DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0150
136 PUNTER'S SVC-
of this subject. He who is unacquainted even with the \ and construction of the several
bones which support and govern the human frame, and v knows not the oflues and situations
of the muscles by which the bones are moved, wHl never be able to des< noe accurately those vari-
ations which they occasion in the exterior surface of the body, a delineation of which is however',
the noblest part of the art. It is impossible for the painter to copy an object placed before his
e}'es, unless he thoroughly understand it. Though he bestow ever so much time and pains on the
subject lie will not succeed ; but like him who undertakes to translate a work which he does not
understand, from another language into his own, will only expose his own ignorance.
The artist who expects to excel must be able also to describe, with justice to anatomical.truth,
the various parts of the human frame, under anv sudden gestures, violent motions, and those mo-
mentary attitudes in which he can procure no living model for a pattern. Here he will find occasion
for an intimate acquaintance with anatomy. In stiil and languid positions, where the muscles are
to have no action, a living model may afford him considerable assistance, and for a long time fur-
nish him with a faithful pattern : but in the former case, postures and attitudes may be required,
wherein a living model cannot remain above a minute or two, and then grows languid and settles
Into a fixed attitude. The painter must therefore acquire such a knowledge of anatomy as to be able,
atall times, to express his subject in every circumstance .and situation. Though copying from living
models has been practised by the greatest masters, and still affords great assistance to the student,
yet they very often mislead him, and tend to make him lose sight of truth and nature, by exhi-
biting the very reverse of what is required, or displaying it in a faint and imperfect manner. For
in living bodies we often observe a coldness and torpidity in those parts which should have the
greatest share of life and spirits,; and where .there should be a quick motion we perceive a slow-
one, and vice versa.
A knowledge of anatomy is no less necessary to enable the painter to express the most delicate
frames and constitutions, as those of women and children ; for which purpose it is equally ser-
viceable as in the representation of vigorous and athletic bodies: for though the members of
women and children be more rounded, and their muscles and bones not so apparent through the
integuments as those of other persons, yet their actions are governed by the same principles, and
consequently require a display of those parts, though in a very faint degree.
It is not to be understood, from what is here advanced, that the student is to enter as deeply
into the subject of anatomy as the surgeon or physician. It is enough for him to be acquainted
%vith the skeleton, or the form and connection of the bones; and the origin, insertion, and use of
each of the principal muscles, with their general appearance when in action, as delivered in
Chap. IV. Book !.
In conjunction with the study of anatomy, and as assistant thereto, he should, if possible, have
recourse to anatomical casts. There are many very good ones extant, the productions of men
every way adequate toihe subject. Some reputed to be the works of Buonarroti. There is also
one by Hercules Lelli which, for distinctness and accuracy of expression, exceeds all others. He
has also left us several casts of particular parts of the body, so curiously coloured that they repre-
sent the parts designed exactly as they appear when the common integuments are taken away;
and by their difference of colour and configuration render the tendinous and fleshy parts, the
belly and extremities of every muscle, sufficiently distinct. This is a very useful work: the only
improvement it will admit of, and which is requisite is, that the different muscles be coloured
with various tints, particularly those which the young painter is apt to mistake for others-. This
practice
of this subject. He who is unacquainted even with the \ and construction of the several
bones which support and govern the human frame, and v knows not the oflues and situations
of the muscles by which the bones are moved, wHl never be able to des< noe accurately those vari-
ations which they occasion in the exterior surface of the body, a delineation of which is however',
the noblest part of the art. It is impossible for the painter to copy an object placed before his
e}'es, unless he thoroughly understand it. Though he bestow ever so much time and pains on the
subject lie will not succeed ; but like him who undertakes to translate a work which he does not
understand, from another language into his own, will only expose his own ignorance.
The artist who expects to excel must be able also to describe, with justice to anatomical.truth,
the various parts of the human frame, under anv sudden gestures, violent motions, and those mo-
mentary attitudes in which he can procure no living model for a pattern. Here he will find occasion
for an intimate acquaintance with anatomy. In stiil and languid positions, where the muscles are
to have no action, a living model may afford him considerable assistance, and for a long time fur-
nish him with a faithful pattern : but in the former case, postures and attitudes may be required,
wherein a living model cannot remain above a minute or two, and then grows languid and settles
Into a fixed attitude. The painter must therefore acquire such a knowledge of anatomy as to be able,
atall times, to express his subject in every circumstance .and situation. Though copying from living
models has been practised by the greatest masters, and still affords great assistance to the student,
yet they very often mislead him, and tend to make him lose sight of truth and nature, by exhi-
biting the very reverse of what is required, or displaying it in a faint and imperfect manner. For
in living bodies we often observe a coldness and torpidity in those parts which should have the
greatest share of life and spirits,; and where .there should be a quick motion we perceive a slow-
one, and vice versa.
A knowledge of anatomy is no less necessary to enable the painter to express the most delicate
frames and constitutions, as those of women and children ; for which purpose it is equally ser-
viceable as in the representation of vigorous and athletic bodies: for though the members of
women and children be more rounded, and their muscles and bones not so apparent through the
integuments as those of other persons, yet their actions are governed by the same principles, and
consequently require a display of those parts, though in a very faint degree.
It is not to be understood, from what is here advanced, that the student is to enter as deeply
into the subject of anatomy as the surgeon or physician. It is enough for him to be acquainted
%vith the skeleton, or the form and connection of the bones; and the origin, insertion, and use of
each of the principal muscles, with their general appearance when in action, as delivered in
Chap. IV. Book !.
In conjunction with the study of anatomy, and as assistant thereto, he should, if possible, have
recourse to anatomical casts. There are many very good ones extant, the productions of men
every way adequate toihe subject. Some reputed to be the works of Buonarroti. There is also
one by Hercules Lelli which, for distinctness and accuracy of expression, exceeds all others. He
has also left us several casts of particular parts of the body, so curiously coloured that they repre-
sent the parts designed exactly as they appear when the common integuments are taken away;
and by their difference of colour and configuration render the tendinous and fleshy parts, the
belly and extremities of every muscle, sufficiently distinct. This is a very useful work: the only
improvement it will admit of, and which is requisite is, that the different muscles be coloured
with various tints, particularly those which the young painter is apt to mistake for others-. This
practice