An_atlas_of_anatomy_for_artists.pdf 2d582r

FRITZ SCHIDER

AN ATLAS OF

ANATOMY FOR ARTISTS REVISED BY PROFESSOR DR. M. AUERBACH

AND TRANSLATED BY BERNARD WOLF, NEW BIBLIOGRAPHY BY ADOLPH

M.D.

PLACZEK,

COLUMBIA UNIVERSITY ADDITIONAL ILLUSTRATIONS FROM THE OLD MASTERS AND HISTORICAL SOURCES

WITH A NEW SECTION ON HANDS SELECTED BY HEIDI LENSSEN

THIRD AMERICAN EDITION

DOVER PUBLICATIONS,

INC.

Copyright

©

1947, 1954, 1957

by Dover Publica-

tions, Inc.

All rights reserved under Pan American International Copyright Conventions.

and

Published in Canada by General Publishing Company, Ltd., 30 Lesmill Road, Don Mills, Toronto, Ontario. Published in the United Kingdom by Constable

and

WC

Company,

Ltd.,

10

Orange

Street,

London

2.

An Atlas of Anatomy for Artists is a new English translation of the sixth (1929) edition of PlastischAnatomischer Handatlas für Akademien, Kunstschulen und zum Selbstunterricht 5. Aufl. published by E. A. Seeman.

Library of Congress Catalog Card

Number: 58-3622

Manufactured in the United States of America Dover Publications, Inc. 180 Varick Street York, N. Y. 10014

New

:

PREFACE TO THE THIRD AMERICAN EDITION This third revised American edition is augmented by 10 illustrations from Jules Cloquet's Anatomic (/<• l' Homme plates 157-160 1, 16 illustraplates 171-170). and tions from Jeno Barcsay's Anatomy for the Irtist a new section on hands selected by Heidi Lenssen (plates 97-106). I

I

Dover Publications,

1957

Inc.

PREFACE TO THE SECOND AMERICAN EDITION In this second revised to increase the

years.

American

edition, the publishers

have aimed

usefulness of a book that has been standard for

The book has been expanded by

many

the addition of the following

material (1)

(2

)

A new bibliography. A w ide selection of illustrations

from

historical sources: Vesalius,

Leonardo, Goya, Degas, and others. (3) Photographic illustrations of interest to the artist which are reproduced for the first time 'in this book: the Nancy Bayley photographs of growing children and the Muybridge action studies.

Although Schider has always been a valuable book for the study of anatomy, it is hoped that the added sections will encourage the student to study life drawing from the rich repository of material that is readily available in the great libraries and museums of the world. Rimmer and Muybridge, for example, were great teachers and students of the human figure during the nineteenth century; yet, their books are out of print at the present time. If this book introduces to the student such works as these and encourages him to investigate the artistic and photographic resources that are available, much of the purpose of the book will have been achieved. Schider has been particularly useful in that he has never encouraged the student to follow- any style other than his own. He has concentrated primarily on presenting the essential facts of anatomy in a straightforward manner leaving the student in less danger of imitating particular styles or mannerisms. This aspect of the book has not been altered rather, the introduction of the historical material should make the student continuously aware of the variety of style and approach that is possible. ;

1954

Dover Publications,

Inc.

INTRODUCTION PLATES 1 and 2. The Skeleton. Plates 1 and 2 show the skeleton of a young man from the front, side, and back. Note: The female skeleton is clearly differentiated from the male by the small face and skull, the narrow, short thorax, and particularly the more rounded pelvis (compare the drawings).

PLATE

3.

The Various Shapes of Bones.

A. Ball and Socket ts. Fig.

1.

The ligaments between

and scapula form the Fig. 2.

humerus

the

t capsule.

The ligaments between

the

femur and

pelvis.

The

ball and socket t consists of a spherihead which fits into a cavity, the acetabulum, and which allows motion in all cal

and

directions. Flexion, extension, adduction,

circumduction are possible in

type of

this

t.

