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  THE
  ARTISTIC ANATOMY OF ANIMALS




  ARTISTIC
  ANATOMY
  OF ANIMALS

  BY EDOUARD CUYER, SUPPLEMENTARY
  PROF OF ANATOMY AT THE SCHOOL OF
  FINE ART PARIS, PROF OF ANATOMY
  AT THE SCHOOL OF FINE ART ROUEN

  TRANSLATED & EDITED BY
  GEORGE HAYWOOD
  LECTURER ON ANATOMY AT THE ROYAL
  COLLEGE OF ART SOUTH KENSINGTON

  [Illustration]

  LONDON
  BAILLIERE, TINDALL & COX
  8 HENRIETTA ST COVENT GARDEN

  ANNO DOMINI
  MDCCCCV

  ALL RIGHTS
  RESVD




PREFACE


A few lines will suffice to explain why we have compiled the present
volume, to what wants it responds, and what its sphere of usefulness may
possibly embrace.

In our teaching of plastic anatomy, especially at the Ecole des
Beaux-Arts--where, for the past nine years, we have had the very great
honour of supplementing the teaching of our distinguished master,
Mathias Duval, after having been prosector for his course of lectures
since 1881--it is our practice to give, as a complement to the study of
human anatomy, a certain number of lessons on the anatomy of those
animals which artists might be called on to represent.

Now, we were given to understand that the subject treated in our
lectures interested our hearers, so much so that we were not surprised
to learn that a certain number repeatedly expressed a desire to see
these lectures united in book form.

To us this idea was not new; for many years the work in question had
been in course of preparation, and we had collected materials for it,
with the object of filling up a void of which the existence was to be
regretted. But our many engagements prevented us from executing our
project as early as we would have wished. It is this work which we
publish to-day.

[Illustration: FIG. I.--REPRODUCTION OF A SKETCH BY BARYE (COLLECTIONS
OF THE ANATOMICAL MUSEUM OF THE ECOLE DES BEAUX-ARTS--HUGUIER MUSEUM).]

Putting aside for a moment the wish expressed by our hearers, we feel
ourselves in duty bound to inquire whether the utility of this
publication is self-evident. Let it be clearly understood that we wish
to express here our opinion on this subject, while putting aside every
personal sentiment of an author.

No one now disputes the value of anatomical studies made in view of
carrying out the artistic representation of man. Nevertheless--for we
must provide against all contingencies--the conviction on this subject
may be more or less absolute; and yet it must possess this character in
an intense degree in order that these studies may be profitable, and
permit the attainment of the goal which is proposed in undertaking them.
It is in this way that we ever strive to train the students whose
studies we direct; not only to admit the value of these studies, but to
be materially and deeply convinced of the fact without any restriction.
Such is the sentiment which we endeavour to create and vigorously
encourage. And we may be permitted to add that we have often been
successful in this direction.

Therefore it is that, at the beginning of our lectures, and in
anticipation of possible objections, we are accustomed to take up the
question of the utility of plastic anatomy. And in so doing, it is in
order to combat at the outset the idea--as mischievous as it is
false--which is sometimes imprudently enunciated, that the possession of
scientific knowledge is likely to tarnish the purity and freshness of
the impressions received by the artist, and to place shackles on the
emotional sincerity of their representation.

[Illustration: FIG. II.--REPRODUCTION OF A SKETCH OF BARYE (COLLECTIONS
OF THE ANATOMICAL MUSEUM OF THE ECOLE DES BEAUX-ARTS--HUGUIER MUSEUM).]

It is chiefly by employment of examples that we approach the subject.
These strike the imagination of the student more forcibly, and the
presentation of models of a certain choice, although rough in execution,
is, in our opinion, preferable to considerations of an order possibly
more exalted, but of a character less clearly practical. Let us, then,
ask the question: Those artists whose eminence nobody would dare to
question, did they study anatomy? If the answer be in the affirmative,
we surely cannot permit ourselves to believe that we can dispense with a
similar course. And, as proof of the studies of this class which the
masters have made, we may cite Raphael, Michelangelo, and, above all,
Leonardo da Vinci; and, of the moderns, Gericault. And we may more
clearly define these proofs by an examination of the