The human foot and the human hand

by George Murray Humphry

A variety of purposes is attained by the curvilinear shape of the bones and the obliquity in the movements of the joints. Not the least of these is the appearance of elegance and ease which is given to the whole frame, both when it is at rest and when it is in motion. In order that you may fully appreciate this result, I would ask you, the next time you are in a gallery of antique statuary, to contrast the figures which the Egyptians have left us with those by the Greeks. In the former you will find that straight lines and right angles prevail: the figure sits, probably, bolt upright, with the elbows, hips, knees, and ankles bent at right angles: the fingers commonly run straight forwards; and a hand is often laid upon each knee, the limbs of the two sides being quite symmetrically placed. Such statues may be imposing; but they are stiff and unnatural. They represent positions which the body rarely assumes; and they, certainly, are far from pleasing. Very different is the Greek statuary. A correct representation of nature is the great difficulty and the highest consummation of art; and the Greeks evinced their greatness in art by a true appreciation and close imitation of natural form. The position of their figures is life-like; and, therefore, we love to contemplate them. The outline in them exhibits a graceful disposition of curves and obliques; and it is because the great sculptors of Greece were, in this and in other respects, so true to nature that their works have commanded the admiration, and served as models for the imitation, of all succeeding ages.

It is one of the master results of creation, and one of the peculiar marks of creative genius, that perfection and beauty are usually presented together. As truth is the soul of eloquence, so is perfection the soul of beauty. The works of nature are beautiful because there is so much excellence in them, such admirable adaptation to their purpose; and we find the works of man beautiful only so far as they are correct imitations of their great originals in nature, or show some approach to nature’s excellence. And man is the most beautiful object in nature because he is the most perfect, that is, because the purpose of his existence is the highest, and because his physique exhibits the most marvellous moulding to adapt it to its high purpose; because, in short, in him the material is wrought to such a point of refinement as to be the receptacle and minister of the immaterial.

The movements of the three joints between the foot and the leg take place in harmony. The following is the order observed. The raising of the heel is accompanied by a rolling of the foot inwards, and by an increased flexure of the plantar arch; and the raising of the toes is accompanied by a rolling of the foot outwards and a straightening of the sole.

The Muscles of the Leg and Foot.

Fig. [12].

The first series of the movements just described is effected, mainly, by three muscles. Of these one (A, fig. 12) raises the heel while the other two (B, fig. 12, and C, fig. [13]) raise and support the ankle. The muscle which acts upon the heel is one of the largest and most powerful in the body; and well it may be, for in raising the heel it has to raise the whole weight of the body. Its fibres, accumulated at the middle and upper part of the leg, form the “calf;” below they taper into a thick tendon (a) connected with the hinder extremity of the heel-bone, and called the Tendo Achillis. The name, it need scarcely be said, refers to the tale of Thetis holding her son Achilles by this part when she dipped him in the river Styx. Her hand prevented the part from coming in contact with the water; and so it did not partake of the invulnerability which was conferred upon the rest of his body by the immersion. We read, accordingly, he was finally killed by a wound in the heel‍[2].

The other two muscles (B and C) also descend from the leg and terminate in tendons (b and c) which pass, one on either side, behind the projections (D and E) which we call respectively the inner and outer ankle, to the inner and outer edges of the instep. They assist to raise the ankle, and support it so as to prevent its swerving from side to side; and they permit it to play to and fro upon them, like a pulley upon ropes running under it, in a safe and easy manner. The inner (b, fig. 12) of the two tendons passes, as before mentioned, beneath the head of the key-bone, and adds greatly to the strength of the arch. It is, moreover, the chief agent in effecting the two movements which are associated with the elevation of the heel, viz. the turning of the sole inward and the flexion of the foot.

Fig. [13].