B Hinge

ts.

Fig. 3.

The

phalangeal

ts

of the fingers, the inter-

shown

ts, are

as

examples of

this type.

In a hinge t, one bone has a transverse

convex cylindrical surface and the other bone Male

shows the reciprocal contour. Only flexion and

Pelvis

Fig. 1 demonstrates the groove between the two tuberosities at the

upper end of the humerus, a and the oval rough area of

typical bone groove,

humerus

the

(insertion of the deltoid muscle).

rough on the posterior aspect of the femur (origin and insertion of thigh muscles), a typical bone ridge: the head of the femur, the upper cartilagecovered end of the femur, with the femoral neck and the two femoral trochanters. Fig. 2 demonstrates the linea aspera, the

line

Fig. 3 demonstrates the crest of the tibia, the

upper portion of the S-shaped edge of the tibia, a typical bone edge. Fig. 4 demonstrates the ischial spine, the pointed process of the ischium, and the acetabulum which serves to receive the head of the femur. Fig. 5 shows a tubular bone sawn across with its

marrow

cavity.

Fen

Pelv

extension are possible in such a t. C. Combination Fig. 4.

Type of

The elbow

t.

t is

shown

of this type of t. Three or

as an

more

surfaces with various shapes are involved

is

between the ulna and radius. In 4.

The Type* of

t,

ts.

ts are classified according to the

shape of the articular surfaces.

the

a special t this

combined

pronation and supination, flexion and

extension are possible.

The various

:

between the ulna and the humerus forms a hinge t while the t between the radius and the humerus is of the ball and

t

socket type. In addition, there

PLATE

example articular

(Pronation refers to

the motion of rotating the

palm of

the

hand

inwards towards the body; the pronated posi-

forearm and hand is the position assumed after maximum inward rotation the palm then faces outwards. Supination refers tion of the

—

D. The temporal lines

—

characteristically indi-

vidual lines which form the lateral margins

The nasal bones; The zygomatic bones with

palm

E.

outwards away from the body; the supinated position is the position assumed after maxi-

F.

mum

portions of the zygomatic arches;

to the

opposite motion,

outward rotation

rotating the

i.e.

—

palm faces

the

ward and slightly outwards.) D. Immobile Type of t. Fig. 5. The ts between the individual

for-

ol

the forehead;

their very promi-

nent zygomatic processes forming the anterior

G.

The chin formed by

the central part of the

mandible. wrist

and ankle (tarsal) bones and between the carpal and metacarpal, tarsal and metatarsal bones are examples of this type. (carpal)

Plate

7, Figs. 1

and 2 show the skull of the new-

born, viewed from above and from the left side.

Sutural lines have not formed as yet. Instead,

mem-

brane-covered spaces are present between bones concerned. The frontal bone consists of two por-

PLATE

5.

Schematic Cross-section

Through

tions,

a t. clearly labeled on

The important features are

unfused as

the plate.

of the teeth falling out, the mandible

Figs.

THE BONES OF THE HUMAN BODY I.

The Bones of

6, Fig. 1 is a

the maxilla,

4

and the chin protrudes.

6 demonstrate the contours of three

to

7.

II.

The Bones

view of the skull from be-

PLATES

of the Trunk. and 10.

8, 9,

These plates include the bones of the trunk concolumn and the thoracic cage.

In Fig. 1, note:

sisting of the spinal

A. The two occipital condyles with t surfaces

which articulate with concave facets on the

first

cervical vertebra. in which the mandible move.

The two mandibular fossae

ticular processes of the

The

result

different skulls with their sutures.

low; Fig. 2, from the front.

C.

As a

thinned, the

the Skull.

PLATES 6 and

B.

is

angle of the mandible obtuse, the mandible extends

beyond

Plate

yet.

Fig. 3 demonstrates the senile skull.

occipital protuberance to

mentum nuchae ("ligament

which the

ar-

liga-

of the neck")

is

A. The spinal column of the adult consists of the

The upper 7

sacrum,

attached.

