s ;\V>;
OF ART THE ONTARIO COLLEGE ST.
JAMES SQUARE TORONTO
MODELLING
^r^'
/^/Tr
#
'»T
•'*Zi^-:
-/,
Modellin A GUIDE FOR TEACHERS AND STUDENTS
BV
ED.
LANTERI
PROFESSOR OF SCrLPTCRF. AT THE ROYAl.
Cni.I.E(;K
OF ART,
SOUTH KENSINGTON
WITH PREFACE
1!V
ONSLOW FORD,
in Til
R.A.
FULL-PAGE PLATES AND NUMEROUS ILLUSTRATIONS AND DIAGRAMS
42
FRONTISPIECE :— PORTRAIT OF THE AUTHOR.
London
CHAPMAN II
BY
PROF.
:
& HALL, Ltd
Henrietta Street, W.C. 1902
A.
LEGROS
^3
Richard Clay and Sons, Limited, london and bungay.
3-4-0
PREFACE It would be difficult to overrates the value and excellence of
work.
this
Had
such
twenties,
book been
a
when
would not have rested a moment
I
when possessed of
copy, and
obtainable
it,
it
I
imtil
would have been
I
was
in
the
possessed a
my
constant
companion. Professor Lanteri has put in very comprehensive language
everything that
The is
is
needful for the
result of the careful
here set forth
some readers
in
a
work
will
show
sculptor to know.
thought and observation of years
manner so
clear that
know how
it
may appear
Professor Lanteri's book
that after learning
heart, they will then this
young
to
A
model.
that the author docs not
to
by
careful study of
hold out any such
vain hope.
The begin.
object
Many
of
this
work
is
things are clearly
to
teach the student
shown
in
how
to
the illustrations ami
Preface
vi
many
described in the text that would take some people to find out for themselves.
how
to begin, the
The young
more advanced student
student
plainly told
is
will find
years
many doubts
here cleared up, and the feelings, after reading the book, of
who make
sculpture their
life
all
study, will be those of gratitude.
E.
ONSLOW FORD.
CONTENTS I'AG E
Introduction
Tools
I
.....
PART
I
7
The Features from the Cast (a)
The Mouth
(^)
The Nose
{c)
The Ear
(d)
The Eye
9 9 17
19
.
21
.
The Head from the Cast (i)
The
(2)
The Muscles
^5
Skull
25 .
PART The Bust from
Life
.
Measurements
Con TRUCTION OF FEATURES
Di.\GRAM OF
II
47
62
{a)
Mouth
62
(d)
Nose
63
(c)
Ear
66
(./)
Eye
.
.
69
Contents
Vlll
PAGE
Treatment of Hair Moustache and
72
.
])Eari>
74
Diagram of Face
76
PART
III
Figure from Nature
Framework
83
....
83
Scale of Proportions
86
Posing the Model
87
Chief Line
88
....
Contrasts of Lines and of Projection of Surfaces Building up of Figure
......
90 93
Measurements and Osteological Construction of Figure
100
Influence of Osteology on Superficial Forms
112
Radiation of Lines
116
Example of the
.
122
Ilissus
Spaces of Rest betvvee.m Masses
123
Expression in Modelling
127
.
Continuation of Lines
Comparative Proportions
131
Muscles of the Figure— Photographs
Diagrams
The Skeleton
....
in
^33
.
Different Views
from
Clay
Model AND 137
146
MODELLING INTRODUCTION HAVE repeatedly been asked
I
I
made
use for
mv
which
to publish the notes of
demonstration-classes at the Roval Colleije
of Art. I
fancy that by
found useful by those art,
as well as
beginners I
one
somewhat developing them they
who
intend to devote themselves to this
by those who undertake the task of instructing
do not pretend
intelligent
is
to think that
no such
teacher
thino- as
must
condition that he bases
it
be
my method an
it is
is
free
to
form
on true principles.
— even
the only right
Everv
method.
infallible
exclusively setting forth one method,
—
be
in the subject.
— there
best,
will
his
own,
on
Thus, instead of if
it
be the
vt-ry
better to state broadly the great essential principles
of teaching, in which every
method ought
to
be included, and
to allow the teacher a certain latitude.
B
Introduction
2 It is
important that every one should bring to the adopted
method such modifications
own
very
as will allow
personal method.
It is
him
to consider
it
his
only thus, that he w^ll find
the impulse and devotion necessary for the accomplishment of his
arduous task.
The
auxiliary
in themselves,
means of teaching have not an absolute value
— they may
prove useful or dangerous, according
to the
moment and measure
prove
efficacious,
of their application.
they must be presented in methodical order.
This order can only be settled object in view,
In order to
after precisely ascertaining the
and the principles on which the means
for
obtaining this object should be based.
Art the
is
essentially individual, in fact ''Individuality^'
makes
artist.
All teaching, to be true and rational,
must aim
at preserving,
developing and perfecting- the individual sentiment of the
Therefore the end task
it is
to teach the
which every teacher should aim, whose
at
Fine Arts,
The
aptitude of each pupil.
which tend most surely
he
best
the development of the artistic
means and
exercises are those
to attain this end.
trade, of a sculptor, there ;
is
thoroughly teaching each pupil the craft, not to say
In
ality
artist.
is
no fear of destroying
his individu-
on the contrary, having conscientiously learnt the
will
craft,
gain confidence and the necessary power to express
truthfully
the
personal
sentiment
with
which
Nature
has
;
Introduction endowed him. this,
Whilst,
if
3
the teacher wants to
he risks imposing on the student his
at things,
and destroying the
cfo
further
own way
than
of looking
pupil's individuahty.
This short attempt of mine has no other object than to place
some
before the student
practical
human body, which
anatomical construction of the is
invariable in
method, he
method
this
human
figure
;
;
apply
to
have caused him
he all
mastered
effort.
The
it,
this
—
in-
application of
to fix the points of construc-
have made a complete analysis of the
will
the causes and reasons of
be clear to him, and he
will
he has
construction
without thinking of
it
were, and without
it
will
tion precisely
When
principles.
come
will
stinctively as
its
based entirely on the
hints,
will
its
various forms
avoid that groping in the dark,
those unreasoning alterations, which are always tried,
when
this
branch of the instruction has been neglected.
This book contains it is,
so to speak, the
in short limits
summary
the essence of the subject
of a method, a sort of guide
which gives the primary indications of the way. I
must
insist
again and again on this point, that the aim of
Art-teaching should be to put within the pupil's grasp
all
that
is
necessary to help him to express his thoughts by the simplest, surest and quickest means.
observation, without too
It
much
should
in particular
influencing his
and when the student's judgment goes
sharpen his
own judgment
astray,
;
he should be
corrected by model or example, placed before him without his B
2
4-
Introduction
perceiving the intention,
—
making him
for fear of
lose his
own
power of judging.
And
as
Drawing
is
foundation of Sculpture,
the principal
and a good sculptural work depends largely on good drawing, the student should draw as of painting.
—(which
much
as, if
unfortunately
more
not
first
standing student
I
who
done some serious drawing begin this guide, is
No
not always done).
is
student ought to be admitted to modelling
he has
than, a student
—always
a school, unless
in
and on
;
addressing myself to a
capable of seeing a line and executing
Another important point on which thorough study of Artistic Anatomy.
under-
this
I
must
it
properly.
insist,
You must
is
the
your
begin
work with some knowledge of the form of the bones and muscles, and go on with the study of
it
while at work.
point out to you in the following pages what
you
to study, but
is
shall
necessary for
can of course only slightly indicate
I
I
it
to you,
leaving you to complete your knowledge from the actual skeleton, the anatomical figure, and the excellent books written on the subject of Artistic
Anatomy by
Professor A. Thompson, Mr. I
beg you
to
J.
the late
Professor Marshall,
Sparkes, and others.
observe that the knowledge of the bones
even more important than that of the muscular system not lose sight of the
fact,
that
''
Anatomy
teaches
yon
;
is
and do
the general
laws of the luiman form, whilst the living model shozus yon the
same laws applied, and modified by individual
characteristics''
PART
I
PART
I
TOOLS (i)
Provide yourself with two turntables,
— one
for the
work,
the other for the model, the height from the ground about 3 feet
See Fig.
4 inches to 3 feet 6 inches. {2)
or
i.
Provide two wooden boards, about
laro^er.
according
to
the
warping through the moist
size
clay,
of vour
iS
inches square
To
work.
avoid
have the boards clamped
See
the back with two battens nailed or screwed on crossways. Fig.
at
2.
(3)
A
few wooden tools are enough
to
begin
preference to be given to those of simple form
which are heavy ones, unless your
in
(4)
work
is
be
to
For shapes see Fig.
These
in
avoid tools
at
very small proportions.
slightly curved,
One
the extremities will be found
3.
Provide a pair of large iron compasses or
their legs
the
your hand, as well as the small and thin
tool with strong wire curves helpful.
;
with,
and about
10 to
are best ordered from a local blacksmith.
12
callipers,
with
inches
long.
Fis;. 4.
8
Modelling
\
Modelling (5)
Have
hand a small sponge
at
9
to
keep your fingers clean
during modelling, and some soft old linen
cover up the work
to
Occasionally you will also require
after leaving off for the day.
when
a fine syringe or a big brush to splash the clay, to harden.
As we go
become necessary
on,
at first
;
I
shall
begins
it
whatever
describe
tools
no more than the above-mentioned
are required.
FIRST STUDIES.— THE FEATURES The Mouth The those
They
best models for the details of the face
taken
from
mask
the
know
with the desire to
urged on
in
David."
much knowledge
copying them the student
is
ot
seized
the reason for these forms, and he
the study
to
"
Michel-Angelo's
are executed with such precision, so
form and anatomy, that
thus
of
consider to be
I
of
Anatomy,
necessary
so
is
tor
sculpture.
After having fixed your plaster cast on a board like the one
you are going
to
work
table, fix
both boards
support,
nailed
to
on,
at the
the
and having placed
same angle by means
board and turntable,
support, screwed on to .both), see Fig. well as the plaster model,
is
it
5,
(or
on the turnot
a
wooden
by an iron
so that your work, as
in a vertical position.
Then
drive
Modellinof
lO
To
a nail into vour board, at about the level of your eyes. this nail,
by means of some wire (galvanised iron-wire
though copper-wire
wooden
small
is
cross
studio parlance
— see
help
the
to
Then
bear
will do,
preferable) fix a
("butterfly" Fig.
5),
which
weight of the
in
will
clay.
with your sponge wet the board
and immediately rub some clay on the wetted part, so as to form a thickish
Fig.
5.
paste to which your clay will adhere. If
you neglect
this,
your clay
board and drop down, but
keep
me
just
this paste
and the butterfly
will
mention by the way, that the more you work the your hands, the more pliable and conse-
clay through with
quently the better
To
soon get loose from the
in its place.
it
Let
will
it
will be.
begin work, lay a certain quantity of clay on your board,
pressing
it
well in
with the thumb, so as to give about the
general shape and mass of your model, always taking care to
keep a need
little
below the actual amount, so that there
to scrape
off",
but rather to add on,
in
will
be no
order to arrive at
the true form of the model.
Before beginning each study, you must try to
what you wish
to
reproduce, and
each feature by a sketch of
its
I
shall,
understand
therefore, introduce
characteristics
and
its
anatomy.
jb'iG.
6.
YJ'o
face J'uge
ii.
Fig, 7.
[To face page
11.
Fig. 8.
[To face J>agc
ii.
1
Modelling The mouth up[)er
1
formed by the Upper and Lower Jaw
is
jaw consists of the two Stipcrior Maxillary Bancs
the
;
;
they
are two large bones, joined in the middle line imd placed almost
By means of
vertically beneath the Frontal Bone.
— the
four processes
Malar, Alveolar, Palatine and Nasal Processes, which
extend
in different directions,
bones of the
The Malar
face.
The
cheekbones.
these bones are joined to the other
processes connect them with the
Alveolar process forms the Superior Dental
The
Arch, which contains the sockets for the Upper Teeth.
Palatine Process passes inwards to form the anterior part of the
hard orbits it
palate,
and the Nasal Process extends upwards
and the Internal Angular Process of the Frontal Bone
forms the sides of the nose and
Bone
to the
in
front, its outer
is
connected
witli
;
the Xasal
border forming the deep notch which
constitutes the anterior opening of the nose.
The Lower Jazv Bone Inferior Maxillary.
It
Skull, Figs. 6, 7
posterior border of each
condyle which
fits
originally
consists of a solid,
upturned, flattened ends, the
See Photograph of
The
is
composed
very early become a single bone,
of two halves which
body, and
or Mandible
into the
and
i.e.,
the
horseshoe-shaped
Rami
or
Branches.
into
an oblong
8.
ramus expands
Glenoid Cavity of the Temporal bone
and forms the Temporo-niaxillary Articulation, a very secure double-hinged as
lateral
joint,
which allows backward and forward, as well
movement
of the lower jaw.
The
junction ot
the
Modelling
12 bodv
the bone and
oi
varieties,
angle
the
it
In
See
obtuse.
is
is
more
in the child, or
developed individual than Avhere
Apart from
and shape of the cheek.
really decides the width
individual
a rounded angle, which
Rami forms
the
Figs. 9, 10
Fig.
and
acute
again
the
in
in
fully
an old man,
11.
Fig.
10.
II.
Fig.
9.
the
same way the Alveolar Processes are not so pro-
minent
in a child
when the
teeth
as in a full-grown
fall
person
out, these processes
;
and
in
old age,
become absorbed and
disappear.
There are various processes and ridges on serve as attachment to powerful muscles
our purpose is
is
subcutaneous,
human
bone, which
most important
for
the triangular Mental Eminence, or Chin, which
and therefore of great service
measures from, besides the
;
this
its
Above
face.
for
taking
being a very characteristic feature it
is
the Symphysis, a vertical
in
line
which marks the union of the two Maxillary bones.
The name
of
transverse
^louth
is
line
which we specially designate by the
surrounded
by the
lips,
which
in
their
—
Modelling
i
turn are surrounded by the Labial group of muscles.
are
J)
These
:
The Levator of
{a)
draws
it
{b)
of the (f)
forwards
The Levator of Upper Lip
the Angle,
is
raises the
a laughing- muscle w^hich
a sad expression
{g)
down
(//)
The
;
the Angle,
of the
assists in
producing
Lower
Lip, which
draws the
and
last
— not
used
in raising
it
and
least
Orbicularis Oris, which surrounds the mouth and
On
the upper
lip
it
forms a vertical
Furrow, the ridges of which form the inner borders of
two long triangular spaces, the other two sides of these formed by the line
;
which draws the corner of
the Loi^'er Lip,
which forms the Lips. Jlledian
;
;
The Levator of it
the corner Ijack-
;
The Depressor
protruding
outer part
draws the outer part of
mouth downwards and backwards and
lower Lip
and
an upward, outward, and backward direction
lip in
The Depressor of
(/)
it
;
The Zygomaticus Minor,
the upper
the
which
The Zygomaticus Major, which draws
{a)
raises
;
wards and upwards, and
{e)
Upper Lip. which
the
free border of the
upper
lip
and the naso-labial
descending from the wings of the nose
the mouth.
Figs. 12
and
being-
to
the corner of
13.
The Median Furrow ends
in the
prominent JLdian Lobe of
Modelling
14
Figs.
A. B. C.
D. E. F.
G.
H. I.
K.
N. O.
The The The The The The The The The The The The
12
and
13.
Levator of the Upper Lip.
R.
Levator of the Angle.
S.
Zygomaticus Major.
T.
Zygomaticus Minor.
U.
Depressor of the Angle.
V.
Depressor of the Lower Lip.
W.
Levator of the Lower Lip.
X.
Orbicularis Oris.
Y.
Pyramidalis Nasi.
Z.
Compressor of the Wings.
i.
Buccinator.
2.
Common
3.
Levator of the Upper Lip
and Xose.
The Levator of the Upper Q. The Tensor of the Lids. P.
Muscles of the Face and Neck.
,
Lip.
4.
5. 6.
The The The The The The The The The The The The
Orbicularis Palpebrarum.
Occipito Fi-ontalis.
Temporalis. Masseter. Digastricus. Digastricus.
Sterno-hyoideus.
Omo-hyoideus. Thyro-hyoideus. Stylo-hyoideus. Sterno-cleido Mastoideus,
Trapezius.
Modelling the upper
lip
at
;
its
i^ beyond which
sides are slight depressions
The lower
the lips are carried on by a convex form to the corners.
has no median projection, but there
lip
is
a median depression
from which two convex forms start towards the angle of the mouth, where the upper and lower covers this red border of the lips
lips join. is
The
skin which
From
closely adherent.
the fact of there being no cartilaginous
framework
in
the
lips,
they are very flexible and lend themselves to the most varied expressions.
There
is
another
small
surface-muscle,
called
specially
Risorius or Laughino- Muscle, which acts together with the Zygoinaticns 2Iajor, Figs. 12
and
to
produce a laughing expression.
See
i2>-
After having well mastered the anatomical characteristics,
and having on
this
lips
;
laid
on your board a certain quantity of
mass a horizontal
line to represent the
draw
division of the
then with )'our callipers measure the distance from corner
to corner
of the
horizontal line.
ways, and work
mouth, and
set
this
in profile its
— with small ;
balls of clay
then stand
and with the work executed from the
— always keeping
slightly
off
plaster
projections and depressions
from the opposite side-view
the rest,
distance
Turn your board and the
of the middle with
in
clay,
in
;
model
— the
side-
outline
do the same
front ot
profile as
on your
the work,
your guide,
below the volume.
fill
6
Modellino; to
1
You may and lav the strips, rather
and
superficial
muscles on
exaggerating their form than drawing them with in three stages, Figs.
to
proceed by section,
that ^'ou look at your
what you have done so
by
try
Thus
far.
look at your work and the model from a three-quarter
view, and correct
it
from that point of view.
Having worked your masses you
points,
different
proceed
to
and the numerous half-shades: the
compare them and
same contours from these points of view.
)-ou will correct
Then
is,
model and your work from the same point
of view, from below and above, so as to to obtain the
— that
— taking good care
studying your work from below and above,
sense
14,
16.
And now you ought
use
well-defined
separate,
in
See Photogi'apli of mouth
indecision.
15
then at once apply your anatomical knowledge,
expression
of
your work
light in
and
the
"colour" shade.
same
effect
well
work by
this in
together
I
this
call
You must be
these
and shade
light
Colour,
w^ork
from
and
entirely careful
shall
I
in
to
the
place
of light as the model, and in a
strongly projected light from the side, which will give you a greater variety of shades than a light from the front,
—
in the
latter,
numerous small depressions pass unobserved, so that the
result
would be a surface without
life
and movement.
\Vith the help of this working by colour, and by frequently
turning the work and model so as to gain different
effects,
and
Fig.
14.
[To face fa^c
19,
Fig.
15.
[
To foiC
/>ilg£ 16,
Fig.
1
6.
[
To face page
16.
Modelling different points of
view
for
your drawing,
work by drawing, and must
correct your
)oli will
at last arrive
In short, you must always
form of your model.
at the simple
17
try to obtain simplicity
knowledge of the form.
by colour, and expression by your
Obser\'e that work done in a side-light will always look well
when turned
to the front
whilst,
on the other hand, work done
from a side-view look uneven and undecided
in full light will its
;
in
planes.
Take
much
care noi to use the tool too
:
it
prevent
will
you from acquiring suppleness of the hand and trom developing a fine
the
wooden
artist,
The human
touch.
tool,
will
energetic,
I
in
tool
nose
The two
it
in
sure than
intentions ;
the
ot
the finger
is
intellectual,
wherever vou can
an in-
q-qi it
places where the linger
in.
Second Feature.
The
the
might almost say an
and only use the wooden
cannot get
lirm and
varied degrees
strument, and vou must alwavs use in,
more
transmit
best
and express them
intelligent,
finafer.
is
formed
partl\-
— The
Nose
by do/w and partly by cartilage.
elongated N'asal Bones, joined to the Cranium
just
below the Glabella, form the bridge of the nose, and are supported at the sides by the ascending processes of the Superior
Maxillary
;
to
their anterior border arc attached
Cartilages of the nose.
There are
the Lateral
live principal cartilages,
c
an
8
Modelling
1
upper and
i\
lower Lateral
on each
cartilag'e
See Figs. 6 and
one between the two halves of the nose.
page
II,
The There
and Fig.
is
14,
owing
to variety of
The muscles
The
the bone.
view are
form
in the arch, as
muscles from the
principal
well
as
but slightly conceal the shape of point
artist's
of
:
The Pyramidalis
Nasi, which
tinuation of the big Frontal muscle
The Compressor of and
///)
The very
is
really
only a
con-
;
which envelops the sides
the Wings,
of the nose below the previous muscle (/
and
a vast difference in the shape of the nose in races
in the cartilage.
