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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 reproductions of
their anatomical works, chosen from certain of their special
writings.[1]

  [1] Mathias Duval and A. Bical, 'L'anatomie des Maitres.' Thirty
      plates reproduced from the originals of Leonardo da Vinci,
      Michelangelo, Raphael, Gericault, etc., with letterpress and a
      history of plastic anatomy, Paris, 1890.

      The manuscripts of Leonardo da Vinci of the Royal Library,
      Windsor, 'Anatomy, Foliae A.,' published by Theodore Sabachnikoff,
      with a French translation, written and annotated by Giovanni
      Piumati, with an introduction by Mathias Duval. Edouard Rouveyre,
      publisher, Paris, 1898.

      Mathias Duval and Edouard Cuyer, 'History of Plastic Anatomy: The
      Masters, their Books, and Anatomical Figures' (Library of
      Instruction of the School of Fine Arts), Paris, 1898.

Accordingly, there is no scope for serious discussion, and it only
remains for us to enunciate the opinion that it is necessary that we
should imitate those masters, and, with a sense of respectful
discipline, follow their example.

Here, with regard to the anatomy of animals, we pursue the same method,
and the example chosen shall be that of Barye. His talent is too far
above all criticism to allow that this example should be refused. The
admiration which the works of this great artist elicit is too
wide-spread for us to remain uninfluenced by the lessons furnished by
his studies. It is sufficient to see the sketches relating to these
studies, and his admirable casts from nature which form part of the
anatomical museum of the Ecole des Beaux-Arts, to be convinced that the
artistic temperament, of which Barye was one of the most brilliant
examples, has nothing to lose by its association with researches the
precision of which might seem likely to check its complete expansion.

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

In those sketches we find proofs of observation so scrupulous that we
cannot restrain our admiration for the man whose ardent imagination
was voluntarily subjected to the toil of study so profound.

If the example of Barye, with whom we associate the names of other great
modern painters of animals, can determine the conviction which we seek
to produce, we shall be sincerely glad. To contribute to the propagation
of useful ideas, and to see them accepted, gives a feeling of
satisfaction far too legitimate for us to hesitate to say what we should
feel if our hope be realized in this instance.

EDOUARD CUYER.

[Illustration: FIG. IV.--REPRODUCTION OF A SKETCH OF BARYE (COLLECTIONS
OF ANATOMICAL MUSEUM OF THE SCHOOL OF FINE ARTS--HUGUIER MUSEUM).]




CONTENTS


  INTRODUCTION

                                                                   PAGE

  GENERALITIES OF COMPARATIVE ANATOMY                                 1


  CHAPTER I

  OSTEOLOGY AND ARTHROLOGY:

  THE TRUNK                                                           4
  THE POSTERIOR LIMBS                                                78
  THE POSTERIOR LIMBS IN SOME ANIMALS                                90
  THE SKULL OF BIRDS                                                127


  CHAPTER II

  MYOLOGY:

  THE MUSCLES OF THE TRUNK                                          131
  MUSCLES OF THE ANTERIOR LIMBS                                     162
  MUSCLES OF THE POSTERIOR LIMBS                                    200
  MUSCLES OF THE HEAD                                               232


  CHAPTER III

  EPIDERMIC PRODUCTS OF THE EXTREMITIES OF THE FORE AND HIND LIMBS  247


  CHAPTER IV

  PROPORTIONS

  PROPORTIONS OF THE HEAD OF THE HORSE                              273


  CHAPTER V

  THE PACES OF THE HORSE                                            282




LIST OF ILLUSTRATIONS


  FIG.                                                             PAGE

    1. A HUMAN SKELETON IN THE ATTITUDE OF A QUADRUPED, TO GIVE A
       GENERAL IDEA OF THE POSITION OF THE BONES IN OTHER
       VERTEBRATES                                                    5
    2. SIZE OF THE ATLAS COMPARED WITH THE TRANSVERSE DIMENSIONS OF
       THE CORRESPONDING PARTS OF THE SKULL IN MAN                    7
    3. SIZE OF THE ATLAS COMPARED WITH THE TRANSVERSE DIMENSIONS OF
       THE CORRESPONDING REGIONS OF THE SKULL IN A DOG                8
    4. LUMBAR VERTEBRAE OF A QUADRUPED (THE HORSE): SUPERIOR SURFACE   9
    5. A TRANSVERSE SECTION OF THE THORAX OF A MAN PLACED
       VERTICALLY--THAT IS TO SAY, IN THE DIRECTION WHICH IT WOULD
       ASSUME IN A MAN PLACED IN THE ATTITUDE OF A QUADRUPED (A
       DIAGRAMMATIC FIGURE)                                          13
    6. A VERTICAL SECTION OF THE THORAX OF A QUADRUPED
       (DIAGRAMMATIC)                                                14
    7. STERNUM OF A BIRD (THE COCK): LEFT SIDE, EXTERNAL SURFACE     17
    8. ANTERIOR LIMB OF THE BAT: LEFT SIDE, ANTERIOR SURFACE         20
    9. ANTERIOR LIMB OF THE SEAL: LEFT SIDE, EXTERNAL SURFACE        21
   10. SITUATION AND DIRECTION OF THE SCAPULA IN THE HUMAN BEING,
       THE TRUNK BEING HORIZONTAL, AS IN QUADRUPEDS. VERTICAL AND
       TRANSVERSE SECTION OF THE THORAX (DIAGRAMMATIC FIGURE)        22
   11. POSITION AND DIRECTION OF THE SCAPULA IN QUADRUPEDS.
       VERTICAL AND TRANSVERSE SECTION OF THE THORAX (DIAGRAMMATIC
       FIGURE)                                                       22
   12. LEFT SCAPULA OF THE HUMAN BEING, POSTERIOR SURFACE, PLACED
       IN THE POSITION WHICH IT WOULD OCCUPY IN THE SKELETON OF A
       QUADRUPED                                                     23
   13. LEFT SCAPULA OF A HORSE: EXTERNAL SURFACE                     23
   14. VERTICAL AND TRANSVERSE SECTION, AT THE SITE OF THE
       SHOULDERS, OF THE THORAX OF THE HORSE (DIAGRAMMATIC FIGURE)   24
   15. VERTICAL AND TRANSVERSE SECTION, AT THE PLANE OF THE
       SHOULDERS, OF THE THORAX OF THE DOG (DIAGRAMMATIC FIGURE)     24
   16. LEFT CLAVICLE OF THE CAT: SUPERIOR SURFACE (NATURAL SIZE)     26
   17. CLAVICLE OF THE DOG (NATURAL SIZE)                            26
   18. SKELETON OF THE SHOULDER OF A BIRD (VULTURE): ANTERO-
       EXTERNAL VIEW OF THE LEFT SIDE                                27
   19. INFERIOR EXTREMITY OF THE LEFT HUMERUS OF A FELIDAE (LION)     31
   20. INFERIOR EXTREMITY OF THE LEFT HUMAN HUMERUS, SHOWING THE
       PRESENCE OF A SUPRATROCHLEAR PROCESS                          31
   21. SKELETON OF A BIRD (VULTURE): LEFT SURFACE                    33