THE NEED OF A STUDY OF ANATOMY

There is a class of advisers who try to flatter the student by maintaining that the study of anatomy is of little use to him. They tell him that pedantry lies that way, that the Greeks knew nothing of this science, and so on. If the Greeks ignored the science of anatomy as cultivated by the moderns, they had opportunities of studying the nude, both quiescent and active, which we are certainly denied. And as to becoming pedantic about anatomy, ill-advised teachers and the student should be reminded that the really strong man does not abuse his strength. [31]

IV.
AN ACTOR. BY VELAZQUEZ

The better we understand the skeleton, and what is generally understood as " artists' anatomy," the greater will be our power of constructing the human figure, and realising the subtleties of form.

In our initial sketches for compositions, when memory has to take the place of the living model, we rely to a great extent on our anatomical knowledge for the suggestion of action and form generally. And again it adds materially to our faculties for self-criticism, which, like a sense of humour, is often, nearly always, our salvation.

There are good books and good lecturers to which, and to whom, the student must look for advice and knowledge in that very necessary branch of science.

The bones are your architectural beams. Study the skull, and look for the bone forms in every head you draw. You will feel that the skin is more tightly drawn, and therefore of a different texture, over bone foundations, and more "fleshy" where free.

Equally, the muscles over the framework of the ribs follow the inclination of that practically fixed " cage," leaving the abdominal muscles freer play.

Note the shape and movements of the collarbones and of the scapulæ.

Compare always the inclination of the ilium with the cage of ribs, and study the knee-bones,

which are so near the surface. Note that the [32] outer ankle-bone is placed lower than the inner, and so forth.

To most of these points I shall have to direct your attention in the subsequent lessons on the construction of the human figure.

[33]

CHAPTER II

CONSTRUCTION OF THE FIGURE.

V.

THIS Plate is reproduced from a study made with the object of demonstrating to a class of students the main principles of construction, and I hope it will serve a similar purpose here.

The original drawing is about twenty-four inches in length, which is about the size generally advisable for drawings from the nude.

It is a good discipline to make your study come within an inch of the top and bottom of your paper, so that you do not find when you are about to draw the feet that there is no room for them. All that you draw or paint should fill a definitely fixed space. Neglect of this precaution is a frequent source of trouble.

Proportion is the first thing to consider, and, by the way, always the most difficult to preserve.

We must therefore begin by creating a standard of measurement. In most instances the head from the top of the hair to the chin will best serve as a standard.

After having measured the number of head lengths contained in the entire length of the figure, [34]proceed to mark off the given number of equal lengths on the paper (A on the plate).

This measuring is done by fully extending the arm in a direct line between one eye (the other closed) and the subject, marking off between the tip of the thumb-nail and the top of the charcoal the length of the head thus seen, and proceeding downwards till you have ascertained with the greatest care the number of head lengths on the figure.

If the number proves to be seven and a quarter as in the Plate, you will decide after a little experimenting how large in the drawing the head is to be, so that seven and a quarter head lengths will make up twenty-four inches. Once the head length has been decided upon, it will and must remain your standard of measurement for the figure in every part.

The head and features must now be not only indicated, but fairly carefully drawn, for many reasons. Firstly, because any serious subsequent changes in the head might result in an increasing or reducing of its size, and in the loss of the set standard of proportion. A good likeness of your model is one of the best tests of the correctness of the proportions of the features, and until these features have their definite position on your drawing, it is not possible to place the ears. It is from the ears that the lines of the neck begin.

Refer constantly to your hand-glass, holding it so that your drawing and the model's head can [35] be seen in it at the same time ; for it is well-nigh impossible to get the character of your subject without almost constant reference to the glass. It is the best of masters, and will solve many a knotty problem throughout your artistic life.

When the head is satisfactory, and not till then, begin to draw the neck and shoulders, referring to the " background spaces " on either side, and calling to your aid any lines or markings in the background, wherewith to compare the direction of those of your drawing.