{k)
7,
lower lateral cartilages support the wings of the nose.
in individuals,
(z)
page
12,
and a median
side,
;
diminutive Anterior and Posterior
Dilators of the Nose, at the side of the nose, and hardly visible
Depressors of tJie Wings of the Nose
and
in)
^X'i^
(t*)
The common Levator of the Upper Lip and Nose.
;
;
Refer
to Figs. 12 and 13, page 14.
When
you have
v/ell
studied the position and characteristics
of these bones and muscles, erect your board in the (vertically)
by the side of your model.
support to your work,
make
To
same way
give the better
a small butterfly, which ought to be
inside the most projecting part of the nose, taking care to it
sufficiently small, so as not to allow the
out of your finished work.
make
ends to show or stick
Fig.
17.
{To face page
ig
Fig.
\To face page I 8.
ig.
Fig,
19,
[To /ace J>age
19.
Modelling Proceed
then
the previous feature, paste on to
and
it,
be done on
on
put
a
let
same way
the
in
me
the
for
for
all,
beginning of
make
mass
of
clay
to
a
clay
that this has aliuays
modellinor on a backiiround.
startinq;
sufficient
once
say,
as
your board,
moisten
i.e.
19
cover
the
Havinof cross
and
give the size of your model, you measure with callipers the length first
of the
nose,
from one
and above, indicated
;
side,
and
start
the
to
other,
outlines of wings
and
work the
profile,
below
then from nostrils
sharply
then you take the three-quarter views, and at last the side-light, thus
from every point of view, a mistake, until to
once
from
then
to get the
colour, in a
you not
at
round
the planes.
it
is
to correct
much 17, 18,
would particularly warn
I
the tip of the nose, but well
and
Third Feature. For our purpose the outer needful, whilst the
your work wherever you see
satisfactory.
off too
See Figs.
modelling and drawing alternately
show
19.
— The Ear
ear,
or Auricle,
Anatomist proper has
to
is
all
that
is
study carefully also
the parts of the ear hidden from view.
We
have
internal face, ihii
to
examine
in
the Auricle the external and the
and observe that the depressions of one side are
prohideraiiccs of the other.
The framework
of this feature consists not of bone, but of c 2
Modelling
20
much turned and
cartilage,
the Ear-Passage, where
the skull ear,
:
which
The
twisted,
into
riofht
attached to the bony structure of
is
it
which descends
the cartilage does not descend into the lobe of the
made up
is
of areolar and fatty tissue.
outer curved rim of the ear
is
called the ''Helix''
generally more or less folded over at the upper part
and
this curve,
parallel to
it,
;
it is
within
;
the shorter curve of the Anti-
is
which surrounds the deep Shell or Concha^ that
helix, a ridge
Ear-Passage or Auditory Meatus.
leads into the
upper
Its
part branches off into two ridges between which lies a small
Fossa, which
loses itself
under the overlapping part of the
Helix. In front of the Concha, protecting, as into the ear,
— the
the
Ti^agus, presenting a
Immediately behind
outside. (
is
point from which
behind which
and below
it
muscles which
rises
we
its
were, the opening
it
convex form
lower part
is
a deep
notch
take our measures for the face
—
),
another protuberance, called the Antitragiis,
extends the Lobule or Lobe of the lie
to the
on the Tragus and Helix are very
even the three Auricular muscles, which
fix
The
ear.
insignificant,
the ear to the skull,
are so small and thin, that they hardly influence the surfaceform.
The
closely
ear
follows
is
covered with a
all
the
depressions
cartilaginous framework.
The
fine
process of working
and smooth and
skin,
projections
which
of
the
(Fig- 20.) will
be the same as indicated for the
[To face pa^e
Fig. 21.
21.
.
J'lO.
[
To face
J'agc
2
1
{To face page
21.
Modelling previous
studies
only
;
me
let
21
repeat
drawing and working by colour-effect
upon
insist
shall
whether
That
student
must
draughtsman,
of
the only principle
I
our studies,
all
why
is
above for
modelling-
a
all
be
drawing
will
a
eood
give him
not only precision in the form, but is
is
principle
be from the cast or from
the}'
nature.
for
the
that
means
also the only
work graceful and
of
telling,
making
—a
it
his
quality of
work which can never be obtained by him who cannot draw, and whose work will
always remain heavy and common-
Therefore when you have under-
place.
stood the heart,
why and
drawing
work.
21, 22,
lies in
1.
Helix.
4.
Lobe.
2.
Concha.
5.
Anlitragus.
3.
Tragus.
it
by
remain the most important part of your
and
23.
Fourth Feature.
The eye
20.
wherefore of each form, and know
will
See Figs.
Fig.
— The
Eye
the socket, called Orbit, which
formed by
is
various bones.
The
Frontal
upper border, Superciliary
Bone forms
on
which
E))iinence
are
the roof of the cavity
the
itself,
Supra-Ovbital Ridge and
well
defined.
Where
its
the
the Supra-
Modelling
22
Orbital Ridge terminates, in the External
the Malar
Bone continues the outer
border of the Orbit, which the
Upper Jaw-bone.
The shape
completed by the Nasal Process of
is
See Figs. 6 and
7,
in its
two oblique muscles of the ;
page
11.
w^hich the orbit presents in the skull
Globe of the Eye, held
Processes,
and part of the lower
wall
what irregular rectangle, within which
from view-
Angular
rests
is
a
some-
Eye-Ball or
the
place by the four straight and the eye-ball,
which are entirely hidden
they surround the Optic Nerve, and only interest
us on account of the influence they exercise on the
They
of the eye-ball.
rotate the eye-ball,
moving
it
movements respectively
outwards, inwards, upwards, or downwards.
The Globe
of the
Eye
consists of a large sphere, the
opaque
white Sclerotic, and the segment of a smaller sphere in front of it,
corresponding with the round, transparent, and prominent
Co7''nea.
ThrouQfh the Cornea we see the
Iris, havino- in its centre the
round opening of the Pupil, which shows as a black spot and admits the light into the interior of the eye.
have
all
observed
its
The
left
dare say you
facultv of contracting- in a strong lio-ht
dilating in a diffused light
on the right and
I
of the
and that occasionally the
;
size varies
same person.
eye-ball lies with the greatest ease in the
ample socket,
being surrounded by a larger or lesser quantity of fatty
on which
it
rests,
and
and which
fills
the
tissue,
empty spaces and corners
—
—
Modelling of the hole.
The
23
connection with the eye-lids
under their surface by a very loose
front
which allows the
lid
move
to
easily over
is
managed
in
luiicous vicmb^'ane,
The
the eye-ball.
muscles of the eye, which to some extent affect the surface, and therefore our work, form
The Palpebral Group
;
these consist of
The Levator of the Upper Ltdy
The Tensor of the Lid, and The Orbicularis Palpebrarum. The
Palpebrer, or
Eye-lids,
fibro-cartilage
;
its
Tarsi, are supported
outer border constitutes the margin of the
and causes the comparatively
lid,
forms an acute angle small into
flattened,
At the outer corner the junction
lids.
tiie
thick
edge of the
of upper and lower lids
not so at the inner corner, where the
;
Lacrymal Fossa
which
by thin
interrupts them.
This Lacrynial Fossa-
Lacrynial canals, coming from the tear-bag. empty
themselves, and which slants towards the nose, contains a small
pink elevation, the Caruncle. very thin and contains no
The Levator of the orbit, and
The to
is
the
The
skin covering the eye-lids
fat.
Upper Lid
is
rather deep-lying within
hidden by the Orbicularis muscle.
7'ensor of the
Lid Q\r3.ws
it
inwards, and appears almost
be a deep-lying part of the Orbicularis.
broad,
elliptical
is
sheet
portion covers the
lids,
of muscular
and by
its
fasciculi,
This by
latter, its
a thin,
palpebral
orbital portion covers
the
Modelling
24 margin of the orbits at
one point, and
slightly attached to the
Malar Bone
fibres blend with those of the
surrounding
it
;
its
is
muscles of the forehead, cheek, and occasionally with those of a nasal muscle. Its action is to close
emotions, and
in closincj
the eye for sleep as well as in various the lid
opening towards the inner.
by the Tcndo
Ocitli,
The
moves
the outer anofle of the
inner angle, being held in place
does not move appreciably
useful point for us to
The
it
measure from.
;
See Figs.
12
therefore a
and
13.
Orbital part of this muscle has a great effect on the
skin of the surrounding parts of the face, and action causes the wrinkles
You
corner of the eye. fully
it is
and
will
its
contracting
folds of the skin at the outer
have
to study its action
very care-
from your Anatomy-books, and from your own face with
the help of the looking-glass.
you a hint what lectures at
Anatomy
to
look
for.
I
can here do no more than give
The
late
South Kensington, used always
students that they carried their
with them.
Dr. Bellamy, in his
I
beg
to repeat this,
study before the looking-glass
and
to
impress on his
own
skeleton about
to point out to
will reveal
you that
and make clear
to
you
anatomical details, such as your unaided eye can hardly see the model.
See Figs.
24, 25,
and
26.
in
^
{'
T
\
^.JOB'itm'^
I'li;,
24.
I
To face page
24.
I
y J-'IG,
25.
I
'<'/"'"'
/"iv
24.
I'lG.
26.
[To/acc
/<a^c
--4.
THE HEAD The
Skull, or
bony part of the Head,
Cranium and the Face, each
parts, the
On
posed of several bones.
we
other,
front
in
oval-shaped
"
Foramen Magnum
compare the extension of the it
(see Figs. 27, 28,
that,
(
â&#x20AC;&#x201D;
in
and
29,
is
at
;
you may take
and,
predominate
over
the back,
and it
instincts.
back of
at the
as a general rule,
predominate
where the forehead
more
are
and
where the back portion
versa,
vice
and upper part of the skull
some are
;
as a point of centre,
skull in front
com-
you take the
If
of larger extent, the instincts
over mental capacities
faculties
"
races and in individuals),
of the cranium
development
breadth.
in
distinct
skulls with each
and above, others more
have their development
others,
two
part being again
comparing several
notice great variety in their
more developed
consists of
mental
developed, the
In
African,
e.g.,
you see the forehead receding and the Occiput largely projecting,
as
if
it
must balance
the
European, on the contrary, you see vertical,
and but
little
projection
have a chance of observing the
at
projecting the
Facial
the Occiput.
skulls of
chin
;
in
the
Line almost
When
different
you
nations,
â&#x20AC;&#x201D;
26
;
Modellinii
races,
and
and individuals,
I
would advise )ou
to take notes of their diversity, as
more than
direct your attention to
I
to
compare
carefully
have not time
the
do
to
great variety in
the
subject.
The
consists
skull
Figs.
27,
28,
of
several
and
29.
Occipital.
B.
Foramen Magnum.
M.
Glabella.
C.
Occipital Condyle.
X.
Styloid Process.
D.
Parietal.
O.
Auditory Foramen.
P.
Zygoma.
Q. R.
Malar.
S.
Nasal.
/
Basilar pro-
B'.
JE.
Temporal.
E'.
F.
E'".
Petrous.
Palatine.
Alveolar. Upper Jaw-bone. H. Lower Jaw-bone. H'. Ramus
G.
of
Jaw-bone. J.
Frontal.
L.
L'.
Frontal Eminence.
vL". Superciliary Eminence.
Temporal Ridge.
Ie". Squamous Portion.
the
b\-
Bones of the Face.
A.
cess.
E.
bones articulated
Sphenoid.
T.
Ethmoid.
U.
Mastoid.
Glenoid Cavity.
Siittircs
which
belong
to
the iniinovable joints.
these Sutures the edges of the bones
In
are serrated,
some
of
in others
they are bevelled and overlapping, others are deeply indented in
short,
there
is
a
great
variety
in
their articulations,
and
â&#x20AC;&#x201D;
Modelling no movement can occur
at
continuous growth of the
membrane become
result
these joints
bones, for a
yet
;
they allow of of fibrous
thin layer
intervenes between bone and
bone.
The
sutures
When
they unfortunately become
children, the brain can
no longer e.xpand, and the
osseous in old age.
young
so in
2-]
is idiotcy.
The bones forming
the outer surface of the
The
Cranium are
:
Occipital,
The two Parictai The
Frontal,
The two Temporal, The
Sphenoid, and
The Ethmoid
bones.
The
four first-mentioned are the larorer ones.
The
Occipital bone, or Occiput,
is
the lowest and hindmost
bone of the Cranium, h\ which the head It is
convex
called
to the exterior
;
its
the brain
;
on the right and
the Occipital Condyles, which vertebra,
The
it
left
is
Cord passes
of this opening are
to allow facility of
part anterior to the
called the Basilar Process,
part posterior to
the Spinal
into the articulation of the
and are so arranged as
with great security.
of skull)
fit
joined to the neck.
lower part contains the opening,
Foramen Magnnm, through which
down from
is
Atlas
movement
Foramen Magnum,
joined to the Sphenoid Bone
;
the
forms the Occipital Protuberance (see Fig.
which gives attachment
to the
Ligamentuiii A^ucher,
Modelling
28
muscle and to the
the Trapezius
This
the most
is
projecting
muscle.
Occipito- Frontalis
part of the
back, and also the
thickest part of the bone.
As the
the Occiput forms the back and base of the Cranium,
Parietal Bones
form
the upper part of
stitutes
summit
the
;
wall
by the Frontal Bone, which
forward
being continued
and
sides
its
the Forehead ;
the face,
the root of the nose and
con-
forms
it
upper border and inner roof
the
of the Orbits, and part of the base of the Cranium, which
the
Sphenoid
hardly
come
completed by these
latter
work
concerned,
is
and
as
above the Temples
the
Temporal the
Fossae
ear,
and
AngtLlar Processes these
direction
maro^in nose,
the
you observe frontal
external
produces
the
Temporal Ridges, which
and in
themselves
lose
front
terminate
join
Malar
the
which
and are continued
more
or
less
to
the
bones in
form
is
an
below).
inward
the
upper
the root of the
indentation
The smooth, broad
this indentation
External
the
at
limit
back
the
at
angular processes start
the profile.
bone above
skull as well
each side of the forehead you
Siipra-Grbital Ridges,
in
our
On
(which
of the orbits,
which
which
as
eminences, ridges, and
various
which you must study on the dried
see
From
with
surface,
but
;
only mention them.
I
on the living model.
behind
the
to
The Frontal Bone shows processes,
Ethmoid bones
is
that
part of the
called the Glabella;
on
Modelling each side of
it
you observe the N'asa/
Supernliary Eminence
starts
in
29 liniincuce,
from which the
The
a sHo^htly curved ridge.
space between the Superciliary Eminence and the Supra-Orbital
Ridge contains the Frontal Sinus.
This Sinus consists of an
air-space between the outer and inner layers or tables of the
bone, and, by means of a corresponding sinus bone,
air-space
this
communicates
with
the
the
Ethmoid
nose.
These
in
sinuses evidently serve to increase the anterior part of the base
Cranium
of the
women as
is
than
often
they do not exist
in
men, and diminish
in
;
in
childhood, are smaller in old aofe.
supposed, indicate an extra
Thev do
not.
development of the
cerebrum, but probably give resonance to the voice.
Above
the superciliary ridges, and separated from them by
a depression or furrow,
between them that in early
in
life
the
we
find
the Frontal Eminences, and
Median Line
a
\'ertical
ridge, indicating
the Frontal I)one consisted of two halves.
The two Temporal Bones occupy
a semicircular space on
the sides of the Cranium, between the Occipital, Parietal, and
Sphenoid bones.
They
are
consisting of four portions,
somewhat complicated the
and Zygomatic portions, which
The wedge-shaped Petrous hearing,
fits
into the
Petrous, Si]uamons,
in
shape,
Mastoid,
meet round the ear-passage.
portion, containing the organ
base of the skull
;
of
fiom the side of the
Atiditory Meatus the Styloid Process projects into the neck, there to serve as attachment to several muscles and ligaments.
Modelling
30 The
Temporal Bone occupies the
$qua))ioiis portion of the
The
space above the ear and most of the Temporal Fossae. space behind the ear
taken by the Mastoid portion with
is
This
Mastoid Process.
larofe
latter
To
the organ of hearing.
assist
muscles are attached.
various
largest in the
male
It
is filled
with
air-cells,
small
which
process
the surface of the is
children
in
its
and
In front of the ear there extends in a
sex.
forward direction the fourth portion of the Temporal Bone, the
Zygomatic ArcJi, which
is
Malar Bone ; beneath
the
joined in front to the posterior part of it
and protected by
it,
the
Temporal
Muscle and the great blood-vessels pass
freely
border the Masse ter Muscle
The Zygoma
base
its
two of which pass inwards, and form the Glenoid
which the condyle of the lower Maxillary
The Sphenoid touches Its
attached.
to
lower at
its
attached to the Squamous Portion of the bone by three
is
ridges,
into
is
;
all
Bone, a single bone which
the other bones of the Cranium,
body completes the base of the
skull,
is
is is
cavity,
articulated.
wedged
in
and
hidden from view.
supports the Septtun,
completes the Orbital Sockets, and by two extended processes fills
in
the space in the
Temporal Fossce between the Frontal,
Temporal, and Parietal bones.
The Ethmoid of the is
Cranium between the .Sphenoid and Frontal bones.
like the
the
Bone, also a single bone, completes the base
artist,
It
former bone, more interesting to the anatomist than to as
it
nowhere comes
to the surface in the living form.
;
Modelling Of
J;i
the bones of the face, only the JA?/^?;' bones, the superior
Maxillary, the Nasal bones, and the Loijc)' Jaiu-boncs show
on the outer surface.
The Malar bones
quadrangular bones clearly discernible
are the two thick
in
the face.
the bone sends out three processes, the
lonL,^est
superior or Frontal process, joins the External
The body
of
of which, the
Angular process
of the frontal bone, and completes the outer border of the orbit
the
Posterior or Zygomatic process completes the Zygomatic
Arch, the Anterior or Maxillary process
jaw-bone and helps
to
lies
on the upper
form the lower margin of the orbit
;
the
deeper parts of the Malar join the superior Maxillary, Sphenoid,
and Frontal bones.
As to
for the
pages
Jaw-bones and Nasal bones,
and
1 1
12,
where
I
beg
I
to refer
you
have already given you a sketch of
them, for the features of mouth and nose.
Muscles of the Head Refer to Figs. 12 and
muscles
their origin is
page
which are attached
i.e.,
and
insertion,
attached
conveniently
into
to
the
seven
We
14.
groups under two heads
in
attachments,
which
13,
:
may
â&#x20AC;&#x201D; Muscles to
divide these
with
Osseous
the skeleton both
at
and Cutaneous Muscles, one end of Fascia
groups:
under the
skin
Masticatory,
Auricular, Orbital, Palpebral, iVasal, and Labial.
;
or
more
Epici'auiaL
â&#x20AC;&#x201D;
Modelling
32
The Masticatory Gi'oup of Muscles.
To
these beloniy
The Temporal, The
Masseter,
The External Pterygoid, The
Internal Pterygoid, and
The Buccinator The Temporal
is
Mnscles.
(Refer to Figs. 12 and 13.)
a fan-shaped muscle, originating above the
Teniporal Fossa and the surface of the
narrows as
passes underneath
it
broad, strong tendon, and
is
Temporal Fascia
the Zygomatic
Arch
;
it
into
a
inserted at the Coronoid process
of the lower Maxillaiy.
The Temporal Function teeth,
:
â&#x20AC;&#x201D;
\^
the strongest of the Masticatories.
draws the lower jaw upwards
It
and also backwards when
above, but
deep-seated
Musctiiar Fibres
is
The Masseter part of the face.
is
it
protrudes.
lower down.
The
It
to close the is
superficial
direction
converging to the tendon. a thick, quadrangular muscle on the lower
It is
attached at
its
origin to the lower border
of the Zygomatic Arch, and below to the
Ramus and
the lower jaw and the Coronoid process.
The
fibres is oblique
of the
downwards and forwards
and oblique backwards
for the
upper
layer.
angle of
direction of the
for the
lower layer,
Modelling Function
:
—
It
33
elevates the lower jaw, draws
it
forwards and
sideways.
The
come nowhere
the
to
internal Pterygoid
the
Both the external and internal Pterygoids
Pterygoids.
surface
T^di?>sits
inner surface of the
external
Pterygoid,
Sphenoid
from
t\\&
Ramus
overlying
Function
:
— The
the
and
surface,
passes
former,
;
the
from
the
of the loivcr jaiu.