12 pairs of

D. The mastoid processes, the styloid processes,

directly connected to the sternum

and the external occipital

crest

which serve for

ribs.

ribs (true ribs) are

cartilages; of the lower 5 ribs eighth, ninth,

the origin or insertion of muscles.

24

and the coccyx. The 24 true vertebrae are made up of 7 cervical vertebrae, 12 thoracic vertebrae, and 5 lumbar vertebrae. The sacrum consists of 5 fused (false) vertebrae; the coccyx, 4 fused vertebrae. B. The thoracic cage includes the sternum and vertebrae,

(true)

distinct

by

their costal

(false ribs), the

and tenth are attached by

their costal

the connection be-

cartilages to the costal cartilage of the seventh rib,

tween the cranial cavity and the vertebral (spin-

forming thereby the inferior thoracic margin, clearly indicated in the living. The eleventh and twelfth ribs

E. The foramen

magnum

is

al) canal.

Plate

6,

Fig.

2.

In this drawing, significant

features as far as external appearance

is

concerned

are:

A. The two frontal prominences

— rounded

pro-

tuberances more definitely marked in children

and women than in men; slender ridges B. The two superciliary arches above the orbits more distinctly marked in men

—

than in C.

The

women

or children;

glabella

—

a small,

the superciliary arches;

lie

within the posterior abdominal wall with their

anterior ends unattached ("floating" ribs).

PLATE Fig. 1.

The

11. Types of Vertebrae.

first

cervical vertebra (atlas); note

the concave articular facets into which the occipital

condyles Fig. 2.

fit.

The second

cervical vertebra (axis)

;

note

the tooth-shaped process (the dens). flat

surface between

Fig. 3.

The

articulated.

first

and second cervical vertebrae,

;

Fig.

seventh cervical vertebra;

11h-

1.

note

a

bifurcated spinous process and perforated trans-

Plate

Fig.

14,

upper extremity

Been from the front with the

verse process.

forearm banging down

(NJJ. the spinous process of the seventh cervical

Note: This

vertebra

is

rarely bifurcated lmt usually presents

palpable beneath the skin,

a single tubercle ea.-iK

name "vertebra prominens"

indicated by the

as

sometimes

ami

6.

The

fust thoracic vertebra; note

sive

The

fifth

at

the side naturally.

tin-

forearm

is

midway

be-

tween supination and pronation. For purposes oi stint anatomical description, the "anterior view" of the forearm

the anterior aspect ol

is

the supin-

lumbar vertebra; note

the mas-

The

also called the lateral or

is

inner aspect

is

radial side.

also called the medial or ulnar

"Radial" and "ulnar" refer

side.

body and strong spinous process.

aspect ol the forearm ami hand in this

The outer position

the articular facets for the ribs. 7.

position ol

ated forearm with palm facing directly forward.

useil for this vertebra.)

Figs, 5

bone- of the

the

illustrates

1

as

to the

two bones

of the forearm.

PLATES 12 and

Movements of Spinal Column. 13.

Note the S-shaped

the

clavicle,

the

apex of the

shoulder formed by the acromion process of the scapula, the coracoid process of the scapula, the

The nodding: motion between

head and first cervical vertebra and the rotatory motion between first and second cervical vertebrae are not shown. Only the movements of the spinal column from the third cervical vertebra to the sacrum are illustrated: forward and backward flexion, lateral (right and left) flexion, and rotation about the longitudinal the

humerus with

its

characteristic t surfaces, the

bones of the forearm articulating with the humerus,

and

finally,

below the forearm, the bones of the

palm, and fingers (carpal bones, metacarpal

wrist,

bones and phalanges).

Forward and backward flexion are performed predominantly in the cervical and lumbar portions.

