ARMY SURGEON AT POTSDAM 55 



all be referred to the same underlying anatomical mechanism ; 

 it therefore makes the work of the artist easier when he has to 

 do without a model. (Instance the different curves of the 

 upper arm, and the different positions of the hand in turning 

 the fore-arm.) 



'2. It teaches the distinction between the essential and non- 

 essential parts of the human form. The prominences and 

 depressions on the surface of the human body are of very 

 different importance according as they correspond with bones, 

 muscles, or folds of skin. Even when the sculptor only wants 

 to reproduce a given model, he may err, as we pointed out, in 

 the reproduction of some swelling which is essential to the 

 anatomical structure. But the sculptor never should imitate 

 slavishly, since his model is always that of a man who has 

 grown up with human imperfections, and falls short of the 

 ideal : he must modify the individual form till he obtains 

 the most perfect expression of its spirituality. Given a mus- 

 cular man for the model, with the intention of making a 

 figure as strong and tense as possible, a sort of Hercules, 

 he must not thicken the folds of skin and the muscles 

 equally to produce his effect, but, on the contrary, must rather 

 reduce the skin to bring out the muscularity; or conversely, 

 if he is planning a Silenus. It is further to be noted that 

 the emphasizing of the more important anatomical features at 

 the cost of the less essential, adds clearness and simplicity to 

 the figure. 



'3. Finally, it is impossible to study the gestures of the 

 moving figure upon models, which must always be supported 

 in order to maintain their posture without effort. This brings 

 us to the important study of the variation in shape of active 

 muscles. The model stands with relaxed muscles, even if he 

 be successfully propped up in the required attitude. The 

 artist must know what muscles swell and protrude in move- 

 ment, unless his work is to give the effect of standing still, 

 like the model. And even if he makes the model perform 

 the action sometimes, and strives to fix the gestures in his 

 memory, he still cannot entirely forego his knowledge of 

 synthetic muscular action, since a noble, well-formed body 

 moves differently from one that is less well developed. The 

 former at each movement utilizes only so many limbs and 

 muscles, with so much force, as are indispensable to the 

 motion, giving an impression of grace and ease, while the less 

 skilled and weakly individual works harder and uses more 

 muscles simultaneously. 



' Still, we must never forget that Anatomy is but an instru- 

 ment to further the more exact knowledge of the human form, 

 and that, like all other helps to artistic study, it can never 



