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Frontispiece

Model No. 4.
 ^ iTGDIES ^

OF THE
HUHAN FIGURsE
WITH c^OME NOTEc?
ON DRaAWINC AND
A N ATOMY

BY C. M. E LLWOOD
&^ F. R^. Y E Rp B U R9Y
HI

LONDON
BTBATcfFOR^D. IIP
94 HIGH HOLBORpN
 n

First Edition, Spring, igiS \

Reprinted, May, 1919

3M-^t

Text printed by The Aberdeen University Press, Ltd.

Plates printed by G. Pulman & Sous, Ltd., ]Vealdstone,
 STUDIES OF
THE HUMAN FIGU

INTRODUCTION
Throughout the ages the human form has been the chief inspiration of
the artist, and proficiency in its representation an enviable distinction among
his contemporaries. The earliest manifestations of the desire to record things
seen were crude attempts to represent figures by outline, or in silhouette,
scratched with sharp instruments, on cave interiors, animals' horns and teeth,
or rudely carved in any handy material.
It was in the magnificent civilisation of old Egypt that the conscious
artist was born, and Drawing, as we understand it to-day, cradled. The
types of the period were rendered in paintings and sculpture with wonder-
ful facility and spirit, and decorative compositions produced which involved

great skill in representing the figure in action and revealed such scholarly
regard for form and line that much can still be gained by studying them.
The later development in Greece of understanding in drawing and
modelling rising to a standard that has never been surpassed, came through
almost ideal conditions of lite. The Greeks were a light-hearted and virile
people, devoted to graceful pursuits. The manifestations in their games
and arts were forms of worship, and their entire outlook concerned itself

with beautiful things as homage to their mythical gods.

Greek mythology, the inspiration of the immortals, Scopas, Praxiteles,
and Phidias, tour or five hundred years before Christ, has ever since influenced
sculptors and painters by the opportunities it affords for poetic representation
of the beauties of the ideal human form.
The Venus of Milo, the most perfect sculptured representation
lovely
of female loveliness, is but one manifestation of the supreme efforts made by
the Greek sculptors of old to perpetuate an ideal of their favourite goddess,
the sea-born Aphrodite. This statue, although without arms and minus its
 IMPORTANCE OF ANATOMY
left foot, is yet by far the most inspiring example of perfection in pose and
form that the world possesses.

Although it is generally accepted that it represents Aphrodite or Venus,

owing to the universal worship of this goddess throughout the coasts and islands
of the i^gean archipelago, there is no record of this attribution being authentic,
and many other designations have been given by antiquaries. Many suggested
restorations also have been planned by later sculptors, none of which are in

any way satisfying as a solution of the enigma of the position of her arms, tor
the additions in every case lessen most obviously the dignity of the original.
If it is a fact that these Greek artists achieved their wonderful figure
work without the help of dissected anatomy, the infinite patience and labour
involved in observing and memorising with thorough mastery the multitude
of variations in surface form occasioned by the actions of the body, would
have been a Herculean task for any man's lifetime. Hence it is certain

that some code of study must have been in use other than this individual
observation ; — the attachments and play of muscles must have been under-
stood, and certain formula laid down by experts for their students' benefit, or
the perfect school of sculpture associated with the age could not have existed.
Thanks to the models and notes of the Renaissance painters and sculp-
tors, and to the investigations of modern scientific surgery, anatomy is now
the handmaid of drawing. Structure has been so tabulated and explained
that the student may work from the cast, model, or photograph, and follow
from charts, diagrams, and descriptions, every bone and muscle afi^ecting the

drawing he is engaged upon, thus almost automatically obtaining a grip of

this vital subject concurrently with valuable practice in drawing.

One of the most able figure-draughtsmen and painters that I know ob-
tained his mastery over anatomy in this way, and working beside him tor

some time I was greatly interested in his method and progress. He did not
attend the school lectures on anatomy, and I am sure that he derived exactly
the same amount of useful information from them as those ot us who did.
"
Instead, he struck out a line for himself in studying Thompson's " Anatomy
in conjunction with the anatomical casts possessed by the school, making in-

numerable quick sketches, and fitting the names he wished to know by re-

ference to Thompson, the while paying very special attention to the attachments
 AN ORIGINAL METHOD; DRAWING FROM LIFE

of the muscles, a knowledge of which is invaluable in studying their direction

and movements in the actual model. When familiar with the whole frame
and superstructure of muscles shown in these casts, he carried out the same
as

search from the living model, making sketches on the same position as his
former studies from the casts, and jotting down his impressions of any dif-
ference or similarity to his conclusions.
At this stage he made many anatomical sketches from photographs of
casts and living models, being most enthusiastic in his search for photographic
subjects to anatomise. Afterwards he would pose the art school models in
similar positions and get information from points of view other than those in
the photographs.
In drawing from life in class from models posed by the masters, he in-

sisted on making only pencil and chalk studies, taking from two minutes to
two hours according to his mood. Working at first with the anatomy book
until he attained complete knowledge of the form and action of all surface
muscles, most of his early sketches were diagrammatic, and done, as all sketches
should be, with the sole idea of getting information. They were generally
written over with notes, and it would be easy to trace irom his sketches at

this period the way to complete mastery over the mechanical or constructional
side of life-drawing.

As he became perfectly sure of the underlying reason tor everything,

beautiful drawing gradually emerged from the chaos of notes and diagrams,
and his work, though always slight, and apparently executed with absolute
ease, was that of a master, inimitable and satisfying in its slightest manifestation.

Before finally adopting water-colour painting as his profession he spent

some few years in teaching, and his instruction, based on personal experience
and new methods, was of infinite value to a large number of students who
were fortunate enough to interest him and understand his artistic free-think-

ing. Many men who first seriouslv considered photography as a help in study
at his instigation, have found it extremely useful in numberless ways, and
others who have so far left it out of their calculations would be wise to con-
sider it as a material aid in work.
The eye is the great teacher, and what it constantly conveys to the mind
the artist in any craft can soon portray or mould with his hands. To-day it
 PHOTOGRAPHS AS SUBSTITUTES FOR MODELS
isby no means the simple matter it was in ancient times to observe from life
the undraped human figure, male or female, and the help of photography opens
great possibilities in this direction, insomuch as a collection of photographs
is constantly available for study. It will constantly suggest new ideas and
reveal new pictorial possibilities of treating the figure, while serving always
as a reference for actual facts of form and lighting.
In addition to their use as subjects to help in the study of anatomy,
photographs are of use in suggesting poses as standards of comparison for pro-
portion, and as substitutes for or supplements to models in positions so strenuous
or difficult that a model can only keep them for a few moments. Last but
not least, they serve as a source of reference for designers in preparing hurried
or finished drawings for press-work, book-covers, certificates, testimonials,

posters, wood-carving, stone-work, painted decoration, pottery, enamels, trade-

wrappers, show-cards, stained-glass, and the many other things in which some
representation of the human figure is appropriate and desirable.

A photograph from a good pose given by a thoroughly well-chosen

model is a priceless possession to an expert draughtsman who understands
anatomy sufficiently to interpret it intelligently. It is more difficult for an
untrained man to work from a photograph than from life, but a competent
one can use photographs in preparing drawings and cartoons for trade pur-
poses that will be equal to any from actual models, and he will thus save a

great amount of worry and expense.

