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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 cole 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 pro- ject as early as we would have
wished. It is this work which we publish to-day. 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 senti- ment 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
con-tingencies-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 profit- able, 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. It is chiefly by
employment of examples that we approach the subject. These strike
the imagination of ths 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 asimilar course. And, as proof of the studies of
this class which the masters have made, we may cite Raphael,
Aiichel- angelo, and, above all, Leonardo da Vinci and, of the
modems, GCricault. 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...
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
This is an EXACT reproduction of a book published before 1923. This
IS NOT an OCR'd book with strange characters, introduced
typographical errors, and jumbled words. This book may have
occasional imperfections such as missing or blurred pages, poor
pictures, errant marks, etc. that were either part of the original
artifact, or were introduced by the scanning process. We believe
this work is culturally important, and despite the imperfections,
have elected to bring it back into print as part of our continuing
commitment to the preservation of printed works worldwide. We
appreciate your understanding of the imperfections in the
preservation process, and hope you enjoy this valuable book.
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