But if with a knowledge of anatomy he attempt the same task,
his acquaintance with the skeleton enables him with truth and with
facility to sketch his first outline of the figure, and correctly to preserve
its various proportions; while his knowledge of the muscles
enables him to represent forcibly the fleshy parts, simplifying and
massing where it is necessary, and at the same time to give an
accurate representation of the joint without caricature.
However it is in composing, much more than in copying what is
exhibited, that the knowledge of anatomy is truly useful. Without
such knowledge, all the original exertions of genius are repressed.
Every alteration of posture is accompanied with muscular exertion
and change of form, and in proportion to the painter’s ignorance
of those changes, are all his designs cramped and restrained.
Leonardo da Vinci gives formally, as a precept, what is self-evident
to an anatomist. u In naked figures, those members must show
“ their muscles most distinctly and boldly, upon which the greatest
" stress is- laid; in comparison with which the rest must appear
“ enervate.”—1 Remember, further, to make the muscles most
“ visible on that side of any member which it puts forward to
“ action.” Such rules and precepts are rather the result of anatomical
knowledge, than useful as pointing out to one unacquainted
with anatomy the effect he is to produce. It is not by following
such a precept, that the end is to be accomplished, but by enriching
the mind with the continual contemplation of the anatomical
changes, which mark each motion; and by forming, as the result
of such study, rules for the representation of action. The uses of
this study will best appear from an illustration. In vigorous action,
while there is a general tension in the whole frame, there is also,
in order to produce the particular motion, a certain class of muscles
brought into stronger action than the rest; the delineation of
which is the true indication of the action itself. If a man be merely
pointing upwards, an elegant simplicity may be all that the painter
can attain, or should attempt; but if, in the same posture, he is
bringing down a heavy sword to make a blow, the muscles start
into strong exertion; and by representing those swelling muscles
which pull down the arm and give the sweep to the whole body,
the idea of mighty action is conveyed. Thus it is necessary, in
order to compose with truth and correctness, not only that the
painter should know the place and form of the bones and muscles,
but that he should also have an accurate conception of the classing
of the muscles in their action*.
* Socrates one day paid a visit to Clito the statuary, and in the course of conversation
said to him—“ We all know, Clito, that you execute a variety of figures;
some in the attitude of the race, and others in the several exercises of wrestling, of
pugilism, and of the pancratium; but with regard to the quality which particularly captivates
the soul of the spectator, I mean their correct resemblance of the life, how is
this property wrought into your productions ?" As Clito hesitated for a reply,
Socrates quickly rejoins, “ Is it not by endeavouring to imitate the configuration of
the bodies of those who are actually engaged in those exertions of skill and activity
that you succeed ?” “ Without doubt,” said the artist. “ Well, then,” resumed the
philosopher, “ you study under the various gestures and attitudes of the living body,
what parts are drawn up, out of their natural situation, or carried in a contrary