THE HISTORY OF ANATOMICAL SCIENCE 287 
dissimilarities. The only peculiarity of the artistic 
application of scientific method lies in the artist’s 
power of visualising the result of his mental pro- 
cesses, of embodying the facts of resemblance 
in a visible ‘ type,’ and of showing the manner 
in which the differences may be represented as 
modifications of that type ; he does, in fact, in- 
stinctively, what an architect, who desires to de- 
monstrate the community of general plan in 
certain ancient temples, does by the methodical 
construction of plans, sections and elevations, the 
comparison of which will furnish him with the 
‘ type ’ of such temples. 
Thus, what I may term the artistic fashion of 
dealing with anatomy is not only perfectly legiti- 
mate, but has been of great utility. The harm 
of it does not begin until the attempt is made to 
get more out of this visual projection of thought 
than it contains ; until the origin of the notion of 
‘ type ’ is forgotten and the speculative philosopher 
deludes himself with the supposition that the 
generali-sation suggested by fact is an ‘Idea’ of 
the Pure Reason, with which fact must, somehow 
or other, be made to agree. 
The old French naturalist Belon, who must 
have been a good deal of an artist, and illustrated 
his book, ‘ L’Histoire de la Nature des Oyseaux,’ 
with many ‘ naifs portraicts,’ initiated this way of 
dealing with anatomy. The skeleton of a bird is set 
beside that of a man, and the reader is left to draw 