^xoXxyoA'fSy
Buccinator, or trumpeter's muscle,
muscle, covered
Maxillary
internal Pterygoid assists the action of the
Masseter ; the external Pterygoid
The
palate and sphenoid bones to of the lower
to the front of the neck
The
deep-seated.
they are
;
is
the jaw and chin.
a
tlat,
quadrilateral
behind bv the Masseter, but cominq; to the
filling
up the hollow between the Masseter and the
Dep7'essor of the angles of the
mouth and below
the Zygomatic
Major. Function: mastication
;
—
It
it
serves,
retains
the food between the teeth during
when
expel the air through the
the cheeks are inflated with
lips,
and thus
justifies
its
air,
to
name
ot
trumpeter's muscle.
The Epicranial Group. This consists of the two Scalp Muscles and the Corrngator of the Eyebrozv.
The two
Scalp Muscles, the Occipital and Frontal
are joined into one muscle by the Epici'anial Aponeurosis, and
named
the Occipito-Fjvntalis muscle.
(Muscles joined
like that
D
Modelling
34
— or should
I
say separated
?
— by a
transverse Aponeurosis are
called Digastric muscles.)
The
Occipital Portion
is
attached to the outer two-thirds of
the superior curved line of the Occipnt and to the Mastoid Process.
The Frontal
Poi^tion
attached to the external angular
is
process of the frontal bone, and to the nasal bone already pointed out on page to
be a continuation of the
1
(I
have
8 that the Pyraniidalis nasi appears
frontal muscle).
Between these two
bony points of attachment, the Fasciculi of the Frontalis mingle with those of the Orbicularis and the Corrugator muscles.
Both
portions of the scalp muscle are broad and thin
same
breadth, but longer than either
is
;
of the
the connecting Aponeurosis,
which covers the summit of the Cranium. Function
wards
;
—-The
occipital
:
draws the scalp back-
portion
the eyebrows and causes
the frontal portion elevates
the transverse wTinkles on the forehead.
The Corrugator
Stipercilis
is
a small deep muscle covered
by the Oi^bicidaris Palpebrarum.
It
exercises
considerable
by drawing the middle of the
control over the frontal muscle
eyebrow downwards and inwards, and thus corrugating the forehead, as
its
in the middle,
name
—that
is,
causing the vertical folds
which express suffering or frowning.
The Eyebrow muscular
implies
fibres,
itself
and
it
consists
of
fatty
tissue
mixed with
contains the roots of the hairs.
Observe
Modelling the
directions
in
which
these
35
grow
and
they
arch
the
form.
need not again indicate the muscles of the Auricular,
I
Ocular, Palpebral, and Labial Groups, as attention
besides
my
â&#x20AC;&#x201D;
aim
them
to
me
let
say
describing
in it
again
â&#x20AC;&#x201D;
not to write an
is
in
the
I
have drawn your
different
features
mentioning anatomical features,
anatomical work proper, but
prepare you for the anatomical lectures you ought to attend failing that,
Artistic
bones
in
bones,
is
if
lectures are not available, the special
Anatomy. hand, of
still
as,
You ought for
and
;
to
work
;
to or,
books on
particularly with the
sculpture. Osteology, or the science of
greater importance than Myology, or the science
of muscles.
Thus shall
in
do so
giving you later on an outline of the skeleton,
in
order to point out to you those places where the
-moveinent takes place,
you are face
I
i.e.
where you have
to look for
to face with the model.
D
2
it
when
PART
II
P
A R 1^
11
THE BUST Before beginning
the study of a head from
Nature,
it
is
necessary that the student should copy at least two busts from the plaster-cast, such as the head of
Roman) and The Lawyer published by
Faun
Lucius X'erus (Graico-
(see photograph of bust in three stages,
Chapman and
Hall) by Donatello, or the
(bust from the antique).
In the
same way
Laughing
as the features
taken from Michel-Angelo's David, these three busts possess all
in
the qualities desirable for the study of form.
them
little
is
so clear, the division of masses so plain, that with a
understands what each form
reflection the student easily
meant
to express.
in short,
As
far as
many
is
construction goes, they are perfect
;
they are splendid busts, the study of which can only
elevate the taste of the student.
models
The anatomy
for the first studies
teachers, but in
my
examples to copy, the
No
doubt, in choosing these
from the round,
I
differ
from a great
opinion one should not give beginners
(]ualities
of which consist in the beauty
of style, qualities which a beginner cannot understand, or at
!
Modelling
40 least
cannot appreciate at their
formed
in
full
the course of time, and
we
serious studies do
master-pieces, and
value.
Our
taste
is
only
only after a succession of
arrive at the true appreciation of those
The
can learn from them.
great apparent
simplicity of antique statues has suggested the idea of giving
them
correct,
at first sight simple
are in reality refined to such delicacy and so exactly
corttours
them
But these
as copies to beginners.
that
the
least deviation
by the student who copies
utterly spoils them.
And
as to the admirable modelling of these antique statues,
why, there
is
nothing
the world so difficult as to render these
in
learned simplifications and this exquisite delicacy.
We
should
leave to these inimitable works their true and superior task of instructing
Let us have them reproduced by casts
by example.
taken from them
direct,
admired before young
and place these
artists,
casts to be studied
when they
and
are capable of under-
standing the lesson they teach If
we put
consists
only
neglected,
he
will
before a beginner a head, the beauty of which in
style,
where
the
construction
slightly
where the anatomy and mechanism are not evident,
only see the surface, and try to reproduce a polished
surface, without seeing the beauty
which may be
but which he cannot understand.
(It
to expect a child
of
is
Beethoven's.)
who does
The
not
know
greatest
would be
in
the model,
just as senseless
his scales to play a sonata
harm
resulting from such a
Modelling proceeding
will
Nature, he
be
when
that,
model as he did from
comes
the student
what
not understand
will
41
his
all
round and polished
his antique copies a
He may go
ought from the beginning of our studies the reason
When we enough
;
give free
there will be no
style
on a student,
temperament, tends,
He may
INIind
to
be
have
will
proceed
fast
without is
our personal sentiment.
to
original,
;
for, to
knowing whither
a crime.
For
is it
one's
his
impose a bent,
his
not killing in him the
own way
of looking at
only become an imitator of his master's imitJitor,
unless he happens to be of
before
:
" Individuality
makes
you do not misunderstand the word!
originality
;
same temperament.
said
deplorable,
my
scope
more need of a teacher
and never a good
absolutely the I
and each
depression
takes us to analyze them.
it
germ by imposing on him
Nature? style,
is
and when we have mastered the principles and laws of
Then
artistic
understand what
have learnt the reason, our studies
we can
Nature,
each
for
projection, regardless of the time
to
on
We
without making any real progress.
life
before us, to find
model from
before him, and will
is
form, without heed of anatomical construction.
working
to
the
for
result
of
such
an
as
many people have confused
the
word
the
Do effort
artist."
not
strive
is
often
eccentricit}-
" personality" will perhaps better
with
convey
meaning. Unfortunately
it
is
not given to every one to have a distinct
Modellinof
42
personality or individuality for the others, trial
my
advice
Art employment
them.
It is
few have
;
to
is
seek
a well-known fact that sculptors
in
them, which
who have begun
gift
;
and
which their studies have well qualified
for
other branches of the
soon excel
supreme
the branches of Indus-
in
by studying from the human figure can to
this
easily adapt themselves
and, after short apprenticeship,
art, is
who have begun
not generally the case with those
with another branch,
â&#x20AC;&#x201D;
say, flowers, ornaments,
animals, &c.
After
having-
casts, the
student
modelled two or three heads from plaster-
may
pass on to the study of the living model,
the head from Nature.
I
need hardly say
that this study of a head must be repeated
and continued
for a long time.
Provide yourself with a wooden modelling-stand
â&#x20AC;&#x201D; that
is,
a
board
(about
i8
inches square) in the centre of which an
upright piece of wood, about 9 inches high
and from
and firmly 30.) -^
Fig.
On
i-^
to
2
inches square,
fixed with wedges. to
is
let
in
(See Fig.
the upright nail a piece of
lead piping, to prolong the framework up to
30.
the Fig. 30 indicates.
summit of the cranium of your
If the lead pipe
is
not very strong,
it
bust, as will
be
advisable to have two butterflies suspended from the top, one
Modelling for the front,
one
for the
43 The
back of the head.
using lead piping consists
in
movabihty,
its
if
advantac^^e of
one wants
to
change the action of the head during work, without destroying
A
what one has already done.
framework,
whatever study,
for
should always be strong, and at the same time malleable, after
being covered with
clay.
It
is
the student from the bc^inninor should
very carefully, as by that he
When
the framework
you proceed
to
is
will
save time
finished
same
the end.
Begin by covering your framework ;
i.e.
at the
put a ball of clay,
or 2 inches projecting, in front of the lead pipe, and the
at the sides
having the
and back of the
raise a
;
column of clay
this
right in
up a
direction to the board on which your frame rests.
if
you do
not,
you are sure
in the centre of
to ha\-e
it
an inconvenient place, where you cannot push destroying some of your modelling.
so as to face the profile
;
calculate or
come out it
in
at
without
(See Fig. 31.)
After having built up this column of
where you
sure of
Taking
neck.
lay stress on your placing }our pipe well
the bust
make
and then complete your column
to the top of the head,
downward
pipe, so as to
latter well in the centre of the
mass of clay as your guide, you
I
in
frameworks
his
and placed on the turntable,
neck, at the level of the collar-bone I
make
wet the board and pipe and make a good clay
paste over them.
about
important that
therefore very
cla)',
turn your
work
measure (from the place
fixed the articulation of sternum
and collar-bone) the
Modellino;
44 height of
the chin, and
mark
place
this
by
a
projecting, small peg, of about the thinness of a at
once a
amount of
sufficient
projection of the chin,
clay
Pay
match
;
place
from the neck to the
â&#x20AC;&#x201D; always pressing each fresh make
well on to the preceding layer, so as to
avoid air-holes.
horizontally
ball of clay
it
adhere and
attention to getting the right projection
r
Zl Fig.
from neck line), else
the neck,
Fig. 32.
.^i.
to chin at once (by it
measuring and using the plumb-
might happen afterwards that you had
which would expose your pipe.
times out of ten to pupils, who, into their work, or
instructions as
in their
details.
increase the projection than to
make
It it
This happens nine
hurry to get expression
even to build up the
insignificant
to cut into
hair,
consider these
would be better
too short.
(Fig. 32.)
to
Modelling Then
continue
tion of the face
in
up
an upward direction to put
the back of
to
in
the projec-
to the top of the cranium, so that
general h"ne of the profile (see Fig. this outline
45
the
2,2,),
head,
you get a
and go on continuing all
keeping
the while
slightly 7tndcr the actual dimension.
When
you have thus
your work, and add
set
up the
— with the
f
Fig.
guide to
—
work the
Fig. 34.
clay
sufficient
and back, face
projection of the profile as your
:^.
£
profile, front
detailed
at
make an
the sides to
features of the face
oval,
(Fig.
on which
34),
always
putting on less clay than the actual volume finally required.
Turn again
to
the profile,
point at the top of the sternum
the profile of the
and from the previously fixed
— the
sternum, which
sitpi'a-stcrnal notch
you
will
find
— add
to consist of
46
Modelling downward
three planes, mostly in an outward and
Then
direction.
place the collar-bones starting from the luaimbrimn, or
upper part of the sternum,
to the shoulders
;
in
fill
between sternum and collar-bone by placing the muscle
the angle
<gx^2X
pectoral
then at the back find the approximate place of the
;
cervical vertebra,
i.e.
the nape of the neck, and
fill
last
in the place
from there to the shoulders with part of the ti^apezitis muscle. liminaries carefully
you a great deal of I
have
should putting
it
executed difficulty
mentioned
already
roll
All these pre-
save
will
later on.
that
the clay in your hands before
your
on, as this will prevent
work from being too rough, and assist
you
precision
in
the
will
superstructure,
(Fig- 35-) It Fig. 35.
table,
make
your model stand by your modelling
your work
and upright wish
assist
well at the beginning to
or sit on the throne, so that his head should be at the
level of
you
is
you
at
to in
;
the
give
and make him hold
his
head quite straight
â&#x20AC;&#x201D;without regard afterwards, â&#x20AC;&#x201D; as
beginning,
him
this
of the pose will
greatly
getting the proportions and measurements well
established.
Having thus prepared
the foundation for your work, you
â&#x20AC;&#x201D;
Modelling
47
begin very carefully to take the following measurements with a steady pair of callipers I
The
St.
:
distance from ear to car, taken from the deep notch
between Tragus and Antitragus (see Fig. 36A and
measurement off on the two
sides of your oval,
by two pegs of wood or matches
them
"
advise you to take matches,
(I
I
firm,
without being too thick), pushing the w^ood
Fig.
the
call
matches
"
xdx.
future, as these are
in
will just
a fairly accurate calculation far
preliminary
back with regard use
to
how
is
therefore
two points are the starting-points
ments of projection. points are
Note
horizontally
on
notches, you must
the chin they will be.
of the plumb-line
little
for
all
same
level.
The
much recomextra trouble,
your measure-
also from the front whether the
the
Of
high above the sternum
mended, and do not shrink from taking a for these
so far that
be the exact measure.
course, before settling the place for these
and how
in
Fig. 36c.
extreme projection
make
Set this
and mark the points
and
shall just
n).
When
you
two feel
Modelling
48
pretty sure of having got your matches at the right points, put
some
them
clay round
Then
2nd.
to
keep them
in place.
turn )'our model and your
and by means of a
ruler or
work
to the profile,
any other straight-edge, held
at
arm's
length, in a horizontal position, ascertain the relative position
which the whether
tip
it
is
of the nose bears to the notch of the ear, just in line with
carry the difference,
if
there
is
it,
Try
or above or below.
any, well in your eye
hold the straight-edge before your
own
bust,
point for the tip of the nose by another match.
i.e.
to
when you
and mark the
Compare
this
Fig. 37.
well from the other profile, so that
centre line of the face. 3rd.
(Fig.
you get the nose well
in the
2,1-)
Measure on your model the distance from the notch of
the ear to the most projecting part of the nose-tip (Fig.
^'i)
(take this measure on both sides, for you will frequently find that the distance
on right and
measurement on your bust
;
left
side varies),
and
set oft the
and when you have arrived
the true projection from both sides, push your
match
in
at
until
Modelling its
projection will accurately
mark
+9
have obtained not only the distance from ear
4th.
will
to nose, but also
Build the nose up, so as to
the central part of the face.
your measure
Thus you
the point.
make
firm.
From
the tip of the nose measure the distance to the
most projecting part of the
chin,
i.e.
the subcu-
taneous mental eminence, and then put one leg of your callipers gently but tirmly on the measure for
the nose, and
Hold the
strike
with
callipers
an arc on
the
one
and with
hand,
the other place the indispensable centre of your arc, letting
To make
5th.
measure, you
now
sure
it
match
chin.
the
in
project sufficiently
of the
correctness
of the
previous
take the distance from the ear to the mental
eminence (see Fig. 40)
in
your
callipers,
and
if
this
measure,
taken from both ears of course, coincides with the previously fixed Doint on the chin, vour
chance of being correct. alter the place of it
in
the
of
It it is
your match
â&#x20AC;&#x201D;
your
it
until
Measure the distance from
beginning of the hair, callipers
on
the
fair
you have
not,
pull
â&#x20AC;&#x201D; and retake both measures,
6th.
Fig. 40.
measure runs a
out, or
to
push
they agree. the chin to
by placing one leg
match
marking the
mental eminence, and striking a small arc aboxe the forehead. (Fig. 41.)
E
Modelling
so 7th.
Take from
the profile the distance from the ear to the
beginning of the hair,
Take
described arc.
and intersect on your bust the
the measure from both sides, and
your intersections agree, insert your match. I
last
when
(Fig. 42.)
need hardly repeat that these seven measurements must
be taken with the greatest care and precision, and should not
be changed during the progress of your work, unless you have In that case, you have to take
doubts of their being correct.
them
all again, for
by altering one, you throw the others out
of proportion, and the fault to
be.
Take
Fig. 43.
Fig. 42.
Fig. 41.
care
also
to
is
often not
where you believe
it
keep their extremity uncovered
with clay, and do not push them
before your bust
in
is
quite
finished.
There remains another measure
to
be taken, which, although
not as important as the previous seven, is
may be very
the distance from the chin to the eyebrows.
measure by describing an arc on the model, if
the eyebrows
are
of the
in
same height on
useful.
You
It
take this
order to find out either side,
and
Fig. 44.
[\To face /'U^c
5T.
1
Modelling set
it
off in
the
same
5
your bust.
fashion on
and
(Fig. 43,
photograph, Fig. 44.) In order not to worry the model by repeated measuring, is
down
a good plan to take your measures
beginning.
It
is
mark
callipers, line,
a
point,
At the extremity
line.
on which you plant one leg of your
and with the other leg describe an arc intersecting the
and on
instance,
'"'
this arc write distinctly
ear to nose," " chin
measurements thus
safely
to
which measure
make
Now
to
work
on,
the bony construction
principal
projections
gone, so as
accidentally. certain
of the
points,
you must
head
in
set to
work
great lines,
its
on their proportion and relations character of a
principal
struction
head
and projections are not
a striking likeness,
work may be details will
fall
;
but,
each
to
depends.
the
correct,
you
the anatomical part
into their proper place
is
;
it
other that the the
If
will
however good some of the if
its
The bones form
and depressions.
framework of the human body, and support the muscles is
for
;
and the exact proportions of the
face, or at least of the principal at
moved
is
you have your framework properly made, a
mass of clay
is
on paper, you have the advantage of
sure the points have not been that
it
Having your
brow," &c.
being always able to verify them after the model to
the
in writing at
best to take a board (or a substantial sheet
of paper) on which you draw a straight
of the line
it
bony con-
never obtain
details of
well set up.
your the
and help on the resemE 2
Modelling
52
Besides, the taking of these measurements has also
blance.
the advantage of accustoming the pupil's eye to sec correctly
may
from which he
having- fixed points
for,
not depart, he
compelled to put the intermediate proportions size
and
place.
his
eye
will
is
right
their
in
;
After having done such a study a few times,
be
corrected of
its
bad tendencies, and he
will
naturally acquire a true conception of masses, and feel that he
must make sure of some principal points
instead of piling
first,
up a confused mass without order and intelligence.
Most I
sculptors
nowadays
up
it
much groping
after
in
it,
work
way
in the
because they have only arrived
the dark and loss of time.
therefore, not a question of inculcating in the
a
their
have sketched, although there are many who do not render
themselves a clear account of at
build
mind of the
method and
end,
but
ways.
student, but of initiating
practice at which he
would often
To
new and
arrive at
it
only
arrive
quickly, you
knowledge of the reason why,
â&#x20AC;&#x201D;
in
It
arbitrary ideas
him
at
once into
needs must arrive
by
slow
is,
and
in the
uncertain
must proceed with order, fact,
substitute
method
for
empiricism.
Once in
the student has grasped that the
appreciating the
first
study consists
positions of certain fixed points,
he
will
be able to select others that appear to him noteworthy and favourable to his work.
The
teacher,
on the other hand, must carefully watch over
Modelling the pupil whose work he directs pupil
makes
a
into the habit
do
it
in
good and
;
53
he must make sure that the
and get him
careful start for his work,
of working carefully, so that he
may
learn to
the end instinctively.
Having then
regularly followed the course of study that
I
have sketched, and acquired a certain correct judgment of the eye and a certain
of hand, he has further in the use of
skill
horizontal and vertical lines a steady and positive auxiliary, and will
be able to work with order and method.
He
will
now begin
with the orbits (taking as his guide the
arc he struck for the eyebrow), by hollowing out
two deep spaces
and indicating the shape of the brow
at the side of the nose,
the side and
above them, and the form of the cheek-bone
at
beneath them, so as to have the orbit ready
for receiving the
Then
eyeball.
sketch
formation of the bones the brow
;
bean-shaped
at
;
in
further
with regard
forehead,
the
to
the
add the nose, which you join
to
the extremity of the nose at once indicate the
nostril
;
then
tlie
lower jaw-bones.
them from
Start
the ears, well observing the angle they form below, and by them join the ear to the previously fixed point of the chin
the depression between chin and
upper jaw. marking
at
lower
lip
;
;
indicate
then model the
once the two corners of the mouth, well
observing their relation to the size of the dicated the large lines and places,
your model as well as your study
nostrils.
â&#x20AC;&#x201D; rather
Having
sparsely,
to the profile,
and
in-
â&#x20AC;&#x201D; you turn
set the ears
Modelling
54
up, regulating their projection again from the front view
then
;
draw the outHne of the crown of the head and the back of the head, going on to the outHne of the neck (to below the nape of
the neck)
neck by
sternwu nniscle.
