AManualofArtisticAnatomy 10097437
AManualofArtisticAnatomy 10097437
AManualofArtisticAnatomy 10097437
an at om y ,
or o ught to s ay st udie d an a
rathe r I ,
, ,
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
,
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
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
, ,
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 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 ,
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
w hi ch a l o v e o f n at ur e an d o f tr uth had b e en
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 .
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 .
art ist ; schoo ls of drawi ng mis named s cho ols of des ign ;
for the li vin g ; the secon d i s the ptu ing figu es exhibit
s c ul r r
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
C HAPT ER I I . Page 1 2 to 2 1
may b e ob served .
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
which i s als o a verte bra ( oc cipi tal verte bra) figure 1 7 page , ,
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 -
,
,
-
,
C HAPT E R V . Page 44 t o 5 8
why t hes e pro port i ons are dis pleas ing to the eye ; o utli ne of
C HAPT E R VI . Page 5 9 t o 72
P
! A R T I I .
-
C HAPT E R I Page 73 to 8 1
as dis tinct from the nat ural forms dis played by a fine ex
C HAPT E R II . Page 8 2 to 93
C HAPT E R IV . Page 1 00 to 1 1 6
C HAPT E R V . Page 1 1 7 to l 2 5
g .
C HAPT E R VI . Page 1 2 6 to l 3 5
PA R T I I I .
—C HAPT E R I . Page 1 36 to 1 44
s t u dent an anal si s of y be
y an d a theory of the beautiful
au t
C H APT E R II . Page 1 45 to 1 5 9
, ,
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 , , , .
oss eo u s s urfaces .
Page 1 8 Fig 6 . . .
—Outline of the Torso of the Venu s ; Bri t i s h
Museum .
B y thi s beauti ful and s i mple mechani cal arrangement the ant ero ,
whi ch is at tached the s tyle hyoid ligament conn ect ing the hyoid -
,
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
, .
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
. . .
r ece ived the con dyles o f the occi pi tal b on e as s een i n figure 1 4 , ,
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
bodies of the verte brae from th third cervical to the las t lumbar
,
e .
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 '
.
placing before him the os seous s urfaces and drawing them carefully ,
Page 42 Fig 2 1
. Skel t on of the Foot ; dors al surface
. . e .
P ge 9 F g
a 4 i. s 23 n d 24 — Thes e figur es give the propo tion
. a . r 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
P gae 55 Fig 28
.
— Skeleton of the I nfant M ny of th
. . . a e
a .
a
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
pecul iar feature was not peculiar t o him (for A braham alone
G reek head the cartil aginous apparatus of the nos trils is never
,
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. ,
let ters of reference have been place d on thi s block ; nor w as thi s
lec t ual nature hi s pas ion A n ingeni ous wri ter who se M S
, s s. , .
the art is t whether sculptor or pain ter cannot bes to w too much
, ,
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
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 ,
Page 88 Figs .
— T he figures in t hi s page represent
. 43 and 44 .
car ; t he finest ears have their i ndi vidua li ties like every o ther
,
may b e seen in vari ous work s and i n t he bus ts themsel ves 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
-
, ,
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 ,
Page 1 04 F ig 48 —D rawi ng f om
. . bus t of the Y oun g He
. r a r
0 ,
E xternal oblique muscle of the ab domen ; b , gluteu s medi us
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
Page 1 1 2 . Fi g 5 2 . .
— S uperfici al Mu sc le s of t he B ack of t he
a, Trapeziu s m uscle ,
ri
ght s i de ; I, delto i d left s ide , ; It , a
po r
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 h ac omi on scapular ; b t he d lt id ;
a, e r ten don of t h ,
e o c, e
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 .
eminence ; the mus cles seen here are t he adduct or m inimi digi ti
Page 1 2 1 . F ig 5 5 . .
—Mus cles of the A r m bac k view ,
left arm .
exten or communi ; y
s extens ors of the th umb ; a
s pos terio , ,
r
Thigh ; left s i de .
c , vas t us exter nus e , s m all port ion of the b iceps ; s, psoas and
Page 1 2 8 . F ig 5 7 . .
—S uperfic i al Mus cles on the O uter Side o f
the Left Leg .
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,
Page 1 3 1 . Fig . 60 —
. Muscles of t he Left Thigh ; inner side .
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
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 .
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
Page 1 6 1 . F ig 6 2
. .
—D rawing fr om t he B u s t of the Y oun g
IN TR OD UCTIO N .
—
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
of men an d women s t ep s in t o as si s t in i t s de
,
B 2
4 M A N UA L OF
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 solve .
it i s a manifest ati on of m
, ,
C HA PTE R I . .
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
.
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
-
,
—
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
( wh os e m at chl e ss s k et ch book n ow in t he Qu ee n s
-
,
’
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 .
,
—
t we en hi m an d T ruth the et ernal t he all dc si re d ,
-
n
y g a
‘
C HA PT E R I I .
T he Male Skeleton .
14 M A N UA L OF
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 ,
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
T he Femal e Skeleton .