Many draughtsmen and decorators are in the habit of drawing their
figures entirely from memory. Walter Crane, for instance, seldom used a

model, and in consequence his figures are simply conventions bearing small
resemblance to actuality either in form or action. It is impossible to visualise
figures correctly without a record of some kind from life, and to the man who
can draw, photographs give quite sufficent data from which to produce con-
vincing drawings.
The collection of photographs taken by Mr. Yerbury for this book will,
it is thought, prove an inspiration to the painter, sculptor or decorator, while
to the student it ofi^ers a fine series of figures to anatomise with the aid of
the diagrams included, or of a standard anatomical book, atlas and anatomical
casts, ^ven the rough accomplishment of this task will give a quite new
4
 MEDIUMS FOR PRELIMINARY STUDIES
conception of the road to competence in drawing, for the amount ot know-
ledge that is gained is surprising in proportion to the work involved, and the
possession and inevitable development of such knowledge renders work from
the model infinitely easier and more valuable.
It is difficult to advise generally on actual methods of drawing from
antique and life, or to lay down fixed rules without knowledge of the
peculiarities of students who them out.
are to carry There is danger, for in-
stance, in advising a whole body of workers to make their studies in pencil, as

it may well be a totally unsympathetic medium to some who would work

perfectly freely and successfully in chalk, charcoal, or brush. If a student
adopts one medium at the suggestion of a master, he may for ever fail to dis-

cover his best means of expression. The common-sense way is to work in

many mediums until one naturally selects that which gives best results.

Generally speaking, charcoal is best for large studies and pencil for small ones,
but the many exceptions make it dangerous to call this a rule.
The plates given here (plates I-VII) give examples of some methods of
preparing preliminary studies in most of the mediums that are in general use.
Mr. Walcot's supremely facile and decorative pencil study is an admirable
object lesson to students in direct and fearless use of simple line. Mr. Arthur
Mason's three chalk which have inevitably suffered in reduction, are
studies,

masterly drawings in a method that calls for searching and accurate drawing,
gives a very complete record of the model drawn from, and has much
to recommend it to both the painter and decorator. Puvis de Chavannes'
charcoal study is a typical painter's study for a figure to be used in a large
composition, and the use of charcoal on Michelet paper is an effective and
easily corrected method of rapid study that every student should try. The
•studies in oil and water colour by Harold Knight are quite large drawings,
and as records of figures for future use could hardly be more perfect in draw-
ing, lighting, or technique. Such studies are worth their weight in gold, in-

somuch as they give every item of information that is necessary in using them
afterwards ;
photographs are their only competitors in usefulness, and they, of
course, lack colour.
About the size to make early studies it is possible to be a little more
dogmatic, and exclude anything smaller than an imperial sheet will comfort-

5
 ADVICE TO THE BEGINNER
ably hold, for drawings other than anatomical notes and diagrams. One's
efforts should be concentrated from the first on understanding the pictorial

aspect of the figure in a large way, and it is much easier to detect faults
when working on a large scale. Life-size is not too large, but some pluck and
determination are needed to work on this scale in an ordinary art school. I

remember two students, now well known in the practical art world, who in-

sisted on working constantly in oils on canvas, full-life, or heroic size ; both

now work on quite a small scale, but their work is splendidly broad, free, and
certain in construction as a result of the splendid practice their doubly heroic
work afforded.
The chief objection to students working on a small scale is that drawing
is too easily slurred, and the danger of clever tricks intensified. Many bril-

liant young producers of effective sketches from life have mistaken the means
for the end, and lost themselves in admiration of their own achievement.
One of the pitfalls of the beginner in drawing the figure is the attempt
at finish of parts before understanding pose and construction, an error in pro-
cedure tfiat was encouraged by the reverence in official teachers for laboured

study from the antique as a preliminary to life-drawing.

The practice must have originated in the grand capacity that statues
have for keeping still, and the patient disposition of the last generation of
students, both factors in encouraging laziness in teaching. It was so easy to

start a student with some stumps on a large sheet of stretched Whatman

paper and come round once an evening for the next three, six, or twelve
months and make rude remarks about the depth of tone in the shading of

surfaces or the disposition of high lights.

This method of teaching is happily almost a thing of the past, as most
modern schools are staffed with men who suffered under the old system even
if they triumphed over it.

Professor Brown of the Slade was a pioneer of the saner teaching when
head of the old Westminster School of Art, and from some interesting com-
ments by D. S. McCoU on his appointment to the Slade School professorship,
the following is quoted :

" The business of a real teacher of drawing may be summed up in the

effort to make the beginner attend to the large fact first, the smaller next, and

6
 ADVICE TO THE BEGINNER
the smallest last. Supposing one has to draw the figure of a man standing
with outstretched arms : the main, the elementary fact in that figure, on
which all its action depends, is expressed by two lines crossing one another,
the line of the body and that of the arms. Note that angle correctly, hit the
characteristic swing of those two lines, and you have set up a scaffolding on
which all the smaller facts can be correctly hung, the smaller contours of the
single limbs, the still smaller contours of the several muscles and so forth.
But miss the elementary fact and no smaller fact can be rightly stated because
of this mistake.
" Now these largest facts that control all others are the last to be appre-
ciated by the beginner. He sees the flaw in the surface of the marble, but
he does not see the statue ; he sees the separate hairs, but not the head ; the
twigs but not the tree : surely it is a waste of time to allow him to state these

facts with which he is perfectly familiar, which he has no difficulty in stating,

and which he states with such insistence that the twig becomes more import-
ant than the tree, when he ought to be learning, ought to be encouraged and
urged by every device of teaching, to attend to the big things first and let the
small come in their order. Instead of that he is induced to sit worrying for

months over the texture of the 'Theseus' before he has seized the character
of its forms, and falls into the habit of this brainless industry, this pestilential
practice of a kind of graining, ugly in itself as well as futile.
" In place of this deplorable waste of time, the practice at the Westmin-
ster school was to allow the students to make a sufficient number of studies
from the antique, to familiarise him with his materials and give him some
control over his hand. These were made in charcoal on Michelet paper, so
as to be easily obliterated and recommenced, and were never allowed to pro-

.ceed when some radical point of drawing had been missed, that would in-

validate what followed. After this preliminary practice the student was sent
to the life-room, and drew from the living model in the same fashion. It is

probably a sound view that the antique will be better appreciated after study
from life, and it is a wholesome discipline in alertness of observation to draw
a form that is always insensibly altering in pose, and is only available for a
limited time."
The influence of the manner and matter of training on later work must
 KNOWLEDGE OF FORM
be great, and the absence of definite knowledge of any helpful facts in con-
nection with an occupation is liable to handicap efforts that would otherwise
succeed. However good a inan^s work becomes, there is generally the tan-
talising subconscious regret that if a little more knowledge had been acquired

it would be better. To keep this subconscious annoyance within bounds, it

is wise to thoroughly equip and arm oneself with all available information:

It can easily be filed in the brain tor future reference, and need never come
out, but it is extremely comforting to find it there if wanted.
For the figure draughtsman, painter, or sculptor a knowledge of form
is the essential preliminary to all adventures in execution, and form is con-
trolled by structure, a hard fact that renders futile much of the work executed
in schools where life-drawing is encouraged without anatomical training.
Students who merely draw on the principle of putting down what they see,

without understanding why, will perhaps get expert in indicating what they
see, but will find, sooner or later, that there is something missing in their
equipment as artists ; their figures do not hang together, because they are
only partially understood and shout painfully their need of structure.
Ruskin, now
somewhat discredited mentor on art matters, held the
a
opinion that a knowledge of human anatomy was not only unnecessary, but
positively harmful to the artist or sculptor, mentioning Albert Durer as an
artist whose knowledge of the structure of the figure was so thorough that it

obtruded detrimentally in his work : his interest in the facial bones, for in-

stance,making it impossible for him to draw a natural and living face.