;
come back
la)-ing-
to the front view,
and do the side of the
on the stcr7W-cleido-iuastoid muscles from the
to the viastoid process
h&\\\n<~S.
the ears, and the trapezius
Then, looking from below and from the
draw
front,
the shape of the collar-bone, and from the profile re -draw the
oblique line of the sternum, and connect these bones by the
great pectoral
iiniscle.
Go
once or twice again over the same
ground, by looking at model and study from other points of view, which will give you the projections of the bones
then from the front give symmetry to the two sides.
The
and
;
bones
should have their true projection as early as possible, for their proportions serve as guides to find the other points, whilst the
muscular parts should, up to the
last,
be
left
rather below their
actual volume.
The more less
you
care you spend on this preparatory labour, the
will feel that uncertainty
which
is
so apt to discourage
one, and to destroy one's interest in the model.
Need
I
say
that, after this
preparatory laying on, you resume your work by
starting from
the
possible, as
you had a pencil
if
profile view,
your paper, not only the of ears, neck, chest
â&#x20AC;&#x201D;
and draiving, as correctly as in
your hand and the clay were
profile of the face, but also of the back,
in fact,
of the entire structure,
â&#x20AC;&#x201D; comparing
Fig. 45.
[
To face page
55.
Fig. 46.
[To face page
55.
]!'(>
face
page
55.
Modelling
55
the proportions as to length and width, applying mentally horizontal, vertical,
just as to
and oblique
you would do
in
from one point to another,
lines
drawing a head.
be repeated from the other
side,
The same
process
is
then the outlines of the sides
of the head, looked at from the back as well as from the front.
After
drawn
the three-quarter views must be
this,
in
the
same
way, always taking care that you look at your model and }our study from the same point of view.
46 of bust
(See photographs 45 and
in clay.)
Having proceeded
movement
to
so
your bust,
you should only do so
if
far,
you may now give a pose or
you wish
after
it.
If
it
a portrait bust,
is
having attentively observed the
pose of the person you are modelling.
habitual
carries his
head on
Everybody
his shoulders in a slightly different
way, the
very action of the shoulders has an individual character, so has the direction of the eye, &c.
In short, you must well observe
the characteristic attitude of your model, which in a bust goes a
long
way towards
the likeness.
It
would be ridiculous
to
give
to a timid
and simple man the action of a fighting man
gladiator)
a thinker, a philosopher, does not carry himself like
;
a shop-walker or like a tragedian.
another man, either
in
every feature or
Such observation takes the bust of a
wanted
his
In short, no
man who
time.
mio^ht
portrait done,
You
come
to
(a
man resembles
in attitude
and bearing.
cannot properly execute
vour studio, savins^ he
and begun then and
there,
â&#x20AC;&#x201D; as
he
â&#x20AC;&#x201D;
Modelling
56 would say
to a
You ought
photographer.
him
ought
to see
like.
Having- found out what pose
is
know him
most natural
corresponds most with his character, then you
on your portrait
for
;
presentment of an
a bust
instant,
â&#x20AC;&#x201D;
That
is
There are
have never known or seen the
name nor
and vet
origin,
start
work
what makes many busts
of the old masters so admirable, and that
neither
him and
should be that of a collection of
it
of Holbein's portraits.
you
really
is
to
may
;
not merely the photographic
is
instants, a sort of biography.
many
first
know what he
private hfe, to
in his
to
you can retrace their character,
is
way
find in
which you
vou know
of which
in their features
their
you
portraits of
original,
â&#x20AC;&#x201D;
A\'hat
and bearing
of living and thinking,
the race from which they have sprung; and therein consists a
great part of the attraction, of the unconscious admiration, feel before
For
we
them.
a pupil
who
model, the difficulty
only is
makes a study from the
professional
not quite so great, although
it
will
be
excellent and desirable that he should also observe in this sense as soon as possible carefully
He purpose
him it
;
but what he has to learn
and methodically
must
first
best.
in his
left
to
proceed
work.
give to his model the action which suits his
The
lead
framework inside
to take a firm hold of the
right or
first is
his
will
allow
head with both hands, and turn
or slightly inclined, so as to
action of the model.
work
make
it
like the
In taking hold of the head, he should
Modelling
:>/
place his hands behind the ears, so as not to touch the latter,
and with gende pressure he
will
be able to manage the turn
in
whichever direction he wishes.
Having accomplished tion
much, you must turn your observa-
the Hues of contrast produced by the action
to
â&#x20AC;&#x201D;
model
this
you turn the head on one
for, if
side,
it
of
the
follows that
the shoulder, in the direction in
which you
turn,
comes
for-
ward, and, generally speaking,
than
also
will
it
other
the
whence
the
shoulder
action
That gives you trasts,
be higher
starts.
fouj-
tiuo contrasts
of
and two of p7'ojection. Fig.
47.)
To
conline,
(See
obtain these
on the study, you proceed in
the
same way
as for the Fig. 47.
head
:
vou take hold of the
shoulders with both to be is
to
hands,
â&#x20AC;&#x201D; one
hand behind the shoulder
thrust forward, the other in front of
the shoulder that
go back, pulling the former and pushing the
obtain the desired action,
latter to
and on the same principle raising
the one and lowering the other.
Now, having
settled the pose, the proportions,
and
to
some
Modelling
58
extent the construction, the drawing
is
the one thing needfitl to
occupy your hands and eyes,
Vou may now by placing
eye,
profile
to
indicate the eye, or rather the globe of the
a round ball of clay in the orbit, trying from the
view to get the same projection as
brow and cheek-bone.
Lay over
by means of a rather flattened your most careful attention inner and outer corner
They
cheek, &c.
ball
to the
this, first
of clay, and here
to speak, central points, If
If
you place them
mouth and brow, the nose far
down upon
will
it,
If
they are too
faj'-
too deep,
and the nose
will
too loiv with regard to short, as
they
and thus cause the distance nostrils
appear too
to
apart from each other, they
too far from the centre-line of the nose
make
far,
appear too
between the root of the nose and the short.
â&#x20AC;&#x201D;the
which give
you place them
the outlines of the cheek will recede too
descend too
draw
I
two corners of the eyes
the key to the outlines of the face.
the
the upper eyelid,
on them depends the place of eye and
;
are, so
stand out too much.
Nature with regard
in
;
and not only
the nose look too big at the root, but
w^ill
will
will
be
they
bring the outer
corner too far to the side of the face, which will incline you to enlarge the temporal part, and thus
Thus you
wide.
these
points
the whole head too
will
understand how important
correctly
by eye and measurement.
measurement from inner corner another
make
measurement from,
say,
to inner corner,
it
is
A
to fix
careful
rectified
the centre of the
mouth
by or
Fig. 48.
[
To face page
59.
Fig. 49.
[
To face page
59.
Fig. 50.
[
To face page
59.
Modelling
59
the extremity of the nostril, will assist the eye to
For the outer corners, measure outer corner
which
A
I
is
similarly,
and observe
always higher than the inner corner
have continually
to
draw
expression slightly lowers them. their cHstance from the ear,
Antitragus, from which
i.e.
It
you
assist
fact to
students
whilst
corners,
may
that the
â&#x20AC;&#x201D;a
my
the attention of
smile will further raise these outer
the place.
fix
to
!
a sad
measure
the notch between Traofus and
we have taken our
other face measure-
ments, and from any other point that strikes you as being an assistance, for the outer corners are as important for the true
outhnes of the cheek as the inner ones. 49,
and 50 of head Arrived
and
his
in ckiy.)
at this stage, the student
own study
as often
always the same point of view.
mean
(See photographs 48,
ought
to turn the
as possible, both
When
I
sa)'
to
model
afford
" turn."
I
him
do not
that the throne should be turned far round, but rather a
small distance, say two inches at a time, so as to give you not
only direct profiles, but three-quarter profiles and profiles seen
from the back, &c. this fashion,
If
you carefully work round the model
by the time you come back
to the
front view,
in
you
will
be able to correct by means of your anatomical knowledge,
and
to give expression
and intelligence
to
the
mechanism of
your work.
You should masses,
which
put the hair on with regard to
ought
to
be
laid
on
in
varied
its
principal
planes,
for
6o
Modelling to
the
suppleness of hair
numerous planes or
Once
shade.
is
never obtained by
surfaces,
detail,
which give variety of
these surfaces are put
in,
but by
light
a few intelligently
and
made
touches with the tool (or the jagged end of a broken piece of
wood), and a few small balls of clay put give oi
much more
and suppleness
detailed scratches,
air to
which
will
very decidedly,
to the hair
will
than a number
only impart a hard, metallic
it.
Here
would also advise you
I
grows round the
As
life
in
face,
a painter mixes a
and that little
it
to
study
the
Jioiv
paler in colour at
is
its
hair roots.
flesh-colour with the local colour of
the hair round the face and on the neck, so you must blend origin in these places with the fleshy parts, so that
it
its
does not
look stuck on, but o-rowino- on.
After having thus indicated the hair, and drawn and re-drawn the bust from every point of view, and modelled the whole
together by an intelligent understanding of the anatomical form,
and having corrected every possible mistake from
different points
of view, you ought to put yourself in a lower position than before,
and look up
to study the section of
every feature on the model,
and correct your work from the same to be
done
mount on
all
a
point.
This has, of course,
round the head, and afterwards you have to
stool
and look down on the model and your
work, to study the sections of the head and features from above,
and correct wherever you
find the slightest deviation
from the
Modelling Remember
right outline.
work up is
those parts
you must particularly study and
that
which arc not seen from the front view
those same points which
projections,
make
—
the face becomes
it),
without colour and construction.
and
turn,
round.
all
draw and
it
if
you looked
at
occurrence at the art
(a daily
however much the teacher may
students from doing
;
the face by showing you the
which you could not possibly see
the model from the front only schools,
6i
try flat,
Therefore,
I
to
and
prevent the is
naturally
say again
turn
:
from below and above, as well as
re- draw,
Neglect not a single point
;
— under these conditions
only will your bust be well set up and constructed as a work
deserving the
To light is
name
your model
finish, put
and shade
is
of sculpture.
the best to
well understood that
light,
you
in
a side-light
show up the try to put
:
a strong effect of
direction of form.
your work
in
the
It
same
not only as regards outline, but also with regard to the
value of light and shade. In working from this point of view, be guided not only by
drawing, but also by anatomical form for expression, and by colour for simplifying.
be sure that the space too light, you tints as well.
may
Do
If is
same
find a
too hollow
be sure
it
is
too
not forget that
effects as often as possible,
the
you
effect of light
—
;
shadow too if,
flat,
dark, you
on the other hand,
and so on
may it is
for the half-
now you must modify your
and always have model and work
side-light, of course
—
for the lioht
in
from
Modelling
62
the front must serve you only to see the result of your
and re-view light, as
fill
to
;
shows you very
it
and
polish
so to speak
it,
work
little
in, it is
up without rhyme or reason, so that the
and 53 of head
in clay.
When
at the finishing
you are
stage,
very
soft clay
skin,
it is
well to ;
is
51,
model a and with
cover the whole surface with a continuous layer
which
Such
together.
result
See photographs
across the form, to obtain a richer substance
little
of
the most dangerous
of form, and leads the pupil to
a heavy, expressionless piece of work. 52,
work
will
blend
depressions
the
and
convexities
on the forehead, or crow's
details as wrinkles
below the eyes, should not be obtained by cutting into the
feet
but rather
clay,
â&#x20AC;&#x201D;
for the
sake of suppleness
â&#x20AC;&#x201D;-by
superposing
clay w^hich the finger ought to shape into the right form on the w^ork,
to
and which should be very much effaced again, so as not
show too much.
DIAGRAM OF CONSTRUCTION OF THE FEATURES In
the
elementary part
divisions in the
attention to the
mouth. Oris.
form
of the
movement
I
have
mouth of
the.
;
already
now
p/anes
described
the
I
wish to draw your
at
the corner of the
These movements are produced by the Orbicularis
EXAMIM.K
Oi'
StUDV
I'KOM LlKE.
U'o
J'acf /'ag;c b2.
Example ok Study from Life
{To /iuc />ase
62.
ExAMiM.K OF Study from Life.
{To /ulC page
02.
Fig. 51,
[
To face page
62.
Fig.
52.
\To face page
62.
Fig.
[
53,
To fiiLi
/a^'c 02
Modelling You
the top of the upper Hp a large,
notice on
curved plane, which, diminishing were,
round
itself,
extends
in
the
to
size,
sHghtly
and twisting as
corner
of
the
it
mouth.
(Fig- 54-)
This in the
effect
is
produced on both sides of the upper
same way on the lower
These movements form a
lip,
and
(Fig. 55.)
lip.
radiation, the centres of which are
the two corners of the mouth.
It is
almost like a hinge-joint,
U ^ Fig.
54.
Fig. 55.
Fig. 56.
which suggests the impression that the mouth can open and shut
when and
The upper
as
it
lip
likes.
presents three
masses, the
lower
lip
two
masses, and two other large masses stand well out underneath the lower lipâ&#x20AC;&#x201D; all Oris.
of these accounted for by the Orbicularis
(Fig. 56.)
Nose
The shape
When
of the nose
is
decided by bone and cartilages.
the drawing of the nose, both from the profile and
Modelling
64 front,
is
nostrils,
pretty well correct, you must
first
study the shape of the
looked at well from below, and particularly note the ridge which separates them from each other. (Fig- 57-) If
made Fig.
nose
5;
will
central
this
too
thick,
ridge
the
(Columna Nasi)
nostrils
will
be too
from the centre and the lower part appear too thick.
then draw the nostrils
;
Try
to indicate
it
is
of the
correctly,
by these inner contours you
far
will
and get
the outer contours correct.
The
nose
is
often modelled too thin,
appear too long.
I
starts
allowed
its
from
If this it
59.)
mistake
is
at
placed too low, and
the inner if
the line
forms a too acute angle, the nose
proper thickness.
is
Fig. 58B, Right
is
not
Great attention ought therefore
to be paid to the correctness of these lines.
and
consequently
this
misplacement of the Laci-ymal Fossa
to a
corner of the eye.
which
will
have often noticed that
Fig. 5 8a, Wrong.
owing
and
(Figs. 58A
and b
Modelling The
forms
of
division
in
the
65
nose
These forms are always existing there
shown
is
â&#x20AC;&#x201D; even
in
Fig. 60.
in the
roundest
of noses, where they are only less
than
accentuated
in
A
others.
strong side-light on the model will
always show them up.
Another plane which
very
is
important in order to obtain suppleness round the nostrils, starts at the outer, lower part of the nostril, follows entirely
up
to the tip of the nose,
curved plane. I
meet the upper
lip at
in
make
a sharp angle, as
Nature.
There
separates the two, as seen in distinction
and mobility
pronounced
in
forms a slightly-
it
the oudine of the nose in profile
is
shown
in Fig. 62.
F"ig,
63
to the outline.
some persons than
This
always a small plane which
Fig. 62.
Fig. 61.
Fig. 60.
upper outline
(Fig. 61.)
often see students
never happens
where
its
;
Fig.
and
Of
in others.
this
course
6-
gives both it
is
more
66
Modelling
Ear More than any
other feature, the ear varies
outer tramework being entirely cartilaginous. generally vigorous in character. the other features
is
Its position
infinitely, its
drawing
Its
with regard to
of the greatest importance.
is
all
In the profile
the central point from which you ascertain the distance to
it is
forehead, nose, mouth, and chin.
Fig. 64.
If the ear
is
(Fig. 64.)
Fig. 65.
placed at too great a distance from the nose,
the head will appear too thin from the front-view.
And
from the side-view the back of the head
will
(Fig. 65.)
appear too
small. If the ear is placed too far forward, the opposite will
and the head
will
appear
flat
from the front-view.
happen,
(Fig. 66.)
Modelling If the ear
is
67
placed too high, the lower part of the face will
appear too long, and the upper part of the head insufficiently developed. If its place
As
is
too low, the opposite effect will appear.
nose (see
Fig.
68), but
parallel to the
is
there are
Fig. 66.
exceptions,
seem
(Fig. 67.)
a general rule, the direction of the ear
direction of the
will
numerous
Fig. 67.
which the student
knowing the general
rule.
Another general
rule
is
will
observe
that the top line
all
more
the
of the ear
for
falls
horizontally in line with the highest point of the eyebrows, and that
its
lower border
drawn from the
The
is
nostrils.
generally level with a horizontal line
Refer to Fig. 68.
length of the ear varies enormously, but a well-propori"
2
68
Modelling
tioned ear
about the space between the two horizontal lines
fills
indicated on Fig. 68.
The is
outline of the ear, looked at from the front of the head,
a matter which
too
flat,
demands
all
our attention.
were
not standing out from the head like that of the
i.e.
model, the face
will
appear too
thin.
This
is
a mistake which
Fig. 69.
Fig. 68.
nine out of ten beginners will commit
make
If the ear
;
the ear almost stick to the skull.
Fig. 70.
as a rule, It is
they will
therefore most
essential to study the outline of the ear, not only from the front,
but also from the back, and carefully to note the distance which separates the border of the Helix from the skull, as well as the
depth and drawing of the Concha, or
There
is
another point
to
shell.
which
I
(Fig- 69.)
must
draw
special
.
69
Modelline the
way
attention.
It
perfectly
round
quently
should not be
it
is
which the Tragus follows the
in
opening of
the
made
flat.
Conse-
Auditory Meahts. (Fig. 70.)
Eye repeat myself, and remind you that the globe of the eye
I
lies in
(Fig. 71.)
the socket, called 07'bit.
The eyebrow forms an elongated
mass, starting from the
inner and upper border of the orbit, and following
Fig.
Fig.
7 1
external border.
the nose.
Its
is
74.
larger at the outer end than near
eyelid starts from
Fossa, and overlies the eyeball.
the corner of the Lacrynial It is
larger in the centre than
(Fig. y^.)
at its extremities.
lower eyelid starts
in
the
same way from the Lacrymal
Fossa, and, closely overlying part of the eyeball,
upper eyelid from below
at
its
In beginning the eye, the first
its
(Fig. 72.)
The upper
The
as far as
Fig.
Fig. 73.
72.
form
it
consideration
;
outer corner.
it
joins
the
(Fig. 74.)
bony construction must be the
having obtained that as correctly as possible,
you proceed as the diagrams show
â&#x20AC;&#x201D;
first,
by putting
in
the
'
JO globe,
Modelling
and trying
to
make
its
projection correct by studying the
eye of the model from the profile as well as from below.
same way and
ceed
in the
You
should never finish one side of the face without
at
the
same time with
Pro-
the other eye. havinof
established the construction of the other side, or you will not
obtain the effect of imity in the face.
The
eyeball having been placed in the right projection, the
eyebrow must be fection
from
on and studied fro7n the profile for pro-
laid
the front for drawing,
Settle the distance full-face
from
belozv for its section.
between the Lacrymal Fossce, from the
and
view,
their
the nose, well bearing in
have already indicated this guide.
depth with regard to
mind the
in the
difficulties
earlier
I
portion of
(Fig. 75.)
Starting from the Lacrymal Fossa, you put '^'
for the
in
the upper eyelid, noting in the
eyebrow the projection from the
section from looking up to
instead of beginning the eye
struction,
you were
anyhow, and
profile view,
as
and the
it.
For the lower eyelid you proceed If,
same way
to put a
tried to dig in
it
in
the
with
lump of
same way. its
anatomical con-
clay of any shape
and scrape
obtain the drawing of eyeball, brow, and
it
lid,
about
in
and
order to
the result would
probably be an inert and weak feature that could never suggest the movability of the eye.
Modelling Another point the pupil it
is
in
to
be attended to
71 is,
that the black spot of
the most projecting part of the eyeball.
follows, that directly
above
it
is
Thence
highest point of pro-
the
jection of the upper eyelid as seen from below. If the
model looks towards the
side, the outline of the
eyelid from the Lacrymal Fossa forms line
up
to the central point of the pupil,
rapid curve to the outer corner, lids
meet (Fig. 76)
Fig.
contrary
;
whilst
in
i.e.,
more or
less
upper
a straight
and from there makes a
where the upper and lower
the other eye you observe the
76.
â&#x20AC;&#x201D; the long straight
line starting
and the rapid curve of the
lid
from the outer corner,
being from the highest point
towards the Lacrymal Fossa. It
follows from this, that the two Caruncles, that
Lacrymal Fossce,
will
directed to the side
ward
will
:
present different shapes,
when
lie
in
the
the look
is
the Caruncle of the eye which looks out-
be stretched and look longer than the Caruncle of
the other eye, which
approaching the nose.
is
following the direction of this one (Fig. 77.)
and
72
Modelling
,
I
have already mentioned on page 59 that the outer corner
must never be placed lower than the inner corner, and a
hori-
zontal line through the corners will assist the student to find
(See Fig. /8.)
correct place. If,
in
its
impressing these details of observation on you,
repeated myself, you will readily excuse
much they
it
when you
have
I
realise
how
contribute to render the
expression and direction of the eye strong and vigorous, and
and even faulty the Fig.
78.
they are neglected.
more objectionable different
points
?
in
bust,
Therefore,
pushing the pupil a every
a
little
how
result
What
when
can be
than the two eyes looking at instead
of
experimenting and
to the right, or a little to the
effort to verify the points
is,
feeble
I
left,
use
have indicated.
Hair I
have often been struck, when looking at
fact that the hair has the
This unfortunate
at
effect
is
the result of ignoring the points is
attached round the face.
from the front and
hair takes place in three masses
bone (coming generally
by the
appearance of a wig put on the head.
from which the hair starts or
Looked
busts,
to a point
profile, the :
attachment of the
one goes round the frontal
above the centre of the
face),
Modelling the second smaller,
On
mass
attached to the temporal bone, and the third,
is
mass below the temples.
(See Fig.
the top of the head the hair
a central point, the
grows
in
all
73
Crown
directions,
is
79.)
attached or grows round
of the Cranium, from which the hair
like
rays
emanating from a centre.
(Fig. So.)
In black hair you accentuate the details, cuts to obtain the effect of a dark
Fig.
mass
in
;
i.e.
make deeper
white hair details
Fig. So.
79.
must almost disappear, and they must be massed instead of being broken up. ment. first
To
The
details should
not be treated as orna-
avoid ornamental treatment,
it
is
necessary to take
the outer contours, and draw them in straicyht
observing the angles which they make, for their distance
it
is
lines,
well
these angles and
from each other which decide the character of
74
Modelling
'
the hair in individuals.
by drawing
in
it
firm,
After that, each mass must be divided
almost straight
Here
lines.
very
is
it
necessary to observe the variety of proportions in one mass,
pared
the
to
And
other.
com-
as
finally
indicate the variety of planes which
receive
directions,
and
here the
there
fineness
â&#x20AC;&#x201D; some
of
hair.
details,
By
in
and shade
lia^ht
and add a few touches words
other
means you
these
various
in
â&#x20AC;&#x201D; to
indicate
avoid
will
its
looking heavy, monotonous, and ornamental.
Moustache axd Beard
The moustache grows on each
side of the face
three
in
absolutely distinct masses.
The
first is
attached below the nostrils.
The second
is
The
attached on the cheek.
third
is
The beard have
is
attached on the upper
also divided into
their points of origin or
The
first
lip.
>(See Fig.
is
three large masses, which
attachment
in different places.
third
The
treatment of the beard
grows on the cheek.
as that of the hair, but
its
in
lip.
\
>^
attached to the chin.
The
8i.)
)
mass grows underneath the lower
The second mass
same
\
*'' ,,
\
;
modelling
execution
is
is
pretty
much
extremely
the
difficult,
â&#x20AC;&#x201D;
Modelling and for
it is
it,
necessary to
make
special
bust.
It
needs
or
will
spoil an otherwise
good
o^reat taste
might almost say
tact
know how much
de-
to
it
to give.
Badly executed hair and beard
I
and frequent studies of
for the treatment varies accordinsf to the effect of colour
one wishes
â&#x20AC;&#x201D; â&#x20AC;&#x201D;
75
to introduce in order
tail
to preserve
out
colour with-
its
detractino-
from
the
value of the face.
Hair and beard must,
that
be the strikes
must
they
is,
bust,
disappear
speak,
so to
first
not
thing which
an observer of the yet
they
must
be Fig. 82.
interesting.
Modelled will
tastefully,
harmonious
in
colour and shape, they
complete a head and give character to
it.
Modelling
76
DIAGRAM OF FACE This diagram represents the division of the forms of the face.
(Fig. 83.)
Fig.
The masses which
S3.
are indicated by outHne are produced not
only by the bones and the groups of muscles of the face, but
Modelling by the
also
which covers them
skin,
77 in
following their undu-
lations.
They
exist,
with a certain variety of drawing, and
in a
more
or less accentuated manner, in the female as well as in the male.
In the child they seem to disappear altogether, but knowing that they are there,
we fmd them
indicated by extremely
delicate planes.
In the face of an old person
When
in a face of
we
see
them
quite clearly.
very simple appearance the existence of
these masses does not strike us,
we must work
continually with
a strong side-light in order to obtain on the face of the model
a variety of half-tints which will be produced by the planes or depressions that divide these forms, and which will
more If
show them
clearly to us.
you ignore
this rule,
you
will,
without any doubt, produce
a polished surface with no variety of modelling, and the result will
be a face without suppleness or expression.
One
of
the
most characteristic points
Michel- Angelo, particularly Slave,
forms
is is
in
In
the statues of
the neatness and purity
with
drawn without anything being
works of
the
David and The
which each of these
lost of the simplicit)' of
the whole.
When
these divisions of form have been obtained in their
proper drawing by studying each
appear a
little
hard.
Then
it
separately,
the
becomes necessary
work may to
work by
—
78
Modelling
,
colour
— that
tints, in
by the comparative values of the
to say,
is
half-
simplifying or accentuating the surfaces or planes which
divide these forms.
The
model may be obtained
simplicity of the
leaving under this almost
only gives expression to
it,
David
;
but enables the work to be exposed
be placed
it
always retains left to
its
for instance, a cast
let
its
surface a mechanism, which not
flat
to every light without losing
Take,
by
thus,
in
value.
of the head of Michel- Angelo's
any
light
whatever,
—
head
this
resemblance, and nothing seems to have been
chance, the whole remains neat and clear
;
the planes
retain the required direction, and, modelled well together, they
give
movement
On
to the
whole surface.
the other hand,
if
a sculptor has merely sought to render
the impression of the model by effect of shadows,
mysterious, by tricks of texture or of tooling
means of
" seasoning,"
must be allowed
to
— these works,
remain exactly
in
—
more or
in fact,
less
simply by
to preserve their quality,
the same light in which
they were done, under penalty of no longer being recognised, or of finding that which in fact, all
resemblance
was expressive become
will
be gone, simply because the
been changed, and the work plaster,
insignificant,
is
light has
thus reduced to a mere piece of
having none of those ideal qualities of which that
artist
had so fondly dreamt.
Beyond the
artistic
expression of the work, which
is
the
Modelling and individual
direct result of our sentiment
knowledge of the
^xdiCis positive
Michel-Angelo has proved
79
laivs
of Nature.
this to
us better than any other
Master, by the numerous studies which he has part of the
human
Sculpture
taste,
body, with a love that
is
made
of every
only equalled by his
scrupulous conscientiousness.
Fig.
Fig. 86.
Fig. 85.
84.
Figs. 84, 85, and 86
show you three proportions which are
generally the same.
Namely
the measurement from ear to ear
:
one from under the chin
and you
will
from the ear Fig. 87.
find
the
to the
distance
is
equal to the
eyebrow, the
same
to the point of the nose.
This diagram shows you that
the centre of the face
lies
on a
line
drawn
though the inner corner of the eye, mid-
way between
a line
drawn under the chin and another across
the top of the cranium.
J
PART
III
PART
III
FIGURE FROM NATURE Framework
We 32 to
take for our study a figure half life-size
34
The framework
inches in height.
describe will serve not only for a figure
â&#x20AC;&#x201D;that I
of
am
about
is,
going to
proportion,
this
but also for a larger one, say of 6 to 9 feet high. In
figures
of
these
erected quite straight
proportions
â&#x20AC;&#x201D; that
is,
the
may be
framework
without action
;
but for one of
larger proportions, the frame must at once represent the action,
and must be made from a previous sketch, carefully planned with the help of measurements and not
possess
of clay
;
the necessary strength
therefore,
in
plumb-line, else to
it
would
support a large mass
a larger figure the lead pipes for the
lower limbs are
replaced
that they can be
moved
by irons fastened
at the artist's will
in
such
a
way
without sacrificing
strength and bearing power. In
a
second volume
I
shall
supply a series of drawings
G
2
Modelling
84 of frameworks
for
various
works, from
that the principle remains the same,
proportions
of the
they must be
which you
and that
it
is
and lead pipes which are
iron
will
see
only the different
;
strong in proportion to the size of the work,
and there must be the
possibility of putting in
more wooden
supports and butterflies.
You as
require
a
your model
for
wooden
turn-table for your
further,
;
wooden
a
work
as well
board about
i-inch
18 inches square with two strong battens underneath to prevent
the warping of the board.
On
square you
this
fix
shaped, so to say, which
quently
all
This
for
of clay for a plinth,
Ilium.
frame and conse-
the
half-life-size
figure,
should
be
about
it
should enter the figure slightly above the
height and below the posterior processes of the
its
inserted
If
resting on
to support the
inches (Fig. 88); so that allowing 3 inches thickness
5
middle of
is
the weight of clay.
iron,
20X lox
with screws an iron support, bayonet-
lower,
it
would have
much weight
too
besides there being the danger of the frame being
it,
too movable,
and thus unable
to
retain
the
given
pose
or
action.
The short in
;
the
horizontal branch
had better be too long than too
for the vertical portion of
way
your support
is
liable to get
of the legs, for instance, in a walking action.
should advise any length between 9 and 12 inches.
I
Modelling The
third portion of the iron should not
go up too high
in
the torso, as one has sometimes occasion to change the action
Fig.
Fig.
S8a.
S8b.
of one's work, and lose
its
suppleness.
Fig. 89. if
the iron went too high, the torso would 5 to
6 inches therefore suffice.
86
Modellinor There are poses which necessitate the
iron to be fixed at
the side of the figure and not at the back.
The
you make your framework on
\
by means of lead
\
""
^
""''
to the iron
by means of copper
's
it
which
pipes,
you secure firmly on
1
"'
iron being screwed on,
wire.
I
give the preference to copper
wire over galvanized iron wire, as
it is
more
to break,
and can be twisted
than
tighter
pliable, less liable
wire round
iron
the lead and iron pipes.
89
give you a clear idea
will
how
to
Fig.
make your
The
next step
frame. to
is
make
a
Sca/c of Propoi'tions. Fig. 90.
you
will
fancy.
purposes,
and quickest,
I
(See Fig. 90.)
Draw
a horizontal line on a board.
2.
Take
half the total height of the
off
modelling
the following plan the surest
1.
have it
find
For
callipers big
enough
on the horizontal
model (you
to take the total height),
line as
A
B,
will
rarely
and measure
and with the distance
as radius in your compasses, describe an arc from
A
A B
through B.
Modelling 3.
Measure
87
half the height of your
framework
place one
;
leg of the compasses on B, and with the other intersect the arc to get point C. 4.
Join by a straight line points
A
and C, and your scale
is
ready.
You have for
A
only to apply
it
to
every measurement, with
A
C,
your work, by striking an arc for a centre
on
lines
A
and the distance from one point of intersection
B and to the
other will give you the proportional measure. It will
that
be well to strike the arc a
beyond the
little
you write on the outside whatever measurement
will find this a
very correct and rapid
The same method
is
it
lines,
so
You
is.
scale.
used for enlarging, but not
for
more
than twice the size of the original.
Framework and Scale being
ready,
place the
your stand, taking care to see that the stand
is
quite horizontal,
and place the board with the scale on an easel close
Now
former on
to you.
the model should be placed and posed on a turning
throne, at such a distance from your work, that you get a
view of the entire
As
it
fio^ure.
always happens that by slow degrees the model loses
the pose, owing to fatigue,
it is
advisable, that before the sitting
you should well impress the pose on your mind and trying
it
good
yourself.
That
will
make you
eyes, by
well acquainted with
the points and force of the action, so that you concentrate your
Modelling
88 efforts
do
not to deviate from your lines
when
the model should
so.
It will
be better to give the model a frequent rest for a few
minutes, than to
work from
model
almost imperceptibly, transfer the weight of
will often,
a tired model, as an experienced
the body from one leg to the other
may appear of
it
to
;
and
be the same, although the
This
completely altered.
is
beginner the pose
to a
spirit
difficulty
can
be overcome by paying careful attention to the pose at the beginning, and by studying
first
it,
on yourself, and then on the model, and thinking of that
it
all
along as your work proceeds, so
you have no need
except by emphasizing
it
to
change your work,
more.
Let us now begin our work, and take the action indicated in the diagram. (v
^
which
91.
and,
of
The
iG.
92.
first
is
j-}^g]-gfQj.g
thing
is
to establish the cJiicf line,
the key to the pose.
stand right in
We
(Fig. 91.)
front of the
model,
plumb-line in hand, take a vertical line from the centre
the
supra-sternal notch,
and watch where
it
passes
leg which carries the weight of the figure, which, in like ours, will
a pose
almost always touch the projection of the lower
extremity of the tibia that ankle-bone.
the
(Fig-
92.)
is,
the internal malleolus
Then
â&#x20AC;&#x201D; or
inner
press a piece of clay on the
Modelling
89
framework, midway between the shoulders, where you
stand straight
point representing the top of the sternum, front
fix
a in
with your phmib-Hne, and adjust on the framework the
pipe which represents the leg, so that
touches your
it
line,
leaving just enough space for a covering of clay,
and allow^ing the pipe
be
to
the
in
centre of the limb.
From
the back view the chief line
by the spinal column as
dicated
and lower down
extends, direction
of
coincides
in
carrying
the all
its
bv
far
the
as
it
oreneral
This
leg.
in-
is
line
beariuQ-s or curves with
the chief line of the figure, as seen from the front view,
(Fig. 93.)
In sculpture
\}s\q.
posterior chief line
important than the anterior chief
is
more
line, for
we
must consider the vertebral column as the central
and fundamental part of the skeleton.
The
different parts of
are attached to
it,
either
the
directly
or
indirectly,
depends the movement and the place of the modellers,
Fig.
bony system
after the chief line of
93.
and from
pelvis.
the back' and of
As
the
it
for
front
are settled, and for draughtsmen, the chief line according to the view they have to copy, they must both occupy themselves
with the lines of contrast, presented by the action.
â&#x20AC;&#x201D;
;
Modelling
90
In this pose the side Hnes of the figure are parallel in their
general direction to the chief or central line
not exact, the exterior outlines cannot
is
my
therefore you understand
key
If this central
line.
to the pose.
be so
either
assertion that the chief line
the
is
(Fig. 94.)
Now
proceed to place the other leg of the
framework model lines
into
well
with
and
pose,
its
regard
observe the
to
your
contrasting
caused by the action, and the contrasts
of projection. In a pose like ours you will find the
lowing general rule
When
fol-
:
the figure bears heavily on one leg,
the Ilium on the
same
side
is
pushed up,
for
the tibia and femur preserve their entire length
(^/^
/
FiG.
pulled
X,
'"^"^
the vertical direction and thus push the hip-
bone up
94.
down
;
whilst on the other side the
as both tibia and
upper part of the body,
in
Ilium
femur are bent forwards.
The
keep the equilibrium,
order to
tends to bend over on the side of the
is
leo:
which
carries,
and
thus the shoulder will on this side be lowered as compared to the other.
Thus you
get two contrasts of line
in
hips
and
shoulders, the line from one Ilium to the other eoine down-
wards, and the line from
upwards.
(Fig. 95.)
one shoulder
to
the
other going
Modellin! Having observed
this,
91
you bend the pipes of the frame
accordingly.
Now
you
turn
your
model, and
contrasts obtain for the back.
There
is
note
how
these
same
(Fig. 96.)
not only contrast between the shoulder line and
the line of the posterior superior
Fig.
iliac
processes, but also with
ÂĽic,.
95.
the line of the gluteus will find a contrast
maximus
;
and
96.
further, in the leg
you
between the oblique direction of the bulk of
the two gastrocnemius muscles and the lower extremities of the
Tibia and Fibula
â&#x20AC;&#x201D;
in
other words, between the calf-muscles and
Modellinj
92 the
ankle-bones
(Fig.
Of
97).
course
same
the
contrast
exists in the front view.
Another thing the free leg,
it
:
the head being turned towards the side of
more or
results that the face lies
the
direction as
iliac
less in the
processes,
same
and con-
sequently contrasts with the plane of the
(Refer to Figs. 95 and 96.)
shoulders.
There
another opposition or con-
is
between the shoulder and the hip
trast
:
the contrast of pi^ojcction.
Bearing on one pushes the
ilium
up,
only
this leg not
leg,
but
also forward,
whilst the ilium on the free leg goes back-
ward, and the shoulder, which
lower
in line,
is
already
moves back with regard
to
the shoulder above the free leg.
Thus you have two jection,
contrasts of pro-
which must be marked on
framework
by
bending
the
pipes
the ac-
cordingly. Fig. 97.
As of the non-carrying, line
or free
leg,
and projection with regard
the line of eyebroivs
and
head turns
the
ears,
in
the
direction
you get another contrast of
to the shoulders, indicated
and having indicated
all
by
these
important lines and planes of contrast, you must think of the
Modelling action of
arms and hands,
in
93
order to obtain
the spirit of the pose from the beginning.
As
you can
that in
concerns
the
fix
leg,
might mention
I
a chief Hne as indicated
diagram, Fig. 98, by following the sar-
muscle from
torius
origin at the anterior
its
superior process of the Ilium along
its wJiole
and continue the
length to the Tibia,
line
alons: the Tibia to the internal Malleolus.
When you
will
this chief line,
note a marked parallelism between
and the general direction of the ex-
this
outline
ternal
an
you have marked
excellent
of
the
guide
leg
it
;
obtain
to
is
l^
therefore
the general
shape. I
often, or
studies
(I
am
almost always, see advanced
speaking of modellers) where
the hands have been
neglected, and some-
times they are not even indicated. a great mistake.
It
is
without putting
action of the hands.
is
impossible to enter
into the spirit of the pose, figure,
This
in
It is
or action of a
the position and
by the place and
relation to each other of the extremities,
the head, the hands, and the legs and
feet,
â&#x20AC;&#x201D;
Showing 9S. THE Chief Line of the Leg.
i.e. Fig.
Modelling
94 that
action
all
you
find the
determined, and
is
intention you
want
express.
to
Every study ought from the beginning a composition. studies
If
express,
to
some
the model
we
ourselves
set
according or
intention
the
be considered as
to
task
feeling,
this
our figure
in
character
the
to
hands particularly
the
in
and pose of
study
will
to the
end command our attention, our enthusiasm and intelligence
and
artistic
You
grow
feeling will
mere
the place of
in
;
patience.
must, therefore, at once block in the extremities, whose
position will determine the action of the rest of the body.
You cannot
possibly model an
carefully modelled the
hands
in
arm
properly, without having
which you
find the insertions or
terminal points of most of the muscles of the fore-arm.
It
is
therefore the natural continuation of the shape of the arm.
The same I
insist
on
This neglect
rule applies to the legs this point, is
because
see
I
just as ridiculous
and
as
feet. it
it
so
often neglected.
would be
drawing with a sheet of paper with a small hole
in
to
it,
cover a
to enable
the draughtsman to see nothing but the head, and to stipple
away
at
it
with tiny pencil strokes, without having the whole
figure before his eyes I
â&#x20AC;&#x201D;
in fact,
have seen such things done
From
with the figure only outlined.
!
the profile the chief line
the stermim, the outline
of
tJie
given by the direction of
is
pelvis,
and the general direction
of the anterior contotir of the carrying
leg.
(Fig. 99.)
Modelling
95
There are persons, whose vertebral column has a more graceful curve than those of other people
such cases the
in
movement than
has more
chief line of the profile
;
that
of a
straighter-built person.
To
you must again use your it
sideways regard
and
plumb-line,
hold
it
so
that
through the centre of the neck, as seen
cut
will
profile view,
the direction of the pose from the
find
observe
then
;
the
to
where
will
it
with
])ass
outer malleolus of the standing
leg.
(See Fig. 99.)
Another the
that
joints,
pipes
big
the
in
â&#x20AC;&#x201D;you
of the
to
is,
crooked, but
very straight
very
bent
resemblance
This
and very
would
give
neatly
the
at
would
render
the
and
beginning,
in
work the
at
is,
^j
\
if
expression
already
skeleton
the
to
â&#x20AC;&#x201D; that
certain
a
/
j
humerus, and ulna
tibia,
and
the
attention
might even give them the exact curves
can
framev/ork,
and
lines
femur, !
not
are
you
from
you must pay
matter
the
spirited
same time
more tempting and encouraging.