A R TISTIC A N A T O M Y . 17
S kele t o n of T or s o .
C
18 M A N UA L OF
T orso of Venus .
A R TISTIC A N A TO M Y . 19
tr un k a ,
s the h e ad i s c all e d it s ceph ali c ext r emi ty .
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
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
.
,
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 ;
,
0 2
20 M A N UA L OF
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
, ,
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 .
—
mo st exquisi te beauty I s peak of t he ankles To .
figure , an d deter
mine s so me of its
larger proporti ons ; it
determine s t he att i
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
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
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
-
S ee Fi gure p 2 4 ,
. .
M A N UA L O F
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 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
,
s se
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
from t he dried pre parati ons kept in anat omi cal schools .
also contr ibut e t o form joint s whi ch are eit her mov ,
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.
t e b r a, as s is t t he m obilit y an d
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
s t an d vertebral column
t he ,
Vertebral C olumn
.
34 M A N UA L OF
in woman
S HO ULDE R -
!O NT I .
C olla r bones to
-
the S ternum an d to the S cap ula .
E LB O W ! O N T
-
I .
,
—
mind n ot t he bo dy the brain whi ch i s at fault an d ,
n 2
36 M A N UA L OF
o
re as n . very figur e of s uch actors t hou gh u s e d
T he ,
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 ,
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
.
so carri e s t he h an d wit h it
,
Thi s i s effect ed by mean s
.
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 ,
I KN E E -
!O N T .
T he li gament s are ,
t he in t ernal ; se c o—
n d
fir st
,
t he
a hin ge j oint admi t ting of rat her ext ens ive m ot ion s
-
,
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 .
A KLE
N -
!O IN T .
n es s ,
of n o perce pti ble mot i on bet ween t ho se bone s .
i
t n o an d form of all t h ese ligam ent s an d t he aecom,
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 .
s es a
moi d b ones . B ut a c ons i derati on of t hes e j oin t s
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 .
obj ect i s t o convert the limb int o a fixed lever ins tead ,
mus t either sit down or s eek anot her and an eas ier
,
t hus oved from the ext ens or muscles and thr own on
rem ,
—
break up the fin est forms in a wor d how t he laws of ,
es
p g
in g i t .
apart by Cousin ; t h us
1
1
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 .
E
50 M A N UA L O F
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 .
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
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 ,
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
,
Se dgwick , C lar ke .
R 2
52 M A N UA L OF
t he sh oul ders .
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
Thigh ,
di tt o in t he 25 “
t high m eas ur es
3 } p art s .
A R TISTIC A N A T O M Y . 53
T he kn ee an d calf of t he leg 2 1
7;
m en t on e p art .
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 .
s t at ur e a head le s s t han t h at o f m an .
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 ;
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 t he b o dy T he s ignificati on
.
t he followin g se ct i on s ; a w or d
or t wo will s uffice h ere .
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 ,
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 .
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 .
From the earli est perio d of re cor ded his t ory man ,
t o do s o ; b ut I qu es t i on mu ch if t he s maller min de d -
'
Lon don) .
1 S ee
'
Fi gure p ,
. 27
A R TISTIC A N A TO M Y .
S ee Figur e p 2 7 , . .
64 M A N UAL OF
‘
vie w of C amper s i de as taken up by t he anato mi st .
C rani um of t h e N e gr o .
C rani um
'
of the C aflre .
66 M A N UA L OF
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
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 .
s ec on dly it s m oti on s
,
Thes e we shall con sider in the
.
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 R i b s.
A R TISTIC A N A TO M Y . 69
8 e gm ent s of
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
Figure p 68
S ee , . .
1 S ee Figure p ,
. 16 .
mi cal kn owledge .
angle las tly t he gen eral deli cac y and ro un dn ess of all
,
.
,
t ar ian philo sophy woul d mak e you beli eve wit h c hild ,
the bones of the leg the fibula and ti b ia an d the rot ula , , ,
this day .
S ee Figure p , . 55 .
AR TISTIC A N A TO M Y .
PART II .
C HA PTE R I .
rot i c
,
an d t he in te gument ar y c overin g of t he bo dy .
in t hi s s ecti on of t he work .
, g
an d femal e complete forms ; t hi rd di s s ect i on s of the ,
art i s t ic s t u dent .
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)
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
o
s av ur s of pedan t ry als o an d t hi s contribut es t o mar
,
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 ,
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 .
—
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
to con ce al .
E XT E RN AL FO RM S OF T HE HE D A .
down t owar ds t he n o s e t he mu s ,
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
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,
T HE F AC E .
A pe formed E ar
-
. A n t i que E ar .
—
ti one d firs t t o t he head an d face of the in di vi dual t o
,
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 ,
o f s p eciali z ati on .
n is a -
or n o fles h
on his b o nes ; he li ves in a
garnet , an d feeds wit h
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
,
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
,
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
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 ,
by anat omi st s .
pr oj ect
,
an d they dee pen the furrows an d di mples of
of e xpres sion ,
an d t he ant agoni s t of m o s t of the others .
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
'
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 .