The same view in the milder form that anatomical facts hamper the free
expression and rhythm of an artist's impressions, is held by many successful and
sincere art teachers to-day, and it may be quite right in the case of painters
of pictures, but for the man engaged in any of the applied arts it is clearly

necessary to have a working knowledge of anatomy and surface muscles if he

would draw the figure easily and with conviction.

The following notes, with plates IX, X, XI, XII, XIII, and XIV, from
students' drawings (kindly lent by prominent art schools) on some of which
the principal bones and muscles are named, will afford sufficient information
to enable students to make similar anatomical renderings of the photographic
poses, and the effort to do this will fix in the memory a fair working know-
8
 Plate I.

A Study in Charcoal'
on Micheler paper, by Pavis de Chavannes.
 Plate II.

A Study in Oil Colours

by Harold Knight, Nottingham School of Art.
 Plate III.

A Study in Oil Colours

by H. Ball, Nottingham School of Art.
 Plate IV.

1-4.

A Study in Pencil
by Arthur Mason, Birniinghain School of Art.
w
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 DESCRIPTION OF BONES
ledge of the bones and muscles that determine surface form in the figure, and
their behaviour in various positions and actions.

The basis of the human structure is the bony framework of the trunk,
lower limbs, upper limbs, neck and head shown in plates IX, XI, XIII, and XIV.
The trunk is kept erect by the vertebral column and its supporting
muscles the erectores spinae. The lower limbs are connected with the trunk
by the pelvic girdle which is united with the vertebral column by the sacrum,
a large wedge-shaped bone, built up by the union of the five lower vertebras,
and articulating with the innominatum or haunch bone, on the outer edge of
which is the acetabulum, or recess for the head of the thigh bone.
The bones forming the pelvic girdle are separate in childhood, but with
growth unite and form the haunch bones, one for each leg, united at the
back by an immovable joint to both sides of the sacrum, and further strength-
ened by the joint in front called the symphysis pubis. The bony basin
formed by these two haunch bones and their union with the sacrum is called
the pelvis, and supports the internal organs. The powerful muscles which
connect the pelvic girdle with the thigh bone have their attachments on the
outer edge of these haunch bones. The action of the pelvis is largely instru-
mental in determining pose.
The acetabulum is the deep, cup-shaped cavity which receives the head
of the femur or thigh bone, and forms the movable hip joint.

The femur is the longest bone in the body, and its peculiar neck-form
connecting it obliquely with the haunch bone, gives immense freedom of
movement compared with similar bones in animals, which are limited to
backward and forward action. The thigh bones, wide apart above, owing to
the width of the pelvis, slope inwards to proximity at the knees.
The two bones of the leg are immovably united, as movement would
weaken them in their task of supporting the body. The tibia or shin bone
alone enters into the formation of the knee joint, offering a broadened surface
for the articular surfaces or condoyles of the thigh bone. The lower leg
muscles are attached to the fibula or supporting bone.
The muscles of the calf are attached to the heel bone or os calcis, and
the bones of the fore part of the foot form arches that protect the sole from
undue pressure and give spring to the movements of the foot. The bones

9
 DESCRIPTION OF BONES

of the toes are short in comparison to the corresponding bones of the fingers,
and the big toes have no power of separation equivalent to the thumbs.
The shoulder girdle consists of a collar bone or clavicle and a shoulder
blade or scapula on either side, joined in such a way that a limited movement
is possible, though the girdle is connected with the skeleton of the trunk by
one joint on each side, between the upper end of the breast bone or sternum
and the inner extremity of the collar bone.

The shoulder blade is only connected indirectly with the trunk through
its articulation with the collar bone, though the blade bone is attached by
numerous muscles to the chest wall.

The shoulder girdle is articulated with the bone of the upper arm and
plays an important part in giving freedom of movement to the limb.

The upper extremity of the humerus or upper-arm bone joins the

shoulder girdle by means of a small and shallow socket on the shoulder blade,
in which its large rounded head partially rests, surrounded by ligaments or
fibrous bands which are lax and only slightly limit the possible range of
movement, giving the joint great freedom but rendering it comparatively
weak and easily dislocated in comparison to the more deeply inserted femur,
which has greater strength, but a much more limited range of action.
The forearm has two bones, jointed in such a way that they work
freely one upon the other in certain definite ways, called pronation and
supination, the movements being effected by the rotation of the outer bone,
or radius, over the inner, or ulna.
The head rests on the topmost cervical vertebra, called the atlas, from
its function in supporting the globe-shaped head ; the condoyle of the oc-
cipital bone resting on its two articular surfaces, and rocking to produce the
action of nodding. The atlas is a ring-shaped bone acting on the axis verte-
bra immediately beneath it.

The skull consists of two portions, one, the cranial box or calvaria, en-
closing the brain, and the other, the skeleton of the face, supporting and
protecting the lower features. All the bones forming these are immovably
united with the exception of the mandible or lower jaw which articulates by
a movable joint with a hollow fossa on the under part of the temporal bone.
The under surface of the cranial box, which consists of spread plates

lO
 BONES CONTROLLING FORM OF THE FACE
of bone forming a dome-shaped roof, is called the base of the skull, and in

front unites with the facial bones, the back being rough and irregular, with
many holes. It affords attachments for many muscles controlling the move-
ments of the head.
The bones of the cranial vault are the frontal, forming the forehead,
two parietals, one on each side, and the occipital, forming the back of the
head. The portion round the ear is made up of the temporal bone, and a
portion ot the sphenoid fills the gap between the temporal bone at the back
and the frontal bone on either side.

The most important bones controlling the form of the face are the
malar or cheek bones, forming the outline of the orbits on the outer and
lower side, and lying between the outer portion ot frontal bone above and
the bones of the upper jaw below. They control the prominence of the
cheeks, and at the back can be felt to be supported by an arch of bone called
the zygomatic arch, having underneath it a hollow called the temporal fossa,

extending upwards on either side of the head, in which is lodged the tem-
poral muscle controlling the lower jaw.
The lower jaw is divided in two laterally, united in the middle line in
front, each half consisting of three parts, l^he body of the jaw, being that
part which forms the arch supporting the lower teeth, its front determining
the angle of the chin, and the length of its lower border finishing at a point

a little short of the ear, where it turns upward forming the angle^ and its con-
tinuation above the ramus.
The bony framework, though important in influencing structure and
pose, only directly controls surface form in those tiny portions of the body
not covered by the muscles which control its movements and largely determine
•the beauty of its outward form.
A muscle generally passes from an attachment to one bone to an attach-
ment to another, the actual connection being a short or long tendon, but there
are exceptions in which they attach to ligaments, tendinous sheaths, or similar
non-bony parts.