When, on made clay
the
carelessly,
stuck
enormous complete.
on
from
hand,
other
the
pipes
anyhow, the
k,
framework
the
loosely joined
<S:c.,
the
beginning,
'"
^^'
and crooked, the
material
and
is
the
difficulties
are
discouragement
Modelling
96
YiQ_
I
oo.â&#x20AC;&#x201D; Armature
in Action.
Modelling me
Let
caution you, therefore, to bestow the greatest care
and attention on
When
all
the preliminaries.
the armature or framework has been
pose or movement (Fig.
100), cover
and projection, as shown
plinth of clay should
limbs, one
may do
it
in
if
over with a slight
chief lines of contrast
now be made, and be it
is
at least
necessary to lengthen the
downward
the
all
put into the
loi and 102.
in Figs.
three inches thick, so that,
it
mark the
layer of clay, just sufficient to
The
97
direction
by lowering
the plinth, without having to destroy the rest of one's previous
work.
On
this plinth of clay
it
well towards the centre, so
is
well to fix a small piece of wood,
that
it
will
give a firm point for
measuring. Starting
now from
the supra-sternal notch,
we draw on
the
clay the central line of the figure.
This
will
pass along the centre of the sternum, then con-
tinue along the linea alba, following the curve which the action
of the figure causes, through the
luiibiliciis
or navel,
and down
the internal contour of the leg which bears the weight, to the
Malleolus internus. It is
best to exaggerate the curves of this
liable to creep
back towards the
line,
as one
vertical.
H
is
Modelling
98
Fig.
The standing
1
line leg.
01. â&#x20AC;&#x201D;Figure
HL
is
showing Chief Line and Lines of Contrast.
a horizontal line drawn thrc ugh the anterior superior
iliac
process of the
â&#x20AC;&#x201D;
Modelling
Fig.
1
02.
99
Figure showing Chief Line and Lines of Contrast.
H
2
lOO
Modelling
FIGURE MEASUREMENTS You must
not take the following measurements before being
quite sure of having the pose correct, for the
measurements do
not assist you to find the pose, but only help you to find the (Fig. 103.)
construction. 1.
The
first
measurement
distance from the plinth,
i.e.
to
be taken
for the figure is the
from under the arch of the sole of
the standing leg, to the upper border of the Patella. 2.
The second from process
superior (Fig.
the top of the Patella to the anterior
the
of
ilium
of
the
same
standing
leg.
103.)
In order to superior
iliac
fix
the deviation from the vertical of the anterior
process, place yourself opposite the model,
and
take with one hand the plumb-line through the centre of the Patella,
whilst with the other
you measure the distance from
this vertical line to the iliac process.
Only when you have found ment, and
fix
this distance take the
measure-
the point, after observing also very carefully from
the profile view the projection of the
iliac
process in relation to
the Patella. 3.
The
from one
third
iliac
measurement
is
the distance across the pelvis
process to the other.
Before you
fix this,
you take
(Fig. 103.)
a horizontal line, starting from
the anterior superior process of the ilium in the stajiximg leg, to
lOI
Modelling
Pip 1.
2.
From From
Measurement 103.â&#x20AC;&#x201D; Figure showing the Order of
Plinth to top of Patella. top of Patella to Anterior Superior
6.
Iliac process. 3.
Space between the Anterior
Iliac
From
Anterior Superior Iliac process to
top of Patella in free leg. top of Patella to Heel.
From From
Iliac
of
standing leg to
Sternum.
pro-
cesses. 4.
5.
7.
From Sternum
to Ear.
top
of
102
Modelling
ascertain
how much lower
and having noticed
The
4.
fourth
than
the ilium of the free leg
it
your point.
this difference, fix
measurement
from the
is
free leg to the top of the Patella of the
The
5.
fifth
same
iliac
is,
(Fig. loi.)
process of the (Fig. 103.)
leg.
measurement
is
taken
from the top of the Patella of the free leg to
its
The
6.
(Fig. 103.)
heel.
sixth
measurement
process of the
iliac
top of the sternum,
from the
standing leg to the i.e.
the supra-sternal
(Fig. 103.)
notch. 7.
is
For the seventh measurement take
the distance from the supra-sternal notch to the ear,
the notch between Tragus
i.e.
and Antitragus. 8.
(Fig.
103.)
For the eighth measurement take
the distance from the profile of the standFig. 8.
From
cess to
104.
ing
leg
between the Anterior Superior
Anterior Iliac pro-
Posterior Iliac pro-
and the Posterior Superior
Iliac Processes.
cess. 9.
From
top of Sternum to
(Fig. 104.)
Seventh Cervical Vertebra.
again use a horizontal in
order to see
To
obtain
line, starting
how much higher
this
correctly,
you
must
from the Anterior process, the Posterior Process
relation to the former.
This measurement must also be taken on the free
leg.
is
in
103
Modelling
Fk;. 10.
Space between Posterior
11.
From
Iliac processes.
Posterior Iliac process of standing
leg to Seventh Cervical Vertebra.
105. 12. 13.
From Acromion process to head of Ulna. From head of Ulna to first articulation of Finger (index
finger).
I04
Modelling For the ninth measurement take the distance from the
9.
Notch
Supra-Sternal
the
to
seventh
Cervical
Vertebra.
(Fig. 104.)
Before fixing this measurement, you must,
in
same way
the
as for the iliac processes, obtain a horizontal line from the top
Sternum, to ascertain how much higher the seventh
of the
Cervical Vertebra
The
10.
lies
tenth
than the Supra-Sternal Notch.
measurement concerns the distance between
the two Posterior Superior Iliac Processes,
To note
obtain
it
correctly,
how much lower
on the standing one.
The
you again apply a horizontal
the process on the free leg
them depends
to a
by measuring the
verified with the
great extent the
turally speaking, the -blan of
The
Posterior
Process
Cervical Vertebra. 12.
Take
Ulna
Take to
the
(Fig- I05-)
Iliac
Processes
entire
construction, not
They
are, architec-
of the
is
from
the
Superior
standing leg to the seventh
(Fig. 105.)
the twelfth
cess to the head of the 13.
be, than
it.
measurement
eleventh
Iliac
may
and
utmost care, because upon
only of the torso, but of the whole figure.
11.
line,
(Fig. 102.)
four points obtained
must be fixed and
(Fig. 105.)
measurement from the Acromion Pro-
Ulna on both arms.
(Fig. 105.)
the thirteenth measurement from the head of the first
articulation
of the
index
on both hands.
Modelling It
seems almost needless
to
105
add that durinor the course of
the work you must constantly verify these measurements, for it
happens only too often that
them with
in
modelling you gradually cover
clay, until the construction has
and your distances begin
to
almost disappeared,
As
change without reason.
your work becomes disappointing, and the worker
result,
a
tires
himself out without obtaining a satisfactory result. I
have aimed
appointment
at
sparing the student such a painful dis-
by introducing into the study of the figure a
positive system, based on anatomical construction. I
lay stress on the fact that the
shown
you, and
You may,
diagrams, are of the
in
as your
measurements
have given importance.
work proceeds, take many others which you
consider a help to your work, but
rely
on
the
let
They
taking mere flesh-measurements.
you can only
greatest
I
me warn vou are
measures taken
against
misguiding, and section of pelvis
from bone points.
But
I
must
dwell
particularly
measurements of the four
Iliac
on the
processes,
which give a section of the Pelvic Girdle,
and on the correctness of which insist
too strongly.
also the
plan of the
Fig. 106
I
ANTERiOR FACE. Fig.
cannot
shows you
this section,
106.
which
is
torso.
If these four points
on the Ilium, which
in
their relation
to
each other never vary, are not correct, neither can the con-
Modelling
io6
struction of the torso be right, nor will the legs
come
in
their
proper places.
The measurement from
the top of the sternum to the seventh
Cervical Vertebra gives us the depth from front to back of neck,
two points which are placed above the section of the
pelvis.
(See Fig. 107.)
PELVIS Fig.
These
107.
Fig.
108.
four points in their oblique direction,
viewed from
the front, extend or contract the muscles of the back and of the front of the torso will
;
the muscles on the side of the standing leg
be contracted, while those on the side of the
free leg will
be extended, (Fig. 108.)
The
place of the seventh cervical being fixed,
must be joined through the curve of the
vertebral
it
column
â&#x20AC;&#x201D; â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
Modelling (which varies
in different
pelvic girdle.
find that the pelvis I
persons, as already pointed out) to the
(Fig. 108.)
In observing the
As
movement
Lumbar
the
in
at right angles with the
is
have already
said, the vertebral
sidered as the central and It is
107
region, you will
Lumbar
X'ertebrae.
column must be con-
fundamental part of the skeleton.
composed of twenty-four vertebree
:
7 Cervical, \
12 Dorsal,
and
The movement
; is
always found
in
the Cervical
(See Fig. 109.)
Dorsal Vertebrae have
to support the in
Lumbar
5
of the column
and Lumbar regions.
The
> Vertebrae,
little
movement,
bony cage formed by the
ribs
i.e.
for
they have
the
Thorax
an almost rigid state to protect the organs of breathing and
circulation lodged within
The bones
it.
of the upper part of the column,
i.e.
the Cervical
Vertebrae, support the Cranium.
To is
the lower part of the vertebral column the Pelvic Girdle
attached
;
it
almost forms part of
it,
owing
to the fusion of the
hip-bone with the Sacrum or Coccyx. It is to
the Pelvic Girdle that the bones of the lower ex-
tremities, the legs, are attached. It
follows that the most important points in constructing a
figure are, to find the relation
between the two Anterior and the
io8
Modelling
two Posterior
Iliac processes,
between the Supra-Sternal notch
and the seventh Cervical Vertebra. Imagine the sections of these two lying above each other
and joined by the vertebral column.
The movement
latter ^
takes
sacrum
lumbar region,
CERVICAL -..,.
above
the
immedi-
place
ately above the
of the
and
seventh
Vertebra; the
in the
again
Cervical
latter
deter-
mine or guide the direction
\
DORSAL '•
of the head.
When
/'
you
have
fixed
these points, you must find
from the profile the projecLUMBAR tion
J-
of the sternum
to say, Fig.
its
in order to ascertain the
You
thorax.
then
and downwards
—
depth from the front to the back of complete the body of the thorax
joining the vertebral column to the sternum by ribs.
is
oblique direction
109.
forzuards
the
— that
in
means of the
(Refer to Fig. io8.)
Whatever the thorax
the pose of your figure
is
sternum, and
may
always equally balanced on
its
shape
is
be,
remember
that
both sides
of the
almost invariably symmetrical.
How-
ever oblique the sternum and the dorsal vertebrae
may
be,
we
Modelling
109
must build up the thorax equally on either side to the
volume of the model. you draw a
If
below the costal margin (which
line
and
you
it
up
(Fig. 109.)
you
right angles to the sternum), striking,
to bring
obtain
will find
this
is
at
symmetry very
at
same time another con-
the
with
trast
the
the
of
crest
ilium.
The is
of the shoulders
line
generally
lower
parallel
border
(refer to
of
Fig.
the pose which for
find
two
the
loi)
;
a
even
you
in
will
joining
line
acromion
thorax
have chosen
I
demonstration, that
the
to
the
processes
is
almost parallel with the border of the ribs
(it
the muscles
is
of the shoulder which follow^ the raised
arm, the
The symmetry
shoulder
human
figure
the thorax follow that, unless the
is
hardly
raised).
of the thorax on both sides of the vertebral
column and the sternum the
itself
is
its
exists in all the
capable,
and as the
shape (refer to Fig.
bony cage
is
movements
flat 1
of which
muscles attached to
10),
it
results naturally
correctly established, there will be
no
Modelling
a want of order and
harmony
in
the position of the muscular
forms.
There
is
another section which
modelling of the figure Clavicles, the Scapulae
This section, find the
:
section
like the
through the two
one through the Pelvis,
volume of the upper part of the
outline,
us greatly in our
and the Vertebral column.
Fig.
its
the
is
it
will assist
and the right place
(Fig. iii.) will
torso, the
help us to
roundness of
III.
for the neck,
which must be well
placed in the centre. In students' work the clavicles are often blocked in like two straight bones, instead of their giving letter S. fiat
If
they are
made
too straight, the pectorals appear
and the shoulder comes too
appearance of
low
relief
studying the section of effect.
them the shape of the
far forward,
which gives the
on a round shape.
By
carefully
the collar-bone you will avoid this
Observe, therefore, intelligently the form and drawing
of the Clavicles, as well as their symmetry, and study at the back the position of the Scapulae which follow the action of the arms.
1
Modelling This
1 1
give you the upper plan of the trunk, just as the
will
section of the pelvis gives you the lower plan, and
these two plans well
in their right place,
if
you have
the limbs will of course
find their right place.
I
have stated before that
in
beginning a piece of sculpture
you must avoid putting on too much study thin so that you can add to settled,
;
and rather keep your
but as soon as the pose
is
you must determine the exact proportions of the bones,
their extension in length,
concerned they
it
clay,
â&#x20AC;&#x201D;
are
also
their
and
â&#x20AC;&#x201D; as
far as
thorax and pelvis are
extension in depth and breadth.
For
only invariable points, but also determine the
not
action and the division of the forms
landmarks of the
torso,
and masses.
They
are the
they are architecturally-speaking the
framework of the house.
By
fixing
all
the prominent points of the bones
proper proportions of length and width, and as regards
the
in their
in
their
right place
movement, one obtains the foundation of the
figure, the points of origin
and insertion of the muscles.
knowledge of Myology and exact drawing
will
Our
then join the
separate parts together into a harmonious ensemble. In laying the clay on in the direction of the planes which the muscular fibres present, and by drawing,
we evolve
out of
â&#x20AC;&#x201D;
112
Modelling form the particular character of the form of the
the^ general
model before
The
us.
makes
influence of the curved form of the bones
the limbs of the
felt in all
human
The
figure.
itself
muscles, more
or less fleshy, always follow the curve, and you might truthfully
say that
the
curves
bones give the cue
of
these
to the
shape
of the leg as well as to the
shape
of the arm. Fig.
1 1
2
shows you how the
form of the Humerus and Ulna influences the form of the arm. Fig.
Femur and the
how
proves
113
the
the Tibia influence
shape of the leg from the
profile,
as
well
from
as
the
front view.
Figure to yourself a student Showixg the Influence OF THE Humerus and Ulna on THE AR^L
Fig. 112.
his
work
and
his
?
He
work
will
only compare
where every
will
it
ignoring bones.
the
What
curves will
of
happen
to
place form upon form without any principle,
be heavy, without charm and clearness
to a piece of
detail,
these
be
it
:
I
ornament which lacks a chief
flower or
leaf, is
can line,
placed by chance, re-
gardless of a definite law of direction, and the result
is
confusion.
1
Modelling
A is
thorough knowledge of Osteology from
more important than
for the skeleton
and
figure,
point of view
of Myology,
that
study
is
the
of
construction
careful
its
my
determines the movement,
and
proportion
the
113
indispens-
able to the study of external forms.
Anatomy
human -us
what
repeat
I
the
said
I
in
Chapter
teaches us the general laiu
I.
:
of the
foinn, luhilst the living model shows
same
laivs applied
and modified by
individual cha^'acteristics, which
we have
to
express by drawing.
But remember that age and sex,
their
all
will
models, whatever
always have the
same bones and muscles, with
the
same
attachments. In the study and
tomy
the
the student will therefore find a posi-
guide
tive
knowledge of Ana-
the general facts, although
to
anatomy of every model
some
different aspects
will
present
and individual charShowing 1 THE INFLUENCE OF THE Femur, Tibia AND Patella on the
Fig.
acteristics.
It
is
these
individual
acteristics
in
the
must endeavour
artist It
should,
their
infinite
variety, to
char-
which
express.
however, not be imagined
Leg.
that
the knowledge I
114 of
Modelling
'
Anatomy would
It is
suffice to
make
only the handmaiden of art
a
is
it
;
work of the
and expression
A figure, therefore, in
:
from
far
it.
means by which we
understand the cause of form and shape, and clearness, strength,
art
it
helps us to put
into our studies.
which one had only applied anatomical
knowledge, without observing the particular characteristics of the model, might bs a scientific piece of work, but
never possess any
it
would
artistic merit.
In order to well represent objects such as they appeaj',
know them
important that you should
it
is
You
such as they are.
can only see correctly with your mind's eye, and a form which
you may have drawn, without understanding
make
cannot hope to
well expressed, although
"The
I
do not
I
recollect
have seen
where
this
you very
:
ignorant look, the intelhgent see."
To
copy Nature, you must observe and understand
i\t
the beginning of our studies, in drawing as well as in
we must understand
sculpture, is
to others.
clear
yourself,
it
her.
the Geometry of the figure, which
real and permanent, without regard to the visual alteration
when seen
Take
foreshortened.
as an
example the
know
it
and volume
â&#x20AC;&#x201D;
foreshortened, and yet you tions, its height, width,
construction.
If
vou
of a column.
capital
io-nore
keeps
in
its
You
see
it
positive propor-
other words,
its
geometric
this sfeometric construction,
vou
1
Modcllini hesitate
will
115
and be doubtful from the beginning about the
choice of the points to be fixed,
I
now draw your
of the
Abdomen,
attention to the their contraction
i.e.
movement
on the side of the standing
Fig.
leg, their elongation or
of the muscles
1
extension on the side of the free leg.
(See Fig. 114.)
A
similar contraction
the standinqthe free
leer.
leer,
(
is
evident
in
the Gluteus muscle of
and a similar elono-ation of the same muscle
Ficf.
1
1
>) I
2
in
ii6
Modelling
^
have
I
tried thus far to impress
you with the importance of
the chief lines of the figure, as well as with the contrasts of line ?ind projection in the it
is,
movement
of the figure, and
how
necessary
we
not only in this pose, but in any and every action that
want
to represent, to discover these lines
and apply ourselves
to their study.
The trast
next task
we have
to set ourselves
the character of form,
in
in
by giving
it
law exists
certain
or, if
is,
you
in
the
in
every object of nature, which, for I
m\g\\lc?i\\i\\^ laiv
of radiation
the tendency of all lines to converge to one centralpoint, like
Such
point.
factor
mechanism and expression.
want of a more expressive term,
â&#x20AC;&#x201D;that
which cover the
fibres,
and which play such an important
exterior form
A
to study the con-
the direction of the planes
presented by the muscles and their skeleton,
is
it
better, the divergence
of
lines
from
central points are not only found
in
one central the
human
form, but also in drapery, in leaves, flowers, trees, &c.
Let us observe the Deltoid and great Pectoral muscles.
We
find that these
same place on fibres
two large muscles are inserted almost
the upper arm,
separate like
origins,
â&#x20AC;&#x201D; the
rays to
at the
and that thence the muscular
their
respective
attachments or
Deltoid to the Clavicle, Acromion, Scapula, and
spine, the Pectoral to the Clavicle, Sternum,
These two muscles
and
alone, radiating from
fifth rib.
one
long way towards covering the trunk, and the
point,
go
movement
a
of
117
Modelling their planes
their radiation
and
a striking contrast with
make
the vertical direction of the parallel fibres of the Biceps muscles. (Fig. 116.)
you observe the general direction of the muscular
If
in the
selves
Torso,
Torso, you
to
Sternum and
descend
to the
the
and that
Clavicle,
the
they
gradually
those of the pectorals attaching them-
upper part of
the
to
will find
fibres
the
to rib.
fifth
Also that those of the Serratus
Magnus and
of the External
downward
direc-
and attach themselves
to the
lique follow this tion,
Ob-
Torso,
lower part of the
on the
Ilium. Fig.
Here in
there
direct
is
also radiation,
and
are
the
contrast
to
it
— Showing contrast THE Fibres of Biceps
116.
OF
WITH radiation OF PECTORAL AND Deltoid.
muscles of the Abdomen, the hbres of which are vertical in their direction, like those of the Biceps. (Fig. 117.)
These
tuated degree
in the
whole
figure,
and
it
is
would be
foolish,
sculpture, painting, or
if,
in
our studies
drawing
— we
or less accen-
by observing them
For
that one adds to the expression of form. it
more
contrasts of direction exist in a
this
— whether
aimed
at a
very reason, they be
of
smooth texture
â&#x20AC;&#x201D;
Modelling
ii8 more or
less agreeable to the
analyze the forms
we
represent them.
Our study
Fig.
see,
eye
;
we
and search ceases,
should, on the contrary,
for their cause before
when by some
trick
we we
Showing the contrast of the Abdominal Muscle \\tth the AGNUS AND ObLIQUE. RADIATION of PeCTORAL, SeRRATUS
117.
M
polish the clay, or try to give colour, or in a drawing produce
velvety shading.
It
is
lost
time, utter waste of time!
You
I
Modelling may spend your make any
life
progress.
