432 
FLETCHER. 
That neither in ancient Egypt, the Orient, nor in ancient 
Greece did art obtain any assistance from human anatomy 
by dissection. That nevertheless the finest examples of sculp¬ 
ture of the human figure that the world has ever seen were 
produced in ancient Greece. 
That not until about the sixteenth century were such 
studies made possible, and that not until the time of Vesa- 
lius was there any thorough knowledge of human anatomy. 
That an acquaintance with muscular anatomy by dissec¬ 
tion, though to be recommended as useful, forms but a com¬ 
paratively unimportant part of artistic anatomy. That this 
latter must be the study of the external form of the living 
body in repose or in motion, with a profound observance of 
the modifications produced by sex, age, and race. 
That, in short, physiology, and to some extent external 
pathology, meaning by this latter term the effect of disease, 
wounds, and death upon the body, with a certain amount 
of study of the muscles by dissection, make up what should 
be understood by artistic anatomy, or, as I should prefer to 
term it, artistic morphology. 