The muscles closing the mouth and eyes are circular, and called orbi-
cularis oris and orbicularis palpebrarum respectively ; the former being the
centre for most of the other muscles of the face, the latter connected only
II
 MUSCLES OF THE FACE
with two unimportant muscles, the pyramidalis nasi concerned with wrink-
ling the skin of the nose, and the occipito-frontalis, an upward extension of
the first, concerned with wrinkling the forehead.
The orbicularis oris, only slightly connected with the jaw bones, made is

up of fibres which, passing from side to side, turn upwards and downwards at
the angles of the mouth. The muscle blends at its outer border with the
elevators and depressors of the lips and angles ; and with the cheek muscles
also closes the mouth, brings the lips together, narrows the mouth, and causes
the lips to protrude.
There are two elevators of the upper lip, the levator labii superioris et
alae nasi, the fibres of which pass to the lips and blend with the orbicularis at

the sides of the wings of the nostrils, and the levator labii superioris proprius,
or special elevator of the upper lip, arising from the upper jaw bone in front,

close to the lower edge of the orbit and inserted in the tissues of the upper lip.

The levator anguli oris and zygomaticus major and minor are elevators
of the angles of the mouth, the levator anguli oris is attached to the front of
the upper jaw bone under cover of the levator labii superioris proprius, and
passing downwards and outwards is inserted in the upper border and outer side

of the angle of the mouth. The zygomatic!, two muscular slips arising from
the outer surface of the cheek bone, are also inserted in the angles of the mouth,
which they draw upwards and outwards in smiling. .

The depressors of the mouth angles are the depressor anguli oris, and
the fibres of the platysma towards the angle. The former arises near the
lower border of the lower jaw, on either side of the centre. It is triangular

and attached by its pointed extremity to the tissues of the mouth angle on its

lower side. The platysma myoides passes up from the neck to its connection
with the muscles of the lower lip, while certain of its fibres, grouped under the
name of the risorius muscle, arise from the cheek fascia in front ot the ear
and are attached to the skin at the angles of the mouth, which they widen.
The lower lip is depressed by the depressor labii inferioris, which arises

beneath the depressor anguli oris in front of the lower jaw. Square and
therefore sometimes known as the quadratus menti, it passes upwards to its

insertion in the tissues of the lip, blending with the orbicularis oris, and assisted

in its action by fibres of the platysma.

12
 MUSCLES OF THE NECK
The levator menti, a small muscle arising from
jaw below the teeth, runs downwards and forwards,'

serted in the skin of the chin. It raises the chin and controtsr^^itri'ower

The action ot the cheek muscles in laughing and crying cause a deep
furrow between the cheek and the nose wing, which sweeps downwards and
outwards round the mouth, and fades at the mouth angle.

The ramus supports two processes, the condoyle at the back articulates
with the temporal bone in front of the ear, and is separated by the coronoid
notch from the 'coronoid process lying in front of it. When the jaws are
closed this process passes underneath the zygomatic arch and forms the inser-
tion for the temporal muscle.
Covering the ramus of the jaw and concealing its outline is a powerful

muscle called the masseter, rising from a fixed attachment to the side of the

skull and acting with the temporal in elevating the inferior maxilla and so
closing the jaw and controlling mastication.
The most important muscle influencing the drawing of the neck is the
sterno mastoid, which has two origins, the interior from the anterior surface of
the breast bone by a thick tendon and other fibres from the inner third of the
collar bone. The solid mass of muscle formed by the union of these two at-

tachments passes upwards and backwards to the base of the skull immediately
behind the ear, where it is attached to a rounded blunt formation of bone
called the mastoid process ot the temporal bone.
The sterno mastoid passes obliquely across the side ot the neck, dividing

it into two triangles, the anterior, in front and above, the posterior, behind

and below. The V formed by the divergence of the two sterno mastoids,
'from their origins in, the breast bone, is the surface hollow known as the pit

of the neck. Sharply defined in the male, it is in the female softer and more
rounded. Above this depression, in the interval between the sterno mastoids,
above the hyoid bone and below the border of the lower jaw, are the muscles
controlling the tongue and floor of the mouth, the blood vessels and the sali-

vary glands ; one of the latter fills the interval between the ear and angle of
jaw. Under cover of this angle is another gland, giving fullness to the sur-
face as it passes inwards and downwards to the hyoid bone.
 MUSCLES OF THE BACK
Behind and below the sterno mastoid are the superior fibres of the tra-

pezius, the muscle arising above from the base of the skull close to the middle
line behind, and passing downwards, outwards, and forwards, is inserted in the

outer third of the top edge of the collar bone. The space between the tra-
pezius and the sterno mastoid constitutes the posterior triangle of the neck,
which in muscular men and thin women shows very clearly. The neck has
one prominent vein influencing surface form, the external jugular, which oc-
curs at the side, running irom the angle of the jaw to a point above the collar
bone, just outside the origin of the sterno mastoid.
The trapezius is named from the four-sided figure formed by the sides
of the muscle, and is comparable to a tippet hung over the shoulders down
to the spine of the last thoracic vertebra. Its inferior parts are attached to

the top of the spine of the seventh neck vertebra and to the spines of all the
thoracic vertebras and to ligaments connecting them. Spreading from this
extensive attachment the fibres are inserted into the outer third of the posterior
border of the collar bone in front, and the entire upper border of the acromion
process and spine of the shoulder blade at the side and back. The method of
insertion involves much alteration in the direction of the parts of the muscle ;

thus the fibres arising from the occiput and neck pass downwards, outwards,
and forwards to the collar bone and acromion, and those springing from the
lower thoracic spines ascend and incline outwards to the root ot the spine of

the shoulder blade.

The rounded form of the back on either side of the middle line is not
due to -the trapezius, which is here only a thin layer, but is caused by the
fullness ot the underlying erectores spins group.
There are three muscles beneath the trapezius attached to the inner
border of the blade bone — the two rhomboids and the elevator of the angle
of the scapula. Considering them as one whole muscle, it is attached along
the middle line up to the lower half of the median ligament of the neck,
passesdownwards and connects with the spine of the seventh neck vertebra.
These muscles exercise some influence on the surface, accentuating the relief
ot the trapezius which covers them. The elevation of the angle of the
scapula (levator anguli scapulas) arises from the transverse processes of the
higher neck vertebras, and is inserted into the inner border of the blade bone

14
 MUSCLES OF THE TRUNK

above the level of the spine. Although covered by the trapezius, it assists in

giving a rounded form to the neck.

The broad serratus magnus muscle arises by fleshy strips from the outer
surface of the eight upper ribs. The fibres from the lowest five or six slips

of origin converge fan-v^ise to be inserted in the lower angle of the inner

border of the blade bone, forming a fleshy prominence, which, though not
superficial, influences surface form, its covering muscle being thin. The
lower and anterior portion of the serratus magnus is superficial, and directly
influences form ; it comprises the four slips which arise from the surfaces of

the fifth, sixth, seventh, and eighth ribs, fleshy, pointed processes called digi-
tations, which interlock with similar slips of origin of the external oblique
abdominal muscle.
The pectoralis minor has its origin in the front of the chest wall, under
the great pectoral, its fibres arising from the third, fourth, and fifth ribs, and
passing upwards and outwards are inserted by a tendon into the caracoid pro-
cess of the shoulder blade.