Plate 14, Fig. 2 illustrates the bones of the upper extremity, with pronated forearm, as seen from the medial (or inner) side. Note the foreshortened clavicle and acromion process, the medial epicondyle of the humerus, the crossed bones

For

of the forearm, and the lateral aspect of the wrist

axis.

this

purpose, the thoracic portion of the spine

with the thorax

may

be considered as fixed. Also,

lateral flexion occurs in the

main

in the cervical

and lumbar portions. Rotation about the longitudinal axis occurs, on the other hand, predominantly in the thoracic portion of the spine and particularly in its lower part. Rotation from the eighth to the twelfth thoracic vertebrae may be as much as 28 degrees. Total amount of rotation from the third cervical vertebrae to the sacrum is about 47 degrees.

and hand.

Plate 15, Fig. 1 illustrates the bones of the upper extremity with forearm pronated, as seen from the lateral (or outer) side. Note the axillaryborder of the scapula, the foreshortened clavicle, the clearly demonstrated head of the humerus and lateral epicondyle of the humerus, the adjacent S-shaped bones of the forearm, and the side view of the wrist and hand. Plate

15, Fig.

2 shows the bones of the upper

extremity, forearm pronated, as seen from behind.

HI.

The Bones of

the

Upper Extremity.

PLATES 14 and The bones of

the

15.

upper extremity may be said

to include:

Note

that the scapula

that

both

is

seen in

its

entire extent

and

epicondyles of the humerus are well

demonstrated.

(Extensor muscles are attached to

the lateral epicondyle; flexor muscles to the medial

A. The clavicle and the scapula which together

epicondyle.) The ulna

form the shoulder girdle; B. The humerus; C. The two bones of the forearm (ulna and

upper end or olecranon, and its lower end, the styloid process and the head which form a prominence just above the wrist.

is

well seen, especially

its

radius)

D. The bones of the wrist; E.

The bones of

the

palm and

Subdivisions B, C, D,

E

IV.

fingers.

together

make up

the

upper extremity proper or the "free" portion of the upper extremity.

The Bones of

the

Lower Extremity.

PLATES 16 and

17.

The bones of the lower extremity consist of: A. The two innominate bones (Each innominate

bone is made up of three bones distinct in de- the pubis, velopment but fused in the adult ischium, and ilium. The innominate bones, the sacrum, and coccyx, together, form the pelvis,

THE MUSCLES OF THE HUMAN BODY PLATE

sometimes tailed the pelvic girdle.); li. The femur;

A

The leg bones (tibia and fibula); D. The bony structure of the foot. Subdivisions B, C, and D make up the lower

which changes ex-

1

innominate bone with well-marked an-

and inferior spines, the femur with its well-developed ends, the patella, the two leg bones, and the bones of the foot viewed from above terior superior

and

in front.

The bones of

the foot consist of the

tarsal bones, the metatarsal bones,

and the bones

16, Fig. 2 shows the bones of the lower

extremity as seen from behind. Note the half-pelvis,

to consist

superior and inferior spines, the ischium with

its

length and a tendon which does is

the

Fig. 1

is

a schematic representation

uppermost

the

is

the midline of the body, while the opposite

attachment

is

called the "insertion."

muscle

Some muscles

are subdivided into a "head," any expanded portion at the origin, a central portion tail.

(the muscle Tendons ap-

pear in several forms:

A. As terminal tendons, attached

at

the

end of and

the muscle, e.g. the gastrocnemius muscle the Achilles' tendon (Fig. 3).

B.

As

tendons,

interstitial

inserted

in

the

"inscriptions" of the rectus abdominis muscle Fig. 4).

