO .

I llus tr ated by 2 50 Wood E ng r a 0 i ng s O ne t hic k . vo lu me, 8 00 ,

1 200 p ag es , p ric e 2 1 8 .

T h e auth o r see m s t o h a ve m ad e h is o wn ev er t h i n g wh i ch h a s p r e y
vi o us ly b b
een w r i t t e n o n t h e s u j e c t, a n d ha s b
ro ug h t t og e t h er , i n a c o n
f
d e ns ed orm, al l t h a t i s at r e s e n t k
no w n o f Bo t a ni ca l Hi s t o ry . or i n
k
.

o t h e r w o rd s , o i t h e m o d e 0 te ac h i n g Bo t any T h e wo r c o n tai n s s uc h
’
.

a mas s o f m a t t e r o f p r ac ti c a l u s e t o t h e B o t a n i s t , t h e G ard e n er , t h e
y
M ed i c al M a n , a n d t h e N a t u r ali s t g e n e ral l , th at we c annot b ut s t ro ng ly
r ec o mmen d i t
”
.
— ’ ’
Lou d on s Ga r d ener s M aga z ine .

S UR E M E T HO D S O F A TTA I N IN G A
LO N G A N D HE A LT HFUL L I FE ,

T HE MEAN S O F CO RRE C T IN G A B A D C O N S T I T UT IO N .

BY LE WI S C O R N A R O .

Forty ei ghth Edition

-
. T rans lated fro m the I tali an .

1 8 mo, se wed , r i
p ce 1s .