Fig.
in
working
like
You must on
119 this,
and you
will
never
the contrary, so to speak.
iiSa.
Fig.
iiSb.
ii8a. â&#x20AC;&#x201D; Showing
the appear.\xce of the Arm when the Lower Border of the Fibres of the Biceps is at Right Anglls to its Axis. Showing the oblique direction of the Attachment of the. Fig. ii8b. Fig.
â&#x20AC;&#x201D;
Fibres of the Biceps.
dissect the form,
and penetrate
pleasing surtacc will 1
come
in
it
in
order to understand
it.
A
a later stage.
should like also to mention two matters of minor import-
Modelling
I20 ance, but
still
neglected.
I
and Triceps.
refer to the
The
have very frequently seen
arm and
particularly to the Biceps
Biceps do not merge into the
fibres of the
tendons of insertion in
I
of importance, which
all at
once
in a horizontal
line,
but join
an oblique direction from the outer to the inner
making an agreeable
The
muscle.
the Biceps,
side,
it
thus
contrast with the vertical direction of this
oblique, flattened plane, caused by the tendon of
is still
enforced on the inner side of the arm, by the
tendon of the Brachialis Anticus, and should be well indicated. If
this
obliquity
is
{Fig.
architectural.
The tendon
neglected,
the effect
ii8 a and
b.)
is
very heavy and
of insertion of the Triceps does not exactly
follow the line of the
Humerus,
as
I
frequently see
it
repre-
sented, but goes obliquely from inwards to outwards, and thus
we have another
contrast between
direction of the arm.
(Fig. 119 a
its
direction
and
and the general
b.)
you must endeavour
to
give expression to the great variety of character which exists
in
In
Drawing
as well as in Modelling
the different parts of the
human
body.
It
is
evident that the
diversity in hardness and rigidity, which exists
between the
bones, cartilages, tendons, muscles, and fatty parts, will produce different effects
on the surface form covering them.
By observing
this diversity
you
will
avoid the particularly
objectionable effect of a drawing looking as after a figure
composed of cotton-wool.
if it
had been made
â&#x20AC;&#x201D;
Modelling In the upper
and
119A.
will
find that the forms are
than those of the fore-arm, for
fuller
Fig. Fig.
arm you
12
119A.
in
Fig.
I
rounder
the former the
119B.
Arm when the Texdox is the same direction as the Humerus. Showixg the oblique [direction' of the Texdox of the
Showixc; the appearanxe of the IX
Fig.
119B.
â&#x20AC;&#x201D;
Triceps.
tendons arc short
in
comparison to the fibrous or fleshy part of
the muscles, whilst in the latter the tendons are long and extend
over a large surface.
Modelling
122 The same remark
The
applies to the lower extremities.
thioh shows rounder and fuller forms, whilst In the
bones and tendons are
Igq-
the
visible.
In the trunk you observe that the Thorax has greater complexities
the
in
solidity of
movement
of different forms, and a greater
appearance than the abdominal
bony
closed in by
structure,
part,
which
is
but by vertical muscles.
This
difterence of character gives great force to the Thorax,
makes
at the
same time
thoracic part and
a
welcome change and
The bony
the pelvic girdle.
appears on the surface
in
rest
not
and
between the structure re-
the crest of the Ilium (in the
Iliac
furrow) and the lower part of the trunk takes again the aspect of solid construction.
These
contrasts,
i.e.
the strong structures of
separated by the soft and
Pelvis,
Abdomen, impress on
us the
Torso must take place
in this soft
coincides with the
Lumbar
fact,
flat
that
and
Thorax and
muscular mass of the
all
flexible
V^ertebra;, the
movement
the
middle
part,
of the
which
movable parts of the
Vertebral Column,
An
antique figure which shows to perfection this contrasting
character of
ment
is
abdomen
Thorax and Abdomen
the Ilissus.
The move-
of an incomparable suppleness and accuracy, and the is
rendered
in
the marble
cannot be too much admired. held
is
back by
fibres,
Its
with
volume
a is
knowledee that moderated and
which appear neither too loose nor too
Modelling soft,
and yet have a marvellous
12
v)
The abdomen forms
elasticity.
one great mass, over the flatness of which the vigorous construction of the thorax predominates.
The whole
of this admirable fragment has evidently been
conceived and drawn with one impulse, with one inspiration, so that everything
head I
is
is
in
harmony with
missing, the body
is still
the rest, and although the
a marvel of expression.
can affirm, without hesitation, that
is
it
the finest piece of
sculpture in existence, and that one cannot find a
model I
to
more
perfect
study from.
shall not further insist
on the differences or contrasts
in
character or style of drawing, feeling certain that, having drawn
your attention to a few, you
will
readily find other parts and
points w^here such contrasts of form and character of drawing exist. I
will
now draw your
attention to a principle which the Old
Masters have sometimes exaggerated, and done so with intention, for the artistic advantasfe of their w^orks.
what
I
neutral
might
call
I
Spaces of Test between the masses.
spaces give
to
the
whole
figure,
as well
full
refer to
These to
the
Nature
â&#x20AC;&#x201D; as
as
separate parts, suppleness and distinction.
Nothing
is
so hard
two big masses, which,
â&#x20AC;&#x201D; and
consequently rare
at the point of
in
meeting, form a more or
less acute angle.
Let us take
for
an example an arm
in
profile view.
If the
â&#x20AC;&#x201D;â&#x20AC;&#x201D;
Modelling
1^4 outline of the Deltoid
and
if
the Biceps, lower down, where
Supinators, (Fig.
I
makes an
angle,
it
will
it
it
meets the Biceps,
meets the mass of the
look heavy and lack spring.
20.)
When, on I
makes an angle where
the other hand, you exaggerate the principle which
mentioned, and separate these large masses by a narrow plane
Fig. Fig.
120.
Fig.
120.
Showing the Arm
in
121.
the same position without the "Points OF Rest."
Fig.
121.
Diagram showing the "Points of Rest"
of rest, you obtain
much more
will find
arm, but just as all
this
large mass
much between
is
(Fig- 121.)
principle, not only in the outline of the
the other parts of the body.
A
the Arm.
spring and elegance in the form
and especially more refinement.
You
in
always, in a
the muscles of the face, and in (Fig. 122.)
more
or less accentuated way,
Modelling
12
separated from another by a line or slightly curved plane which I
call
Not only
a rest.
sections,
For
do we
in
the outer contour, but also in the
find this principle applied.
instance,
we
if
take the section of the chest,
plane of the sternum separating the
flat
we
find the
large masses of the
Pectorals, just as the vertebral
column separates the masses of the lumbar muscles.
If,
were
torals
two
the
instead,
(Fig.
attached
Pec-
to
the
centre of the sternum, and the
lumbar muscles
to the
centre
of the spinal column, the section
would lack elegance and
strength (Fig.
124.)
Wherever the bones appear on the surface, or rather are suhcntancous, there ^
nrm
•
•
1-
r
rigidity 01
is
a certain
1-1 drawing which •
1
impresses on us the
fact,
Fig.
—The
Torso with "Points of Rest.'"
122.
the
that underneath the muscles there
is
the solid framework of the bones which support them, and on
which they depend completely.
These
points
of
rest,
on
sections, are generally caused
the outline
as
well
as
in
the
by the bones or the tendinous
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
126
Modelling which are
parts,
Therefore,
these
more
rigid
firm,
shghtly-curved
in
drawing than the muscles.
which
flatnesses,
the
subcutaneous bones cause, form, by their tranquil simplicity of aspect, a contrast to the variable alternative roundness of
muscular the if
and give an impression of resistance, which
fibres,
same time
detracts from the
monotony which would
an even roundness of form prevailed
over the
all
the at
exist,
figure.
In the beautiful antiques, especially in the Torso Belvedere of the Vatican, you observe the application of this principle.
Section of the Thorax WITH "Points of Rest."
Fig. 123.
It is
between
all
enormous
show
in a
muscular
so
evident,
is
but
these
less
emphasized manner
that,
notwithstanding the
more or
muscles,
the large
elegant, elastic,
of
The same without the "Points of Rest."'
124.
not only in the outlines that this
intervals of rest
I
Fig.
development of
this
torso,
it
remains
and supple.
therefore repeat and impress on you that these intervals
rest,
or planes of separation,
every part of the figure and ;
I
am
between the masses occur convinced
that,
in
having drawn
Modelling your attention
to
yourselves
it
in
principle,
this
other
the
all
you
127 see
it
which
I
will
parts
and apply have
not
mentioned.
To model this
does not merely mean making a model of a statue
;
term applies as well to the product of Painting as to that
We
of Sculpture.
talk of
good and vigorous modelling and
weak, poor modelling of heads, hands, &c. Painting, the beautiful modelling depends on draiK.'ing
In
and colour
:
the round or
it
signifies
fiat
In Sculpture,
rendering by means of light and shadow
projections of a solid body. it
depends on understanding and drawing with
intelligence the often slightly-curved half-planes, an intelligence
which can only be acquired by a thorough knowledge of the anatomical mechanism which the
movement
lies
underneath the skin
;
for
it is
of the muscles and their fibres, which in their
contrasting directions form the large variety of planes which
the skin
covers,
enveloping and following them
in
all
their
undulations.
The
ignorance of
Anatomy
in this, as in the construction of
the figure, can only produce in the execution a result which
weak and
unintelligent,
Besides, he
these
Even
movements if
who
is
and consequently uninteresting.
is
ignorant of
it,
cannot so
of planes on the surface, as he
he sees them, he
will
clearly see
who knows
it.
never give them such animation,
128
Modelling
,
strength, and
feeling of delicacy,
he does not know the
for
origin of these planes, nor their cause.
In order to
shadows or by
the,
.
model a form,
point of origin
less
is
must be drawn
which surround
half-tints
more or
it
by the
first
These are formed
it.
rapid, action of planes,
whose place or
narrow, but which spread by radiation ov^er
the laro^e surface of the form.
Let us take the Pectoral Its
for
an example.
modelling cannot be obtained by a mere slightly curved
plane which surrounds at that, the result
simply rounded
it
and draws
would look
it off,
it
its
like a
would look
less planes
"
If
you stopped
board,
or,
them the
you
if
cushion stuffed with
of nat,ure.
regard to these shadows,
the other hand, with
boldly and wisely indicate in
lifeless
like a
cotton- wool, without the " morbidezza
On
outline.
starting of the
you
if
number-
which surround them, by spreading them and again
modelling them together on the larger surface, you
will obtain
an expressive form and a great variety of movement.
When
all
these
movements of planes
are blocked
must be blended together by the skin which
in,
they
delicately covers
them, by simplifying them, by almost making them disappear,
and by these means you
The
will
obtain an animated simplicity.
opposite proceeding can only result in a dead simplicity.
In working out these planes, you should
never forget to
separately observe from below, or from the side, the section of
Modelling each separate form,
in
129
order to give them their richness of
form. If
you worked only from the
be a poor and
By working
form.
flat
be obliged to look at
it
front, the residt
would certainly
across the form you will
from underneath, and thus give
it
fulness
and richness. In this
stage,
relative
values
happens
that,
more than
ever,
you should compare the
and shadows,
of half-tints
for
it
frequently
indicating the planes before-mentioned
in
and
which draw the form are almost
their radiations, the half-tints
of equal value.
At
this point,
when a shadow appears
always mean that the depression
is
too black,
it
does not
too deep, but the cause
is
rather found in the fact that the angle formed by the light and
shade
is
Or,
too acute. if
it
is
enough,
dark
not
that
the
angle
is
too
obtuse.
The
study of these angles
arrive at at
it
them by the
very important.
section of the form
â&#x20AC;&#x201D; that
You is,
can only
by looking
from underneath.
To
obtain a strone: shadov/
hole, but to
The and
is
all
make
the angles
it
is
more or
Palette of the sculptor
is
not necessarv to
(jive lis^ht
made up
and shade.
a
less sharp.
of black and white,
the different tones are formed by the
angles which
make
variety of
the
I Modelling
130 You too
should never
narrow
â&#x20AC;&#x201D; that
Fig.
make
w^ill
125.
the half-tints which surround a form
rob them of breadth
Fig.
;
for the
126.
and breadth of form depends absolutely on the surrounds
it.
richness
half-tint
which
Modelling If
you must exaggerate,
it is
i
preferable to
make
3
i
these half-
tones rather too large, for that will give not only richness to the form, but will produce separation between the various forms,
which
In
will
give more
life
and spring
to the whole.
drawing an outline you should mentally continue
the point which
it
may meet on
profile,
for instance, the
to
the other side of the figure.
Fig.
Take,
it
128.
general direction of the outline on the
caused by the Shoulder-blade and the Ouadratus
borum, and continue across the figure the general outline of the leg.
to observe
(Fig.
its
Lum-
relation to
125.)
K
2
132 Do find
Modelling
'
for the outline of the
relation with regard to the
its
(Fig-.
same
the
Trapezius
muscle, to
dorsal (Latissimus dorsi).
126.)
Continue the outline of the thorax from the front view with regard to the internal and external oblique muscles.
(Fig. 126.)
Continue the anterior outline of the carrying leg along posterior outline.
Observe
(Fig.
in the
125.)
arm the
relation of the Deltoid to the pos-
terior outline of the fore-arm.
These figure
â&#x20AC;&#x201D;
may be
lines
as,
(Fig.
traced or
127.)
drawn on
example, on Fig. 128
for
its
;
all
the views of the
by means of
this,
the
general relation of form to form will be ascertained, and you will
get harmony of lines at the same time as their
you
will
movement
;
avoid a piling-up of forms without any relation between
them. It
so
is,
horizontal
to
and
say,
oblique
in
vertical
lines,
the
lines
equivalent
which you employ
of the
to find
the
position of different points on the figure.
And
you
might trace
such
mention a few, feeling certain grasped
this principle,
he
will
lines that,
find
ad
if
many
a
infinitum.
student
has
I
only
once
others by himself.
â&#x20AC;&#x201D;
Modelling
133
COMPARATIVE PROPORTIONS am much
I
averse (in our studies from the hving model) to
some books give
the application of rules of proportion which us,
which teach that so many noses, or so many
arm or a
the length of an
we
If
compose
fingers,
leg.
applied this information to our studies from Nature,
would destroy
it
our work the character and individuality which
in
every being possesses, and the result would be very commonplace
work
;
for
it is
just the proportions
which lend individual
character to the head, as well as to every other part of the figure.
Nevertheless,
I
believe
comparative proportions,
that
which
is
it
will
useful
enable
know
to
in
us,
certain
making a
sketch or composition, to avoid gross mistakes. I
have indicated a few such
proportions.
in
(Fig. 129.)
In the following measurements variation or difference
In the
a diagram of comparative
Leg
â&#x20AC;&#x201D; The
we observe
minimum
of
:
distance from beneath the arch of the
foot
to the
upper border of the Patella
the
centre
of
the
a
Patella
to
the
is
Crest
equal to that from of
the
Ilium
on
legs,
that
the
the standing leg.
But
I
have also found,
in
rather
long
â&#x20AC;&#x201D;
Modelling
134
Fig. 1.
rFrom
129.
General Comparative Proportions.
Plinth to top of Patella.
From centre of Patella to Iliac process. I From Pubic line to top of Sternum.
5.
2. < 3.
These three proportions are generally equal.
The Arm. 4.
Three heads first
from Acromion to articulation of index finger. in length
6.
From Acromion
to head of Ulna'one head and a half. From head of Ulna to first articulation of finger one head and a half
From From
Plinth to top of Patella two heads. centre of Patella heads.
to Iliac process
two
â&#x20AC;&#x201D;
.
Modelling
135
proportion from the ground to the top of the Patella was equal to the distance
from the top of the Patella (instead of
its
centre)
to the Anterior Superior process of the Ilium.
You
will also find
top of the
foot to the
that this
Patella
measurement from under the equals the
distance from the
supra-sternal notch to the line of the Pubes.
Generally speaking, these three measurements are the same.
Further
The
:
length of the leg to the top of the Patella
contains two heads, and the distance from the centre of the Patella to the Ilium the same.
Arm In
:
arm,
outstretched
the
Acromion process
the
measurement
to the first articulation of the
from
the
Index contains
three heads.
In a long of the
the
is,
as a rule, one
Acromion
(the Elbow),
end of the I
third
middle
to the
in
the distance from
and one head and a half from the Elbow
first
tions will be
head and a half
process, or Shoulder, to the head of the
Ulna to the
of the Phalanges.
think the knowledge sufficient
you have no model But
head comes only
Phalanx.
first
There
arm the
to use, in
to
of these few comparative
prevent
you
from
propor-
mistakes,
when
to guide you.
your studies from
life,
other proportions than
those presented by the model, would be quite contrary to
all
Modelling
136 idea of study
;
for
all
your attention
must be engrossed by
searching for the personal characteristics of your model. is
what
a7'tistic
study means, and
it
is
That
only by this kind
of
study that you will develop your powers of observation and lay in a store of
design.
knowledge
to
draw on
for
composition and
Vic.
[
1.^,0.
TV /iu<:
/â&#x20AC;¢agi
1
36.
Fig.
i^i.
[To face
J-'igc 136.
Fic.
[
I,
To face pn^c
1
36.
Fig.
[yv/<icv/.iiV
133.
13P.
Fig.
134.
llj /a.c
/â&#x20AC;¢.i^c
136
[To /luc /'a^c I'lG
135-
136.
Fig.
I
^6.
[To face
A'^'' 136.
[J
Fk-..
137.
i'
/iuc
/<'i,v 136.
In.
[To face ^age i.;6.
136.
Fig.
[To /iuc
139.
/.fi't-
136.
Fig,
140.
[To face page
137.
Modelling
Fig.
The numbers and A.
letters refer to the
Masseter.
137
141.
same muscle G.
in all
four diagrams.
Triceps.
B.
Stemo-cleido-mastoid.
H.
C.
Trapezius.
J.
D.
Deltoid.
K.
Serratus Magnus.
E.
Biceps.
L
Rectus Abdominis.
F.
Brachialis Anticus.
M. Tensor- Vaginse-Femoris.
Pectoralis Major.
Latissimus Dorsi.
138
Modelling
Fig.
N. Gluteus jMedius.
142. T.
IHacus and Psoas.
O.
Gluteus Maximus.
U.
Pectineus.
P.
Rectus Femoris.
V,
Adductor Longus.
Q. R.
Vastus Externus.
W.
External Olilique,
Vastus Internus.
X.
Tibialis
S.
Sartorius.
Y.
Peroneus Longus.
A nticus.
Vu..
14:
\To fcuc pa^e
13S.
Fig.
144.
\.To face f'agc 139.
Modelling
Fig.
139
145.
1.
Gastrocnemius.
S.
2.
Soleus.
9.
3.
Long Flexor
4.
Supinator Longiis.
1 1.
Semi-tendinosus.
5.
Extensor-carpi-radialis-longior.
12.
Biceps Cruris.
of the toes.
10.
Flexor-carpi-ulnaris.
Extensor-communis Digitorum. Extensor-carpi-ulnaris.
6.
Flexor-carpi-radialis.
13.
Semi-membranosus.
7.
Falmaris Lontjus.
14.
Long Flexor
of Great Toe.
Modelling
140
Fig.
146.
15
Peroneus Brevis.
21.
Extensor-ossis-metacarpi-pollicis.
16.
Gracilis.
22.
Extensor-carpi-radialis-brevior.
17.
Rhomboideus Major.
23.
Coraco-brachiaiis.
18.
Infra-spinatus.
24.
Long Extensor of the
19.
Teres Minor.
25.
Anterior Annular Ligament.
20.
Teres Major.
26.
Anconeus.
toes.
[
To face page
140.
â&#x20AC;&#x201D;
Modelling
Fig. A. B.
C.
Deltoid. Pectoralis Major. Biceps.
1).
E. F.
148.
The
jSIuscles of
141
the Torso
Latissimus Dorsi. Serralus Matjnus. Aponeurosis of External Oblique,
G. li.
External Oblique, Linea Alba.
Deep Portion. 1.
2. 3.
Subclavius. Pectoralis Minor. Biceps.
5.
Coraco-brachialis. Subscapularis.
8.
Obliquus Internus Abdominis. Linece Transversa.
6.
Rectus Abdominis.
9.
Pyramidalis.
4.
7.
â&#x20AC;&#x201D;
1
Modelling
142
Fig. T.
149.
Muscles of the Back of the Trunk.
Modelling
143
"y
HI
^' 150-
Fig MUSCLE.S OF THE LeG.
A B
A'. B'.
Gluteus
Medius and Maximus. Iliacus and Psoas.
C.
Pectineus.
DD'.
Adductor Longus and Adductor Brevis. Adductor Magnus.
E. F.
G.
