146 THE FINE ARTS. 
or of its single parts, thus causing others that are near them to vanish more 
or less; others, again, are never prominent. On the bodies of children and 
young persons certain muscles, not being yet fully developed, are less 
visible than on older people. The same is the case with female forms. In 
these, as in general in fat or obese human bodies, the interstices between the 
muscles are more or less filled up with adipose substance, which overlies in 
some spots the muscles themselves. In consequence of this the muscular 
frame becomes less conspicuous than in bodies whose muscles are freed from 
that incumbrance by dint of powerful movement and active exercise, their 
muscles being immediately under the skin. All these, and similar modifi- 
cations and relations, can be studied and appreciated only by an immediate 
and assiduous contemplation of living models or of the best statuary of 
antiquity, as well as of that of such eminent artists as Thorwaldsen, Rauch, 
Schwanthaler, &c., or of plaster-casts of such works. In drawing these we 
again must take heed not to be carried away by the desire of showing our 
knowledge of anatomy by too strong and explicit an indication of the 
muscles, or we shall be in danger of representing flayed figures (pl. 20, 
Jigs. 16, 15), rather than fine-limbed and powerful ones ( pl. 20, jigs. 18, 14; 
pl. 21, figs. 12-15, 18). In the latter the play of muscles, although 
they are strong, is tempered by thin layers of fat and by the cutaneous 
integument being stretched over them, so that their prominence and sub- 
sidence are mutually compensated, and a pleasing plastic equipoise is 
thus established. 
B. Pictorial Perspective. 
After having made himself thoroughly acquainted with the actual forms 
of objects, the draughtsman has yet to acquire a two-fold knowledge: viz. 
1. That of the appearance to the eye at one point of view of the actual 
form of objects extending in space in three directions, the three dimen- 
sions of bodies; and 2. That of the manner of fixing this appearance as a 
drawing on the plane of a picture, v.e. of reducing the appearance of the 
three dimensions of bodies to the éwo dimensions of a plane. 
Both these points are taught by Perspective. Its principles have already 
been developed in the mathematical part of this work (vol. i. p. 50), but 
this is a suitable place to add a few remarks on its application to the art of 
drawing. 
In drawing from nature, a natural drawing originates in the mind of the 
delineator by his imagining a transparent plane, e.g. a pane of glass placed 
between his eye (the point of view) and the object to be drawn. This 
transparent plane represents the plane of projection. By keeping his eye 
steadily on this plane in one direction the draughtsman will fix upon it, 
in his mind’s eye, the true copy of the object behind it, by imagining 
points and lines drawn on the transparent plane in such a manner as to 
cover precisely the outlines of the real object. This imagined true copy on 
the transparent plane is the «mage or the perspective projection. This 
image has to be transferred by real, visible lines to the plane of the 
picture in order to obtain a natural outline of the object. Such an out- 
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