THE MODEL 129 



intricate details of muscular and bony structure thus revealed, 

 marking the thrill of life in pulse and respiration and slight 

 alterations of attitude, such students will perforce concede that 

 no drawing, whether it be by the hand of Lionardo da Vinci 

 or of Ingres, can bear comparison with the living miracle 

 displayed before them. In so far as the drawing conscien- 

 tiously portrays the model, it calls forth admiration by its 

 exhibition of the draughtsman's skill ; it instructs a learner 

 by the revelation of his method. Yet it remains a poor and. 

 feeble shadow of the truth. Art, we say, is immeasurably 

 below fact, so long as it attempts to rival the glow and richness 

 of the living man by its mere shadow-scheme of imitation. 



In a second degree such drawings are inferior to really 

 careful photographs from the nude. I have before me a repro- 

 duction of the celebrated study of two naked men, which 

 Raphael sent as a specimen of his skill to Albert Diirer, and 

 also a photograph from a model in almost exactly the same 

 position as one of Raphael's figures. 1 The model in my 

 photograph is somewhat coarse and vulgar. Yet no one, on 

 comparing these two forms (the crayon study and the photo- 

 gragh), can fail, I think, to acknowledge the superiority of the 

 more literal transcript from nature. Cunning as was Raphael's 

 craft, there is slovenly drawing in the hands and feet, exagge- 

 rated markings in the knee-joints, unmeaning salience of 

 muscle on the back, and a too violent curve in the outline of 

 the belly. The sun drew better than Raphael : and the 

 photograph of this common model is more delightful to look 

 at, because more adequate to the infinite subtlety of nature, 

 than the masterpiece of the great draughtsman of Urbino. 

 Every detail of the body here is right, and in right relation 

 to the whole ; every sinew explains itself without effort and 

 without emphasis ; and the ripple of light and shade over the 



1 Kaphael's drawing (in the Albertina collection, at Vienna, I believe) 

 is inscribed by Diirer : '1515. Baffahill di Urbin der so hoch beim Pabst 

 geacht ist gewest hat die hat diese nacken bild gemacht und hat sy dem 

 Albrecht Diirer gen Nurnberg geschiecht um sein Hand zu weisen.' 

 The photograph of the model is one issued in Vienna for the use of art- 

 students. 