Vastus Kxternus. Vastus Internus.
H.
Tibialis Anticus.
J.
Soleus.
K. Extensor-Iongus Digitorum. L. Peroneus Longus.
M.
Tertius
R.
Ohtur.itor Internus.
S.
Quadratus Femoris. Adductor Magnus.
r.
Extensor-proiiius-poliicis.
N. Peroneus
151-
or
Anticus.
O. Peroneus Brevis. P. Floxor-Iongus I3igitorum. Q. Gluteus Minimus.
U. V.
V.istus Externus.
Vastus Internus.
W.
Plantaris.
X.
Popliteus. Soleus.
\'.
Z.
Tendo Achilles.
Modelling
144
Fig.
152.
Muscles of the Arm J-
Extensor-ossis-metacarpi-pollicis.
QR.
Extensor-secundi-internodii-pollicis. Extensor-carpi-radialis-longior. Spinator-radii-longus.
S.
K. L.
M. N. O. P.
Extensor-carpi-radialis-brevior. Coraco-brachialis.
Biceps Cubiti. Brachialis Anticus.
T.
Pronator-radii-teres.
U. V.
Flexor-carpi-radialis.
W.
Flexor-carpi-ulnaris.
Palmaris Longus.
Modelling
I'lG.
A.
154.
â&#x20AC;&#x201D;Muscles of the Arm. G.
Extensor-minim i-digiti.
II.
Extensor-indicis. Extensor-ossis nielacarpi-pollicis. Kxtensor-primi-internodii-pollicis. Kxtensor->ccundi-intornodii-poliicis.
Triceps. Triceps. Triceps.
J.
D. E.
Anconeus.
K.
Supinator-radiibrevis.
L.
F.
Extensor-comniunis Dieitorum.
B.
C.
â&#x20AC;˘4S
â&#x20AC;&#x201D;
Modelling
14.6
Fig.
The
155.
letters refer to the
The
Bones.
same bones
in all these diagrams.
Skull.
C. Sternum.
B.
Hyoid Bone.
D.
Ribs.
C.
Clavicle.
E.
Scapula.
A.
D^,
first
Rib
;
D^^
twelfth Rib.
Modelling
147
Fig. 156. F.
Humerus.
L.
G.
Ulna.
M. Innominata.
H. Radius.
Phalanges.
Carpus.
O.
Tibia.
K. Metacarpus.
P.
Patella.
J.
M',
Iliun^.
;
M", Pubis
;
M'",
Ischium.
N. Femur.
L
2
Modelling
148
Fig.
157.
Q.
Fibula.
T.
Phalanges.
R.
Tarsus.
U.
7th Cervical.
S.
Metatarsus.
V.
1
2th Dorsal.
W.
5th Lumbar.
X.
Sacrum.
V.
Coccyx.
;
ATTACHMENTS OF THE MUSCLES MUSCLE A. Masseter.
ATTACHMENTS ist.
Inferior margin of zygomatic arch.
2nd.
External surface of the ramus
and the angle
of the lower jaw-bone. B. Sterno-cleido-mastoid-
ist.
Mastoid process of temporal bone, and back-
some
wards
â&#x201A;ŹUS.
distance
along
the
superior
curved line of the occipital bone. 2nd.
By
the
inner
head to
the
front
of
top
of
sternum, and by the clavicular head to inner third of upper border of clavicle.
C
Trapezius.
I St.
Spines of
all
dorsal vertebrae
ligamentum nuchse, from
and
last
last
cervical
cervical ver-
tebra to occipital protuberance, and one-third
of superior curved line of the occiput. 2nd. Outer third hinder border of the clavicle, inner
border of
the
acromion, upper
border
of
spinous process of the scapula.
D. Deltoid.
ist.
Spinous process of scapula and outer third of clavicle.
2nd. Deltoid impression on the humerus.
E. Biceps. '
ist.
By
the long head above glenoid cavity, by short
head to coracoid process of scapula. 2nd.
By
ist.
Lower
a long
tendon to back of
bicipital tuberosity
of radius. V. Brachialis Anticus.
half of anterior surface of humerus.
2nd. Below coronoid process of ulna.
Modelling
ISO
ATTACHMENTS
MUSCLE /
G. Triceps.
I St.
By
the middle head, beneath glenoid cavity
neck of scapula
by the outer head,
;
side of upper half of
humerus
;
on
to outer
by the inner
head, to inner side and lower half
of the
humerus. 2nd.
Upper border and
sides of the olecranon pro^
cess of the ulna.
H. Pedoralis Major.
I St.
Aponeurosis of the external oblique muscle of the abdomen, front of body, to
num, and
hilt
of ster-
adjacent costal cartilages, to inner
half of clavicle.
2nd. Bicipital groove of humerus.
Latissimus Dorsi.
I.
I St.
By an aponeurosis
to the lower six dorsal spines,
to all the lumbar,
spines crest,
;
upper two or three sacral
also to the posterior third of the iliac
and lowest three or four
ribs.
2nd. Bicipital groove of the humerus.
K. Seiratus Magnus.
I St.
Upper
eight ribs.
2nd. Base of the scapula. L. Rectus
Abdommis,
I St.
Pubic crest and symphysis.
2nd. Fifth
rib, fifth, sixth,
lages,
M.
Tensor
Vagincs
I St.
Femoris
and xiphoid
Anterior superior
on the outer
and seventh
iliac spine,
lip
costal
carti-
cartilage.
and
a small surface
of the crest of the ilium.
2nd. Fascia-lata.
N.
Gluteus Medius.
I St.
Upper
part of outer surface of ilium.
2nd. Outer surface of trochanter major. ().
Gluteus Maximus,
I St.
Lower border of sacrum and coccyx and
adja-
cent portion of ilium. 2nd.
Over trochanter
to fascia
and back of femur
below trochanter. P. Rectus Femoris.
I St.
Anterior
inferior
iliac
spine and above aceta-
bulum. 2nd.
By common tendon
to the patella.
Attachments of the Muscles
.
Modelling
^5^
ATT.ACHMENTS
MUSCLES 5.
Extensor carpi radi- fist. alls longior.
6.
i
Flexor carpi radialis.
Lower
part of epicondyloid ridge of
2nd. Base of metacarpal bone of ist.
humerus.
first finger.
Inner condyle of humerus, fascia of fore-arm.
2nd. Front of the base of metacarpal bone of fore finger. 7.
Falmaris
Lo7!gits.
ist.
Inner condyle of the humerus fascia of
fore-
arm. 2nd. Palmar fascia opposite the middle of the wrist. 8
Flexor carpi uhiaris.
ist.
Inner condyle of the humerus, inner side of olecranon, and upper two-thirds of posterior
border of ulna. annular ligament, and
2nd. Pisiform bone,
palmar
fascia. 9.
Extensor
cominunis
disitorinn.
(
\
ist.
External condyle of the humerus.
2nd.
By
four tendons to the back of the bases of last
two bones of the 10.
Extensor
carpi
nl-
tiarts.
11.
Sevn-Te7idinosus.
12.
Biceps Cruris.
fingers.
(
ist.
External condyle of humerus.
I
2nd
Back of base of
ist.
Back of tuberosity of ischium.
fifth
2nd. Inner side of front of
metacarpal bone.
tibia.
ist.
By long head, back
2nd.
down to the external Head of fibula.
isl.
Back of tuberosity of ischium.
of tuberosity of ischium; by
short head, lower two-thirds of back of femur
13.
Semi-Mejnbrafiosus.
condyle.
2nd. Back of internal tuberosity of 14. Lofig Flexor of Great 7<7^.
(
1
tibia.
ist.
Back of
2nd.
Under
ist.
Outer side of fibula below Peroneus longus.
below soleus.
fibula
side
of
base of
last
phalanx of great
toe. 1
5
Ferofieus Brevis.
2nd. Tuberosity of 16.
Gracilis.
fifth
metatarsal bone.
ist.
Os Pubis (descending ramus).
2nd.
Inner
side
osity.
of
tibia
beneath
internal
tuber-
Attachments of the Muscles
3 J
ATTACHMENTS
MUSCLES Rhomboidetis Mojor.
I
St.
Upper
five dorsal spines.
2nd. Base of scapula from root of spine to lower angle. i8.
Infraspinatus.
ist.
Inner two-thirds of infra-spinous
fossa.
2nd. Greater tuberosity of humerus. 19.
Teres Minor.
I St.
Upper
two-thirds anterior border of scapula.
2nd. Greater tuberosity of humerus. Teres Major.
I St.
Inferior angle of scapula, axillary margin of the
bone. 2r.d.
Extensor ossis
iiieta-
carpi polhcis.
Extensor carpi radia/is brevier.
Coraco-brachialis.
(
I
St.
\ 2nd. I
St.
Bicipital groove of the
Back of
ulna,
humerus.
back of radius.
Back of metacarpal bone of thumb. External condyle of the humerus.
^
\
2nd. Base of metacarpal bone of second finger. I St.
Coracoid process of scapula.
2nd. Ridge in middle of inner side of humerus.
Lo7ig Extensor of the
I St.
External tuberosity of
tibia,
upper part of inner
surface of fibula.
Toes.
2nd. Last phalanges of four outer toes. Afiterior
Annular
Lizanient.
Consists of two bands
the upper placed vertically in
:
the leg above the ankle joint
obliquely across the highest
Ancojieus.
jxirt
is
of the
placed tarsus
;
together they contain the tendons of the
tibialis
amicus, long extensor of the toes, peroneus
tertius,
and extensor of the \6.
the lower
;
I St.
great toe, in a sheath.
Back of external condyle of humerus.
2nd. Outer side of ulna below the olecranon process.
Richard Clay and Sons, Limited, LONDON and BUNGAY.
CHAPMAN AND HALL'S
Books A System
for Art Students
and Teachers.
Brush Drawing.
of
For Public Elementary Schouls, Classes under Article 91D of the Scotch Corle. an'l Art Classes By R. DOUGLAS, in Elementary Design under the Board of Education, London. Certificated Art Teacher. Examiner to the University of St. Andrew's, and HILL 'T'HIS little work has been specially designed with a view to the recent requirements of the new Code, as applied to Public Elementary Schools, aiming, as far as possible, to correlate Brush drawing with Nature knowledge. The work has also been arranged and adapted to qualify teachers under Article 9111 of the Code, and as such will prove a valuable and suggestive course for those who wish to study the subject in reference to The work is carried out in monochrome, and the simulation of natural colouring of plant form and design. The various elements of Greek Anthemions form the basis of the leaves and flowers is specially deprecated. work in the elementary section, and thus teachers and pupils are provided with various ornamental elements, Particulars as to colours, the arrangement and combination of which will encourage inventiveness and skill.
SMEATON WALKER,
ADA
brushes, &c.
,
arc also given.
Perspective for Art Students, Artists and Draughtsmen. i;y RICHARD G. HATTON, Author of "Figure Drawing," "Elementary Design,"'
etc.
With
Large crown Svo, 292 pages, 5^. TN this work the subject is approached from the artist's rather than from the geometrician's side. This part of the work is not a nitre Considerable space is therefore devoted to sketching in perspective. aggregation of trivial hints, such as are sometimes put together for amateurs, but is an application of the rules 208
Illustrations.
of perspective to the freehand representation of objects.
A Book
of
Studies in Plant Form.
With some Suggestions for their Application to Design. Tenth Thousand, revised and enlarged, with numerous
TN
By A. E. V. LILLEYand Illustrations.
Demy
W. .MIDGLEY.
Svo, 6s.
new and
enlarged edition over two hundred different suggestions for the ornamental treatment of have been added, as well as a large number of additional drawings and photographs of plants, and a freely illustrated chapter on plant ornament in relief. -^
this
fifteen of the plants
Progressive Design for Students. By JAMES WARD, Author of "The Principles of
Ornament," " Historic Ornament,"
etc.
With
42 Full-page Plates, comprising upwards of 1,700 Drawings. Svo, ^s. net. 'T^PIIS new book, in ornamental design, consists of a series of progressive lessons in elementar)- and applied ^ design. The illustrations and examples are all based on nature, conventionalised or treated to suit the requirements of the space or object to which the decoration is applied.
Italian
Wall Decorations A Handbook
of
the 15th and i6th Centuries.
models illustrating interiors of Italian buildings in the Victoria and Albert Museum, Written by various authorities, with an Introduction by T. ARMSTRONG. South Kensington. W'ith 52 Illustrations. Large crown Svo, 3^. to the
T^HIS
handbook has been compiled in order to supply historical information concerning the buildings in Italy of which certain decoiaied portions are represented in the Victoria and Albeit Museum by models, necessarily much reduced in size frcm the dimensions of the originals.
The Human Figure
in
Motion.
EADWARD
An
By Electro-photographic Investigation of Consecutive Phases of Muscular Actions. Illustrated with numerous P'ull-page Photo-Mezzotint Engravings reproduced the Original Negatives. Oblong, 292 pages, 20s. net. Companion Volume to "Animals in Motion," published last year.
MUYBRIDGE.
I'ri
m
A
in this and the previous volumes consist, not as individual photographs made at particular instants in the performance of seme muscular act which anyone with a hand camera coulel do equally as well but as seriates of phases, demonstrating the various changes which take place in the disposition of the limbs and body during the evolution of some act of motion from its
'T'lIE value of the photographic phases of motion
—
—
inception to
its
completion.
Floral Studies for Decorative Design. By
JAMES WARD,
A SERIES ^^
Art Master, School of Art, Macclesfield.
In Portfolio, 20s. net.
of Drawings in Light and Shade, from Nature, of Flowering Plants selected from their suitability for use in Decorative Design. the Marguerite, French Nine of the Plates contain full-sized Drawings of the following Plants, namely Poppy, Dandelion, Garden Strawberry, Bulbous Crowfoot, Nasturtium, Crab-Apple, Dog-Rose, and Scarborough Lily ; and Three of the Plates contain Two Drawings on each Plate, namely : the Primrose, Lesser Celandine, Wild Hyacinth, Red Campion, Garden Pansy, and Wild Pansy. Each Drawing is accompanied by Studies of the decorative details of the suliject, treated in plan and elevation, and in some cases with decorative arrangements of the Plants. of
Twelve Sheets, 2
ft.
2
in.
by
i
ft.
8
in.,
:
CHAPMAN AND HALL,
Ltd.,
LONDON.
—
—
Chapman The
— 6:
Books for Art Students
Hall's
JAMES WARD,
Large crow u Svo,
LTHOUGH
by many of the
is
Svo,
"T^
GEORGE
Master of the Macclesfield School of Art. Edited by Professor of Archileclure al the Royal Academy of Arts. Fully Illustrated.
many excellent text-books on Ornament, there are none that exclusively treat of known as the " ]irinciples of ornament." To meet this want, which was seriously
princijial
Art Masters in Kngland,
Elementary Principles By
continued.
6i/.
Js.
there are
the theory or what felt
—
llca.l
AlTClilSON, A.R.A.,
A
Teachers
(&
Ornament.
Principles of By
—
JAMES WARD,
of
this
volume has been produced.
Ornament.
Head Master
of the Macclesfield School of Art.
Fully Illustrated.
Large
5y.
HE
who
volume will be useful to general students in art, and more particularly to those who are specially interested in the subject of decorative design, and will be found serviceable as a text-book for candidates sit for the (Jovernmenl Third Grade Examination.
Historic Ornament. A Treatise on Decorative Volume
Art and Architectural Ornament.
Saracenic,
Art
By
JAMES WARD.
Ancient Art and Architecture Eastern, Early Christian, Byzantine, Romanesque, Gothic, and Renaissance Architecture and Ornament. With 436
I. --Prehistoric
Illustrations.
Demy
;
Svo,
;
7^. 6d.
—
Volume
Pottery, Enamels, Ivories, Metal Work, Furniture, Textile Fabrics, Mosaics, Glass, II. and Book Decoration. With 317 Illustrations. Demy Svo, 7s. 6d.
"
TN
opening this book an instant fascination is found in the numerous and well-executed illustrations which adorn the letterpress. Indeed their attraction is so potent that many readers will doubtless feel a mastering desire to look at all the pictures before reading a single word of what Mr. Ward has written. The plan of the work is comprehensive and succinct." Matichester Conner.
Figure Drawing and Composition. Being a number of Hints
Student and Designer upon the Treatment of the Human Figure. By Master, Art School, Durham College of Science, Newcastle-onWith Illustrations and Diagrams. 5th thousand. Demy Svo, 336 pages, (js.
RICHARD Tyne.
O.
for the
HATTON,
Head
"pXTREMELY
instructive and thoroughly logical treatise. Mr. Hatton has written a greater amount of sense on the subject of drapery than we remember to have met elsewhere. ... Its digests of artistic anatomy deserve as much praise as we have given to what is said upon the delineation of drapery." The Athemeuin.
common
A
Practical
.
Handbook
of
.
.
Drawing.
For Modern Methods of Rej reduction, with many Illustrations showing comparative CHARLES G. HARPER. New Edition revised and added to. Demy Svo, Ts. dd.
"
results.
By
TT
is because Illustration is an Art of such vitality, and reproduction ever improving, that it has been necessary to considerably alter and revise these pages for the New Edition of this Handbook. Many things have happened since it was first issued ; reputations have been won, old masters of the Art (as well as some new) have passed away, and the field for work has continually widened." Extract from Preface.
Decorative Design. An
FRANK
Elementary Text-book of Principles and Practice. By Ornament and Teacher of Technical Art Processes Fully Illustrated. Third Edition. Large crown Svo, "js. 6d. Principles of
in
JACKSON,
Lecturer on G. the Birmingham School of Art.
nPHE
intention of the Author is to assist young students in their earcy decorative attempts by showing them the constructive origin of Ornamentation, and to place before them such guiding principles and orderly as are found to underlie all true decoration of every kind.
methods
The Theory and Practice
of Design.
An Advanced
Text -book on Decorative Art. Being a sequel to the Author's " Lessons on Decorative Design." By G. JACKSON, Lecturer on Principles of Ornament and Teacher of Technical Art Processes the Birmingham School of Art. With 700 Illustrations. Large crown Svo, 9^-.
FRANK m
'pHIS
is
a continuation of Mr. Jackson's book on Decorative Design, and
is
intended to help advanced ; regard for con-
students. Throughout the work the Author insists upon the observance of principles struction, and the law of development, as necessary aids in a student's education.
CHAPMAN AND HALL,
Ltd.,
LONDON.
.
To
Schools
and
Art
of
Art
Classes
from Life Examination.
taking
the
Modelling
•
Issue of a Special Cast to explain ttie RELIEF of the Students' Study from ttie Clay Panel.
Figures from the =
in
"Amazon Sarcophagus" Museum =
the Victoria and Albert
Size — Length 2
Price 12
=
ft.
9
in.
net.
/-^UAr-fcTt/fAXT HALL, &C l-IATI CHAPMAN 11,
Width
2
ft.
2 in.
Packing Case
ITD L'.
1/3.
EDLCATIOSAL ASD GESERAL .
plbushers
HENRIETTA STREET, COVENT GARDEN, LONDON,
W.C.
.
.
Examples
Modelling from Cast
of
CHAPMAN &
Messrs.
HALL,
draw
Ltd., beg to
Art Masters to an important departure
of
They have
work.
Professor
in
the attention Plaster Cast
arranged with
LANTERI, Of the Modelling School, Royal College of Art, South Kensington,
on the market a
to place
Casts
specially
designed
New to
and
help
Instructive Series of
the
in
teaching
of
These Casts have been modelled by ProfeSSOF
Modelling.
LANTERI,
and give two stages
of
development in the
modelling of a Bust and of a Foot.
Cast of a Bust,
first
and second stages
complete
„
„
„
„
„
Foot,
.,
,
„
first
...
••
and second stages
complete
...
...
...
...
8s.
each net.
...
•••
6s.
6d.
...
...
...
...
net.
4s. 6d. each net.
4s.
6d.
net.
PACKING CHARGES, TEN PER CENT. ON THESE PRICES. FOR ILLUSTRATIONS OF THESE CASTS, please see opposite page.
Messrs.
CHAPMAN & HALL,
Ltd.,
Educational and General Publishers, 11,
HENRIETTA STREET, COVEN T GARDEN,
W.C.
^^^H
New *
Copyright Cast.
ANATOMICAL FIGURE
Modelled by
E.
*
LANTERI,
Professor of Sculpture, Royal College of Art, South Kensington,
Size 2 feet 8 inches.
2I/= net.
CHAPMAN & HALL, II,
Packing Case, 2,6
Ltd.,
""^Te^.t ^^^us,b,s
HENRIETTA STREET, COVENT GARDEN, LONDON,
W.C.
r^
r^-.;^,
mm
ms