Artistic Anatomy of Animals
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 École 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.
Fig. I.—Reproduction of a Sketch by Barye (Collections of the Anatomical Museum of the École 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.
Édouard Cuyer
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PREFACE
CONTENTS
LIST OF ILLUSTRATIONS
THE ARTISTIC ANATOMY OF ANIMALS
GENERALITIES OF COMPARATIVE ANATOMY
CHAPTER I
OSTEOLOGY AND ARTHROLOGY
THE SKULL OF BIRDS
CHAPTER II
MYOLOGY
CHAPTER III
EPIDERMIC PRODUCTS OF THE TERMINAL EXTREMITIES OF THE FORE AND HIND LIMBS
CHAPTER IV
PROPORTIONS
CHAPTER V
THE PACES OF THE HORSE
ERRATA
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