,
least an in genu ou s ,
hon our able str aight forward an d , ,
, , ,
t hi e s of t he
organ s of the chest an d the ab domen and , ,
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
, ,
d
r ea ers .
.
,
H
M A N UA L O F
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 .
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
, ,
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
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
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
,
t he at hlet eo am ngs t
all ot h er men I n t he youn g .
.
E XT E RN AL FO RM S O F T HE TO RSO OR T RUN K .
Mu s cles of the To r s o —fi
-
ont vi ew.
1 08 M A N UA L O F
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 ,
i n t he descript i on of t he t ors o .
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
.
an d b ehin d .
t he t e ns or fas c iae a ,
s mall o rt i on of t he l
p g u
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 .
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 .
t he thi gh an d t he kn ee
,
j oin t wi th t he hollo ws
,
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 ,
r e m ove d.
S ee page 1 09 .
112 M A N UA L O F
Mu cles of
s t he Tors o—back view .
g l u t e us
s kelet on ,
may b e t rac ed thr ough t he wrinkle d s kin .
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 .
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 .
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 he u b equen t w o o dcu t
s s .
d pres s i ons
e , in co nn ec ti on wi th the co n .
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 humb .
p H yp o,
t h enar emi nence .
Superficial Muscles of
t he A rm—front vi ew .
118 M A N UA L O F
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 .
and collar b on e a-
n ext foll ow t he ou t li n es o f t h e
,
delt oi d .
I n the arm,
pr operly ao call ed there is t he oval -
,
o f t h at b on e .
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 , ,
n en ce s s ep arate d fr om e ac h ot her
,
t he fin gers ; it i s al so t he mo s t
pro minent .
s tr uc t ur e s I h ave all u de d t o in
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 .
fas cia s tre tc hed over t he rot ula or pate lla an d an ot her
, ,
dy ole f t he u m —
h erus there is a well marked cavi ty on -
—
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 ; ,
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 .
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
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
t he ar m i s fin es t in woman ,
r oun ded, s m oot h an d ,
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
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 ;
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 .
,
w ed e haped bone s an d to
g s
-
E xp la natio n f
o the Womb at —S uperficial mus cles of t he leg
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
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
digit i pe di s .
AR TISTIC A N A TO M Y . 9
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 ,
c le of t he ab do m e n ; b 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
, ,
cle s ; h i to of t he ti biali s
p ,
s or ) f t he t oe s ; k fib ul a ; ,
l m he ad of t he tr icep s ex
,
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
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
s ole of t he foot an d ab du c
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 .
,
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
What ommon
the c an d t he vulgar mind t akes for the
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
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
t he r es ul t .
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 .
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 ,
su erflu u s
p o . He xt ernal forms ;
cared n othing for e
s ci ent ific man who p urs ues kn owledge for the sak e of
,
an d art.
A R TISTIC A N A TO M Y .
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
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
, ,
t he su pra sp in at u s , t he
brachi alis flexor t he dee p ,
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
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
.
L
1 46 M A N UAL OF
—
in them t his is al so the ai m of the arti st He alon e .
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 .
power ,
of his tyr anny, of his fanat icis m, of hi s wealth .
There are buil ding races of men as t here are wan der
,
m en .
un s i
gh t ly,
fowalled hous e with a door in the mi ddl e
ur -
,
.
,
( 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
’
.
nati on b elong s .
'
p
re resent through the medi um of the eye men ali ve an d
A
L ND C S APE GAR DEN I N G
-
.
lik es .
g lod t e
y . T he cau s e of t hi s m erit s from t he art i s t ,
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 ,
enchant s t he worl d .
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
wh
rang en it for et s t hi s prin ci ple it fails I t i
s
p ; g 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
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
’
, ,
them ,
b e aware of thi s ; t hey simply fil led t heir
-
—
had n ot s urvi ved they t hough belon ging to race s of ,
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
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
,
A n d why .
en
gra vin g of the Cena of Da Vin ci admi ring it i n ,
”
pointe d o ut so me o f the b eauti es of the C ena and ,
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 ,
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 ,
.
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 .
o p er at i on s
,
aro s e from s mall b eginni n gs in t he Eas t ,
T he Y oung Memnon .
M
M A N UA L OF
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 ,
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
—
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 .
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 ,
or t wo ,y o u m a
y at once ob s e r ve t hat i s in cas e your, ,
or m oral s ci en ce .
perhap s when app ear ing in the world t hey t hen first
,
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 ng an in tr in sic
porti on of our nat ure we have n o ,
ov —
l e of life not t he fear t o die to go we kn ow n ot ,
g ,
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,
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
—
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 , ,
part of t he body .
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 ,
t he palm to Greec e .
di tion of the m ore val uable t hat i s the Elgin ren ders
, , ,
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
t he st udent s
’
o is called to the indi vi duality
at tenti n
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 .
i ndi s put ble mon ument al and other ec ord the un lterable ch
a r s, a a
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 .
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
"
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 ,
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 .
D I S E A S E S O F T HE HUM A N HA I R .
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 , .
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 .
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 .
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
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 .
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
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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 .
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