As

sheets, bands, or strands

which frequently

extend from the origin or insertion deep into the

extremity from the medial aspect. Note the fore-

muscle substance,

shortened pelvis, the medial condyle of the femur,

the extensor carpi ulnaris muscle (Fig. 2).

upper end

sub-

stance of the muscle belly, e.g. the tendinous

17, Fig. 1 shows the bones of the lower

the prominent tibial tuberosity at the

mus-

muscle attachment or the muscle attachment nearest

C.

foot.

when

stretched

shortened.

general, the "origin" of a muscle

its

femur with the two trochanters at its upper end and the two condyles at its lower end, the tibia articulating with the femur at the knee t, the fibula, and the bones of the tuberosity and spine, the

of a cen-

or "muscular" portion (the belly)

length but is

20.

be said

of a muscle to clarify the terminology used. In

the innominate bones with well-marked posterior

Plate

may

belly), and a terminal portion or

of the toes (phalanges).

Plate

its

Plate 20,

shows the bones of the lower

extremity as seen from the front. Note the halfpelvis, the

not alter

cular portion

tremity proper or "free" lower extremity. 16, Fig.

typical muscle

tral, red, fleshy

C.

PLATE

General Considerations on the Types of Muscles and Tendons.

I.

D. As aponeuroses

e.g. the

—

tendinous strands in

the term used for broad ex-

of the tibial crest, and the medial aspect of the

tensive tendon sheets, e.g. the aponeurosis of the

bones of the foot.

external oblique muscles

Plate

17, Fig. 2 shows the lateral view of the

bones of the lower extremity. Note the half -pelvis

(overlying the right

rectus abdominis muscle in Fig. 4).

E.

As tendinous

sheets or bands

which cover a

with prominent iliac crest, the femur and patella,

portion of the muscle belly, e.g. the tendons of

the tibia with

the gastrocnemius muscle (Fig. 3).

its

tuberosity, the fibula with the

head at its upper end, and the of the bones of the foot. fibular

It is

lateral aspect

also possible to distinguish several types of

muscle bellies: A. Muscles with two, three, or more heads which

V.

The

Articulations of the

PLATES 18 and Plate 18 shows

Human

arise at different sites

Body.

e.g. the

19.

the

the ligamentous capsule of the

ligaments, not only on the outside of the t but also within the t as cruciate ligaments.

Note the

position of the two fat pads below the patella.

These

fat

pads determine

to a

considerable extent

the external appearance of the knee.

into

one belly,

arm and

the quadriceps muscle of the thigh.

B. Muscles with a single belly which divides into

hip t and the ligaments of the elbow t.

Plate 19 shows the knee t with and without its capsule. The capsule is re-enforced by accessory

and fuse

biceps muscle and the triceps muscle of

several slips which insert independently, e.g. the

and extensors of the fingers and toe. Broad muscles which, besides contracting, serve also to cover or protect body cavities, e.g. the pectoralis major muscle, and the external oblique abdominal muscle.

flexors

C.

D. Ring-shaped muscles, e.g. the circular muscles

surrounding the eyes and mouth.

"Skin" muscles which arise from some deeper but insert into the skin, e.g. the platysma muscle in the neck. NOTE! The term fascia is applied to a membranous

Insertion: Corner of the mouth.

K.

Action: Depresses the corner of the mouth.

site

Caninus muscle (levator anguli

4.

Origin: Canine fossa

connective tissue sheet which surrounds a muscle or

The Muscles of

gation of the platysma muscle, overlying the

24.

masseter muscles.

The muscles of" the head may be divided into: A. The muscles associated with the lids; B. The muscles associated with the mouth; C. The muscles lor the nose; D. The muscles over the top of the skull; E. The muscles associated with the lower jaw. A. Muscles associated with the oculi muscle (Plate 21).

lids.

Insertion: Skin and

Action: Pulls the corner of the mouth ally,

producing a dimple

Quadratus

6.

Orbicularis

labii

ItJ

in the cheek.

superioris muscle, infraor-

bital head.

Insertion: Skin of the upper lip.

lid.

Action: Raises the upper

Insertion: Interdigitates with fibers at origin.

Quadratus

7.

Action: Closes the eyelids.

lip.

labii superioris,

angular head.

Origin: Medial angle of the eye and nasal

B. Muscles associated with the mouth.

process of the maxilla.