There are two important muscles arising from the trunk and passing to

their attachments in the bone of the upper arm, the latissimus dorsi or broad

muscle of the back, and the pectoralis major or great muscle of the breast.

The former has an extensive origin from the lower six thoracic spines and the
spines of the lumbar and sacral vertebrae, also from the posterior end of the
crest of the haunch bone, the origin forming a fibrous layer constituting the

posterior layer of the lumbar aponeurosis. At its origin from the lower six

thoracic spines it is overlapped by the trapezius, and in turn it overlies the

erector spinae. The full attachment of the muscle to the aponeurosis is shown
by a curved line drawn from the upper part of the muscles attachment near
the middle line, to its inferior attachment to the iliac crest. From this at-

tachment the fibres converge towards the posterior fold of the arm-pit, become
thick and influence the roundness of that fold, then pass forwards to their in-
sertion in the upper part of the humerus. The upper fibres of the muscle
pass horizontally outside across the back, over the inferior angle of the blade
bone. The lower fibres and those from the last three ribs pass upwards, cor-
responding in direction to the outline of the upper arm when the limb is

hanging:.

15
 MUSCLES OF THE SHOULDER
The pectoralis major, or great muscle of the breast, arises from the
anterior border of the inner half of the collar bone, its fibres converge in pass-

ing to the upper arm, the highest passing downwards and outward in front of
the lowest, which pass upwards and outwards. Those springing from the
breast bone lie horizontally when the limb hangs. The passing of the lower
behind the upper fibres in passing from the chest to the arm increases the

thickness of the fleshy fold at the hollow of the arm-pit in front, the muscle
narrowing, and being inserted by a flat tendon in the outer lip of the occi-
pital groove of the humerus, under the deltoid. The which spring
fibres

from the breast bone and ribs form a triangle, the apex of which overlies
the front of the upper arm, its base corresponding to the surface on both
sides of the centre of the breast bone. The prominence formed by these fibres
causes the median furrow, the lower line corresponding to the breast bone.
The muscle when well developed conceals the framework of the thoracic
wall, but the ribs and cartilages may be observed beneath it in poorly developed

figures.

Of another group of muscles having their insertion in the humerus, the

deltoid or great triangular shoulder muscle, which raises the arm, is the
principal. It arises from both bones of the shoulder girdle, from the anterior
surface of the collar bone in front, above the shoulder from the point and
outer margin of the acromion process of the shoulder blade, and behind from
the whole length of the lower border of the spine of the scapula, its whole
origin corresponding with the insertion of the trapezius, of which it may be
considered a continuation downwards to the arm, after interruption by the
bones of the shoulder girdle. The remaining muscles of this group are the
infra spinatus, arising from the back of the blade bone below the spine, the

teres minor arising from attachments along the external border of the blade
bone (both of which are inserted in the great tuberosity of the humerus) and
the teres major arising from the posterior surface of the lower angle of the
blade bone, its fibres running parallel to those of the teres minor, but attached
in front of the humerus by insertion into the bicipital groove.
The abdominal wall consists of a number of ensheathino: muscles attached
by their edges to its boundaries. Connected with the lumbar vertebrae are
sheets of condensed tissue called aponeuroses, springing from the spines and

i6
 Plate VI.

:*

i'5!tr'

A Study in Pencil
by Arthur Mason, BirnjiugJiaiit School of Art.
 Plate VII.

A Study in Pencil and Wash on Tinted Paper

by W. Walcot.
 Plate VIII.

A Study from the Antique

It is probably a sound view that the antique will be better appreciated.
AFTER study from life.
 Plate IX.

^Cro/n ion.
process Bl
Cor<5CO/cL ,-''J\
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;X' --^XT^ern^r Cunsilorm

\ A^ebfc/nu9-:'^
Vf)a/angeS (fo e yo m. 7r J
.

A Study of the Skeleton

by John Watkins, St. Martin's School of Art, London.
 Plate X.

.-T'Z' 'f neckj)

^ '
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A Study of the Muscles of the Body

by John Watkins, St. Martin's School of Art, London.
 Plate XL

OemhoraJ Bone
IfhrKPfdl Bone I . frontal Bone
ZjCjomatic Arch
Occrpitdl Bone i
_^ ^
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,, /YlandibJe
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Dorsal Verltbri

J^umerus

ANATOMIZED
FROM UFE =1

A Study of Back View of the Skeleton

by Eugenie Richards, NottingJiani School of Art.
 Plate XII.

Sprne
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ofscapu/a.

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jrtn<ir ^te^

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Fxfernaf annular J/aamen^

A Study of the Muscles of the Body

hy Eugenie Richards, Nottingham School of Art.
 Plate XTTI.

^L \^
>^

.^:^'
5^ .^^
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/if

Studies of the Skeleton and Muscles

hy Ethel Marsh, Maidstone School of Art.
 Plate XIV.

' /
/
I — —-^

Studies of Muscles and Skeleton

hy R. F. Wilson, Nottingham School of Art.
 THE BUTTOCK MUSCLE
processes, and enclosing the erectores spin^e in a fibrous sheath. In these
aponeuroses certain muscles ot the flank originate ; their fleshy fibres forming
three muscular layers, the external oblique, the internal oblique, and the
transversalis, which reach a short way forwards on to the abdominal wall and
are there again replaced by aponeuroses. The aponeurosis of the intermediate
muscle divides on approaching the middle line, and unites in front and behind
with the aponeuroses of the inner and outer muscle respectively, enclosing the
longitudinal fibres of the straight or rectus muscle at the side of the linea alba,
the fibrous cord formed by the fusion of the aponeuroses of the flank muscles
in the middle line.

Stretching from the higher level of the superior spine of the ilium to the
pubic spine there exists a band of fibrous tissue called Poupart's ligament,
formed by the lower fibres of the sheet-like tendon of an abdominal muscle.
The convexity of the curve between its points of attachment is directed
downward, corresponding to the furrow separating the lower abdominal region
from the front of the thigh.
The ilio femoral ligament is important in preventing excessive backward
extension of the thigh on the trunk ; it is attached to a part ot the ilium im-
mediately above the acetabulum, spreads fan-wise and is united with the thigh
bone below along a rough line called the spiral line.

The gluteus maximus, or buttock muscle, has an extensive origin from

the posterior fourth of the iliac crest, from the aponeurosis of the erector
spinas muscle, from the side of the lower part of the sacrum, from the side of

the coccyx, and from the surface of a ligament stretching from the sacrum to
the ischium, the great sacro sciatic ligament. The fibres of the upper halt of
the muscle, and the superficial fibres of the lower half are inserted by an
aponeurosis into the fascia running down the outer side of the thigh. The
rest of the fibres of the lower half are attached by a flattened tendon to a
rough ridge on the back of the thigh bone, called the gluteal ridge. The
gluteus maximus is superficial, and its outline masked by an outer layer ot
tat. In the female this layer is much thicker than in the male, and the
gluteal fold is more strongly marked in consequence, and transversely ot
greater length, while the overhang of the gluteal projection is more pronounced.
The tensor fasciae femoris is the muscle separating the buttock region

17
"2
 MUSCLES OF THE THIGH
from the anterior aspect of the thigh, its origin is tendinous from the anterior
extremity of the ihac crest ;
going downwards and backwards towards the
trochanter, it reaches about three inches below it and blends with the fascia,

forming a band along the outer side of the thigh.

The gluteus medius is another fan-shaped muscle, its superior attachment

spreading over the outer surface of the iliac expansion of the haunch bone,
and its fibres gathered inferiorly into a flattened tendon inserted into a line
running obliquely downward and forward on the outer surface of the tro-
chanter ; it is a powerful abductor of the thigh.
The thigh muscles in tront are known as the extensor group, those at
the back the flexor group. The extensors are four in number, the crureus,
with the internal and external vasti on either side, and the rectus femoris
superficial to the others, arising by tendons from the iliac portion of the
haunch bone. All are inserted into the patella, and act as powerful exten-
sors of the knee, in straightening the leg.

The sartorius, the longest muscle in the body, originates above from the
anterior superior iliac spine and bone immediately below, passes obliquely
across the front of the upper part of the thigh to the middle of the inner side,

passes down and behind the most prominent part of the internal condoyle of
the thigh bone and along the inner side of the knee, and becomes below a
thin expanded tendon turning forward under the inner tuberosity of the tibia,
inserted into the subcutaneous surface of that bone close to the front tubercle.
Its action is to flex the knee and hip joints.
Above and to the inner side of the sartorius lie the adductor muscles,
stretching from the front of the pelvis to the upper part of the thigh bone,
they assist in forming the base of the depression immediately below the groin,
called the hollow of the thigh.
The adductor group includes the gracilis, which draws the knees to-
gether from the outspread position, arising by a thin tendon from the bone,
close to and parallel with the symphysis pubis ; in direction it coincides with
the upper and inner aspect of the thigh in profile from the front. It curves
forward below the internal tuberosity of the tibia, and is inserted under the
sartorius into the inner aspect of the upper portion shaft of the tibia.

The flexor group consists of the hamstring muscles on the back of the
18
 MUSCLES OF THE LEG
thigh, comprising the biceps of the thigh, the semi-tendinosus, and the semi-
membranosus, all originating trom the tuberosity of the ischium and inserted
in the leg bones, two into the tibia or inner bone, and the other into the
fibula or outer bone.

The muscles of the front of the leg are the tibialis anticus, the extensor
proprius hallucis, the extensor longus digitorum, and the peroneus tertius,

which arise partly from the tibia, partly from the fibula, and from the mem-
brane connecting the two bones which separates the front muscles of the leg
from those which lie at the back. The tibialis anticus is the innermost of
the group, and lies along the outer side of the tibia, arising from the upper
two-thirds of it and its external tuberosity ; it is inserted into the inner sur-
face of the internal cuneiform bone and the base of the metatarsal bone.
The long extensor of the toes arises from the external tuberosity of the tibia

in front of the point of its articulation with the head of the fibula, from the
head of the fibula, from the anterior surface of the fibula, and from the ad-
jacent surface of the interosseus miembrane. Those fibres which arise from
the front of the fibula unite in front in a tendon which passes down the an-
terior edge of the muscle in the lower leg. Under the anterior annular liga-
ment it divides into four slips, which pass to the upper or dorsal surface of
the four outer toes, forming expansions which have insertions into the bases
of the second and third phalanges of these toes. The fibres from the lower
quarter of the anterior surface of the fibula form a small slip called the
peroneus tertius, which passes by a tendinous insertion into the dorsal sur-
face of the metatarsal bone of the little toe. The great toe has a special ex-
tensor arising from the middle three-fifths of the anterior surface of the shaft

of the fibula, and from the adjacent surface of the interosseus membrane.
Of the peroneal muscles two lie on the outer side of the long extensor of

the toes. These are the peroneus brevis, arising from the lower two-thirds of
the external surface of the fibula below the peroneus longus, and attached to
the fifth metatarsal bone, and the peroneus longus, arising from the head and
upper half of outer surface of fibula attached to the under side of metatarsal
of great toe. Both act as extensors of the foot, and assisting the peroneus
tertius in raising the outer border of the foot, turning the sole outwards.
The superficial muscles constituting the prominence of the calf at back
19
 MUSCLES OF THE ARM
are the soleus and the gastrocnemius. The soleus is the deeper ; it arises from
the head and upper fourth of tibia and fibula and is inserted at the back of

the OS calcis. The gastrocnemius rests upon the soleus and has no attachment
to the leg bones by two heads from the back of the thigh bones,
; it arises

above the condoyles, and is inserted by the tendo AchiUis into the back of the
OS calcis. Both muscles are extensors of the ankle.
The tendo Achillis, the combined tendon of the soleus and gastrocnemius,
occupies the lower half of the back of the leg, receiving the fibres of the gas-
trocnemius in its upper surface, and those of the soleus on either side as they
approach the middle line of the calf
The important surface muscles of the foot are (i) the abductor pollicis
pedis, which fills the hollow under the internal ankle, passing from the os
calcis to the base of the first phalanx of the great toe ; (2) the lower part of
the tendons of the extensor brevis digitorum, which arises under the external
ankle and connects with the toe bases of the great and next three toes, con-
necting with the tendons of the long extensor.
The drawing of the arm is extremely important and should be specially
studied, as this limb is more often exposed than any part of the body in illus-

tration. The most important muscle is the triceps, which covers the entire

back part of the upper arm, its function being the extension of the forearm.
It is attached to the olecranon process of the ulna and to the scapula, the latter
attachment giving it power to draw the arm towards and behind the trunk.
In repose it is almost imperceptible, but is evident in violent action.
The brachialis anticus is attached to the lower anterior surface of the
humerus, below the coronoid process, and separates the biceps and triceps.

The coraco brachialis is attached to the apex of the coronoid process of the
scapula, and the inner side of the middle of the humerus, anterior surface ; it

is a proper adductor of the arm, and occupies a position between the biceps
and triceps above the brachialis anticus. The biceps cubiti has attachments,
one above the glenoid cavity and another on its apex of corocoid process of
scapula, also by a tendon to the back of bicipital tuberosity of the radius
this tendon spreads over the fascia of the flexor muscles of the forearm.
Three muscles previously dealt with, the teres major, latissimus dorsi, and
pectoralis major, have much influence on the drawing ot the upper arm — the
20
 MUSCLES OF THE ARM
teres major coming from the back of the scapula, the dorsal from the iliac

crest, and the pectoral from the chest wall, are all inserted in the humerus
about the bicipital groove.
The two groups of muscles of the forearm operate on the wrists and
hands as flexors and extensors. The supinator radii longus is the chief
muscle of the extensor group ; its attachments are to the upper part of the
epicondyloid ridge of the humerus and base of the styloid process of radius.
Others are : —The extensor carpi radialis longoir, attached to the lower part of
ridge of the humerus and base of the metacarpal bone of the first finger ; the
extensor carpi radialis brevoir, attached to the external condoyle of humerus,
and the metacarpal bone of second finger ; the extensors pollicis, from back of
ulna and radius respectively to bases oi three bones of the thumb ; the extensor
communis digitorum from external condoyle of humerus by four tendons to
the last two bones of the fingers the extensor minimi digiti by tendon to the
;

external condoyle, thence to base of last two bones of little finger the extensor ;

carpi ulnaris from external condoyle to back of base of fifth metacarpal bone
the anconeus from back of external condoyle to outer side of ulna.
The flexor or front group consists of the pronator radii teres from the
inner condoyle ridge to middle of outer side of the radius, the flexor carpi
radialis from inner condoyle to base of second metacarpal bone, the palmari

longus from inner condoyle to fascia of palm, and the flexor digitorum sublimis
from inner condoyle to sides of second phalanges of fingers.

The arms are capable of being turned round in the actions of pronation

and supination, two movements enabling the hand to rotate through an arc of
half a circle, bringing either the palm or knuckles upwards. The forearm
has nineteen muscles, four concerned with the movements of pronation and
supination, nine with' the thumb and fingers, and six with the wrist. One
of the most important wrist muscles is the flexor carpi ulnaris as it influences
form by giving the sharp line beneath the wrist on outer side of forearm.
The muscular formation of the wrist and back of hand is shown in the diagram,
plate XII. The fingers have no muscles, giving attachments only to the
tendons of their controlling muscles in the arm and hand. The form of the
fingers is due to the fat and fascia beneath the skin, hence the bony appearance
of the hand in emaciated persons.
21
 BOOKS ON ANATOMY
For the study of the musculation of the arm and hand I advise students
to get plaster casts in prone and supine positions for reference, and trace the
various attachments and movements of muscles from them and the living arm,
until so thoroughly conversant with the formation that it becomes a simple
matter to anatomise yro>^ memory the many photographic records of arms and
hands here given.
In closing these remarks I cherish the fond hope that the notes on
anatomy will by their very brevity induce students to assimilate and apply
them thoroughly in connection with the photographs, and thus aid them to

acquire the rudiments of power in expressing the figure, and peradventure the
useful desire to pursue the subject further with the aid of such valuable
text-books as Thompson's " Anatomy for Art Students," Hatton's " Figure
Drawing," Vanderpoel's " The Human Figure," or other books dealing
exhaustively with its many phases.

22
 DESCRIPTIVE LIST OF PLATES.
Frontispiece, MODEL No. 4, is an exquisite contemplative pose, the body entirely at
rest, and consequently greatly fore-shortened in com-
parison with an erect position.
PLATE
I, A study in charcoal on Michelet paper, by Puvis de Chavannes.
II, A study in oil colours by Harold Knight, Nottingham School of Art.

III, A study in oil colours by H. Ball, Nottingham School of Art.

IV, A study in pencil by Arthur Mason, Birmingham School of Art.

V, A study in pencil by Arthur Mason, Birmingham School of Art.

VI, A study in pencil by Arthur Mason, Birmingham School of Art.

VII, A study in pencil and wash on tinted paper, by W. W^alcot.

VIII, A study from the antique.

IX, A study of the skeleton, by John Watkins, St. Martin's School of Art,
London,

X, A study of the muscles of the body, by John Watkins, St. Martin's

School of Art, London.

XI, A study of back view of the skeleton, by Miss Eugenie Richards,

Nottingham School of Art.
XII, A study of muscles of the body, by Miss Eugenie Richards, Notting-
ham School of Art.

XIII, Studies of the skeleton and muscles, by Miss Ethel Marsh, Maidstone
School of Art.

XIV, Studies of the muscles and skeleton, by R. F. Wilson, Nottingham School

of Art.

XV, Model No. i, A charming decorative pose, showing arrested move-

ment and balance in an excellent silhouette of a figure
from the side. The composition of line is unusually
interesting, the whole weight of figure is on the right
leg, the other touching the ground with toes alone.

23
 DESCRIPTIVE LIST OF PLATES
PLATE
XVI, Model No. i, A pose useful for the allegorical representation of
crafts or music, the hands in such positions that
emblems can be placed in them.
XVII, Model No. 2, A child of fifteen in a pose that shows well the effect

when the main weight is on left leg.

Model No. 3, A position showing effect of three supports, used simul-

taneously.

XVIII, Model No. 3, standing with the torso bent slightly forward showing
the anatomy of the neck and shoulders. A useful
classic pose that should drape well.
XIX, Model No. 4, A superlatively useful pose for the study of anatomy,
and composition of line. Note the marked contrast
of subtlety and strong definition in the two sides of

the figure.

XX, Model No. 3, is a caryatid pose, the weight evenly distributed on

both feet, the torso slightly twisted.

XXI, Models Nos. i and 3, are two arabesques of extremely graceful lines,

useful as anatomical studies. The first is poised on

both feet, the other stands on the right leg.

XXII, Model No. i, arrested movement, a pose of lovely contrasting lines,

useful pictorially for a carrying pose and decoratively

as a supporting figure in design.

XXIII, Model No. i, is an arabesque dancing figure, perfect as a composition

in itself and useful in showing various movements of
the limbs, and the graceful taper of the arms.

XXIV, Model No. 5, A muscular female figure in pose that shows well the
slope of the body above the waist when the arms are
lifted to support an object above the head.
Model No. 3, is a pose indicating Sorrow. The shoulder muscles well
shown.
XXV and XXVI, MODEL No. i, back views of poses that are lovely in line.
The former useful pictorially as Charity or Contem-
plation, the latter a Hairdressing or purely decorative
pose. The comparative anatomy of the torso in the
two poses is an interesting study.

24
 DESCRIPTIVE LIST OF PLATES
PLATE
XXVII, Model No. 3, A vigorous pose that shows the same effect as in
Model 5, Plate XXIV, but from a different point of
view.

XXVIII, Model No. 3, A useful decorative pose, showing the effect of the use
of the left arm as a support in resting on a high seat.

XXIX, Model No. 3, A decorative pose with much variety of movement that
makes it interesting as an anatomical basis.

XXX, Model No. 3, putting on sandals, a useful decorative pose giving the
foreshortening of many parts of the body.

XXXI, Model No. i, A decorative pose of beautifully flowing lines, radiating

from the hands clasping the right knee.
XXXII, Model No. 3, A contemplative or reading pose of simple flowing
lines, the left arm and hand is particularly graceful.

XXXIII, Model No. i, A decorative or "announcement" pose of great ana-

tomical possibilities.

XXXIV, Model No. i, Vanity, a pose of infinite usefulness, pictorially, decora-

tively, and anatomically.
XXXV, Model No. 3, is a sitting pose, the right arm resting on corner of
chair back and the left on corner of seat, giving a
double thrust upwards to the shoulders. The left

foot is resting on two levels.

XXXVI, Model No. 3, A decorative pose of sharp contrasts in direction of

line that is very effective, A difficult and useful
anatomical exercise.

XXXVII, Model No. 5, contemplative. Reading or bathing pose of simple

definite lines.

Model No. i, is a pose expressing sorrow or regret.

XXXVIII, Model No. i, A wonderful pose expressive of hope and vitality.

The foreshortening is extremely well caught, and an

anatomical rendering of the pose is an interesting task.

XXXIX and XL, MODEL No. 3, are two decorative kneeling poses, complement-
ary to each other, and useful for sculpture or church
decoration work.

25 2* •
 DESCRIPTIVE LIST OF PLATES
PLATE
XLI, Model No. i, is a beautiful side view of a sacrificial pose, giving the

figure in very true proportion for anatomical study.

XLII, MODEL No. 3, A pose of exaltation or entreaty, well caught by the

photograph, and useful both pictorially and in de-

coration.

XLIII, Model No. i, Two poses of pictorial interest, the former remarkable
for its simplicity of line, the latter useful for its sense

of poised and graceful arrested action in kneeling.

XLIV, Model No. 4, A pose that shows usefully the poise of head and neck
and soft contours of shoulders in female.

Model No. 3, An interesting decorative pose in which the upper arms

and lower legs make a straight line. Anatomically
an extremely useful exercise.

XLV, Model No. i, A contemplative or reading pose of pronounced de-

corative quality.

Model No. 3, A combined action of kneeling and stretching with

body half turned.
XLVI, Model No. 5,
" Waking," a beautiful recumbent pose, with useful de-
tail in the foreshortening of the right arm and thighs,
and the finely modelled left arm and shoulder. A
painter's or modeller's subject, and an interesting ana-
tomical study,

XLVII, Model No. 5, is a useful decorative pose, interesting in the turn of

the upper part of torso supported by right arm. The
pose is a development of that photographed in Plate

XXXIII.
XLVIII, Model No. 3, Two recumbent poses that give a vivid idea of the
difficulty of drawing such unless the anatomy is

thoroughly understood.
Model No. 5, the shoulder muscles in the upper and the chest and
abdominal muscles in the lower are plainly marked,
and both are valuable anatomical subjects.

XLIX, Model No. i , is a study in flowing lines, useful for decorative work.
The left forearm and hand is beautifully shown in

foreshortening.
26
 DESCRIPTIVE LIST OF PLATES
PLATE
L, Models Nos. 6 and 7, a group showing a charming caryatid pose in

the little boy of five, and a useful and unusual con-

templative pose of a woman holding one object and
looking at another.

LI, Ditto, Ditto, In an exquisite combination of line that offers sug-

gestion to the sculptor and decorator, and is anato-
mically interesting owing to the curved thrusts of the
whole body line in both models.

LII, Ditto, Ditto, In a decorative group that suggests sculpture.

LIII, Model No. 8, A fine study of a well-developed male of twenty-four,

in which the anatomy of the torso is evident.

LIV, Model No. 9, A beautifully balanced figure of a man with catapult

with the muscles of the back and arm finely shown.

LV, Model No. 10, An unusually beautiful pose of an athlete stretching

forward on the right leg and thrusting both arms out
and back.

LVI, Model No. 10, A throwing pose in which the arms make an interest-

ing decorative line.

LVII, Model No. 9, A fine anatomical study of a man pulling up a length

of rope.

LVIII, Model No. 10, i. The aspect of a body completely opposed to the
direction of the legs. 2. A development of the pose
ill Plate XLII. "The Vision."

LIX, Model No. 10, is a man striking, harpooning, leaning on a staff, or

bending to look over a precipice. The various fore-
shortenings make a useful anatomical exercise.

/Various poses of young men, or poses that are useful as

T X MODFI N 8
anatomical studies. The first photograph on Plate
LXI, Model No. 8

LXII, MODELNo. II
LX and those on Plates LXI and LXIII are
excellent line compositions, giving some decorative
Model No. 8
suggestions in addition to their value as subjects to
LXIII, Model No. 8
anatomise.

LXIV, LXV, LXIX, Models Nos. 8 and 12, are decorative studies of brothers
at play.

27
 DESCRIPTIVE LIST OF PLATES
PLATE
LXVI, Model No. 8, Two poses from the same model. The upper indica-
tive of grief or weariness, the lower an athlete com-
mencing to run, both giving useful opportunities for
anatomical study.

LXVII, Model No. 12, is a boy of twelve climbing on to a sofa, an unusually

interesting study of arrested movement.
LXVIII, Models Nos. 8 and II, are two decorative studies of young men in

which the anatomy is well shown, and which suggest

sculpture.

LXX, Model No. 10, A beautiful semi-recumbent pose, useful for the de-
corator, sculptor, or painter. The uplifted arm is

finely shown, and the flowing lines of the body and

legs suggest development of the underlying muscles
that should be an interesting study.

LXXI, Model No. 8 (left) A young man picking up a stick, beautiful as a com-
position and plainly showing the muscular develop-
ment.

Model No. i 2 (right) A boy playing on a pipe — a young faun.

. LXXII, LXXIII, LXXIV, Model No. 12, Various studies of a boy looking up,
listening, warning, lifting and stretching.

LXXV, Model No. 6, Two poses of a boy aged five years,

LXXVI, Model No. 8, A Greek study of an artist looking at a piece of craft

work, monumental in its dignity, and a splendid sub-
ject for an anatomical study.

LXXVII, Model No. h, is a man with a catapult: a vigorous standing pose,

and a good straightforward anatomical subject with
the knee bones and thoracic muscles plainly marked.

28
 Plate XV.

Model No. 1.
 Plate XVI.

Model No. 1.
 Plate XVII.

Model No. 2. Model No. 3.

 Plate XVIII.

Model No. 3.
 Pl,AlE XIX.

Model No. 4.
 Plate XX.

Model No. 3.
 Plate XXI.

Model No. 1. Model No. 3.

 Plate XXII.

Model No. 1,
 Plate XXTII.

Model No. 1.
 Plate XXIV.

Model No. 5. Model No. 3.

 Plate XXV.

Model No. 1
 Plate XXVI.

Model No. 1.
 Pl-ATE XXVI I.

Model No. 3.
 Plate XXVIII.

Model No. 3.
 Plate XXIX.

Model No. 3.
 Plate XXX.

Model No. 3.
 Plate XXXI.

Model No. 1.
 Plate XXXII.

Model No. 3.
 Plate XXXIII.

Model No. 1.
 Plate XXXIV.

Model No. 1.
 Plate XXXV.

Model No. 3.
 Plate XXXVI.

Model No. 3.
 Plate XXXVII.

Model No. 5.

Model No. 1.
 Plate XXXVIII.

Model No. 1.
 Plate XXXIX.

Model No. 3.
 Plate XL.

Model No. 3.
 Plate XLI.

Model No. 1.
 Plate XLII.

Model No. 3.
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Models Nos. 6 and 7.

 Plate LI,

Models Nos. 6 and 7.

 Plate LI I.

Models Nos. 6 and 7.

 Plate LIII.

Model No. 8.
 Plate LIV.

Model No. 9.
 Plate LV.

Model No. 10.

 Plate LVI.

Model No. 10.

 Plate LVII.

Model No. 9.
 Plate LVIII.

Model No. 10. THE VISION.

 Plate LIX.

Model No. 10.

 Plate LX.

Model No. 8.
 Plate LXI.

Model No. 8.
 Plate LXII

Model No. U. Model No. 8.

 Plate LXIII.

Model No. 8.
 Plate LXIV.

Models Nos. 8 and 12.

 Plate LXV.

Models Nos. 8 and 12.

 Plate LXVI.

Model No. 8.

Model No. 8.
 Plate LXVII.

Model No. 12.

 Plate LXVIII.

Model No. 8.
 Plate LXIX.

Models Nos. 8 and 12.

 Plate LXX.

Model No. 10.

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 Plate LXXII.

Model No. 12.

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 Plate LXXVl.

Model No. 8.
 Plate LXXVII.

Model No. 11.