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.
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.