Orbicularis oris muscle (Plates 21, 22, Fig.

Insertion: Anterior limb inserts into skin and

and Plate 24).

alar cartilage of nose; posterior limb inserts

Origin and insertion: Consists of prolongaall

at the

Origin: Lower margin of the orbit.

bone and medial ligament of the

from

mucous membrane

corner of the mouth.

Origin: Medial angle of the eye, lachrymal

tions

muscle.

Origin: Subcutaneous tissue and as a prolon-

the Head.

PLATES 21 through

2,

muscle).

Action: Elevates the corner of the mouth. 5. Risorius

1.

oris

the maxilla.

Insertion: Into the orbicularis oris muscle.

muscle group.

II.

ol

into the skin of the

of the adjacent muscles on each

upper

lip.

Action: Raises the nasal alar cartilage and

side of the face.

upper

lip.

Action: Closes the mouth. 8. Fig.

I

Fig. 2

Fig. 3

Physiognomy 2.

Zygomaticus muscle (zygomaticus major musFig.

(after

4

Fig. 5

Duchenne)

Buccinator muscle (Plates 21, 22, Fig. 2, and Plate 24).

cle) (Plate 21). Origin: External surface of zygomatic bone.

Origin: External surface of the maxilla and external oblique line of the mandible.

Insertion: Corner of the mouth.

The muscle bundles corners of the mouth and extend

Insertion:

Action: Pulls the corner of the mouth upward

cross at the into the orbi-

cularis oris muscle.

Action: Draws the corner of the mouth

lat-

9.

and laterally. Quadratus labii superioris muscle, zygomatic head (zygomaticus minor muscle) (Plate 21). Origin: External surface of zygomatic bone.

erally.

Insertion: Lateral portion of the upper lip. 3.

Triangularis muscle

(depressor anguli oris

muscle) (Plates 21, 22, Fig. 3). Origin: External surface of mandible.

Action: Pulls the corner of the mouth upward

and

laterally.

10. Quadratus labii inferioris muscle (depressor

labii inferioris

Action: Pulls the mandible upward.

muscle) (Plate21).

Origin: Border of mandible between mental

Note

foramen and mental tubercle.

expressions: The muscles noted

insertion: Skin of lower lip.

which

Pulls

Action:

the

lower

downward and

lip

Mentalis muscle.

Origin:

Correlation of muscular action and facial

alter the facial expression in

the emotion-, e.g.

From mandible between

the canine

Meditation

Insertion: Skin of the chin.

muscle.

Action: Draws up the skin of the chin and causes lower

lip to

(pyramidalis

muscle

Pain

muscle)

nasi

cle)

are: transverse portion

alar portion of the nasalis muscle

;

pressor alae nasi muscle) nasi

nostril.

(compressor naris mus-

of the nasalis muscle

;

(de-

the depressor septi

The Muscles of

the Trunk.

27.

The muscles of the trunk may be divided A. The neck muscles: B. The thoracic muscles: C. The muscles of the abdominal wall: D. The muscles of the back. A. The neck muscles.

and the dilator naris muscles. 1.

into:

Platysma muscle (Plate 22, Fig. 3). Origin: Fascia covering the pectoral and del-

Occipitalis muscle.

toid muscles.

Origin: Occipital bone,

nuchal

portion of orbicularis oculi

PLATES 22 through

D. The muscles over the top of the skull. 1.

— upper

corrugator (supercilii) muscle.

III.

Action: Draws the skin of the nose upward

The other nasal muscles

mu-cle.

— —

—

Insertion: Skin over the bridge of the nose.

widening the

:

— zygomatics-

labeled.

(Plates 21 and 24). Origin: Root of the nose.

assists in

accordance with )

Plate 23 shows the eye, nose, and (external) ear from the front and side with detailed features

protrude.

C. Muscles for the nose.

and

see illustration-

above are those

triangularis muscle. