Perhaps I shall best impress my idea of the advantage to be
derived from this study, by contrasting two young artists employed
in drawing from a figure; the one trusting to his untutored genius,
the other assisted by the study of anatomy. The first, after much
labour, is seen copying bit by bit, and measuring from point to
point; and the effect is an accurate outline. The other catches
the attitude with facility, because a knowledge of the skeleton has
enabled him to balance the trunk upon the limbs, and to give the
outline with boldness; the turn of the limbs, the masses of muscular
flesh, and the general character of the joints, are touched with
a slight but accurate hand. If you look upon his sketch, you will
find the attitude, the character, the spirit and life of the original.
Even in the early stage of his drawing, and whilst his opponent is
copying parts, he presents you with the foundation of an accurate
and spirited sketch; and if the anatomical student has the advantage
in conveying the general idea in a few lines, he has a much
greater superiority in drawing the minute parts.
direction below it. Some which undergo compression, others an unnatural elevation;
some which are thrown into a state of extension, others which become relaxed; all
this you imitate, and hence you produce that fidelity, that accuracy, which we admire.”
The artist acquiesced in the remark. “ And the expression of the passions, again,__
how great a pleasure does this produce to the spectator ?” “ Surely,” replied Clito.
“ Thus those who are in the actual conflict of the-battle, are they not to be represented
as bearing menaces in their eyes ? while satisfaction and joy should sit upon the countenances
of the victorious ?” “ Unquestionably.” “ It is then equally the business
of the statuary to transfuse into his productions the workings and emotions of the
mind.”—X e n o p h o n . Memorabilia. Lib. iii. cap. x . p. 6.
But this superiority which anatomy bestows, is still better exemplified,
if the model be removed from these two young painters,
and they draw the figure from recollection; or if, keeping the
model before them in its original posture, they are to alter the
attitude of the figure. Suppose, for example, that we take the
fighting gladiator. Instead of a young warrior pushing on with
great energy, let their task be to represent him receiving a blow
of his antagonist, which forces down his shield upon his breast, or
brings him with his knee to the ground; as it is beautifully represented
on some medals. Can we doubt for a moment which will
excel ? The one will copy from recollection his original drawing,
or twist with great difficulty the erect limbs of the statue into a
couching posture, while the other will gain by his greater freedom.
Retaining the general air, like one who had understood what he
copied, he is aware that a new class of muscles come into action,
while those formerly in exertion are relaxed; he knows that the
bending of the limbs increases their measurements; he knows how
to represent the joints in their new postures; in short, he gives
energy and effect as a compensation for slighter errors.
,It is a mistake to suppose, that because in many capital pictures
the anatomy is indicated very faintly, the study of it may not be
necessary to a painter. Even that, which in the finished picture
is to be the mere indication of muscular exertion, ought to have its
foundation laid in the sketch, by a correct and strong representation
of the full action. It is very true, that the sketch is too often
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