preconceived notions by the actual appearance of the limb, each
succeeding exhibition of strength will accelerate his progress in
the knowledge of anatomical expression, and in correctness of
design.
The true corrective for the faults we have pointed out is to be
found in the study of anatomy. It may well be said, that anatomy
is the true basis of the arts of design; and it will infallibly lead to
perfection those, who blessed with true genius, can combine correctness
and simplicity with the higher graces and charms of the art.
It bestows on the painter a minuteness of observation, which he
cannot otherwise attain; and I am persuaded, that while it will
enable him to give vigour to the whole form, it will also teach him
to represent certain niceties of expression, which otherwise are
altogether beyond his reach.
Even in drawing from a particular model, the artist who is
versed in anatomy, has a great superiority. When I have seen a
person unacquainted with anatomy, drawing from the naked figure
or from a statue, I have marked the difficulty which he experienced
in representing the course of a swelling muscle, or the little depressions
and convexities about a joint; and this difficulty I have
traced to his total ignorance of the course and action of the muscle,
the effect of which he was endeavouring to make out. The same
difficulty is often felt in drawing the' knobbed end of a bone, or the
insertion of a tendon, which being under the integuments of the
limb are but very faintly distinguishable on the surface. These
delicate and less definite indications of the anatomy, though easily
traced by one acquainted with the structure of the limb, appear
to the uninformed, only unmeaning variations in the outline; of
the importance of which he has no means of judging; and in
imitating them he feels the greatest difficulty, and is exposed to
continual mistakes. While the knowledge of anatomy gives to
the painter a spirit of minute observation, and leads him to mark
those little niceties which add to the beauty of the whole; it also
enables him to preserve correctness, and to infuse vigour into his
drawing; to catch that diversity which nature sets before him; and
to avoid the representation of what is monstrous and deformed.
Suppose that a young artist is about to sketch a figure or a limb,
his execution will be feeble, if without knowledge he endeavours
merely to copy what is placed before him. In thus transcribing,
as it were, a language which he does not understand, he must commit
many errors. He sees an undulating surface; the bones and
processes of the joints but faintly distinguishable; he neglects the
peculiar swelling of the muscles, to which he should give force, as
implying motion; he makes swellings merely; he is incapable of
representing the elegant undulating outline of beauty with force
and accuracy, and of preserving at the same time the characters of
motion or exertion. Drawing what he does not understand, he
falls into imbecility or deviates into caricature.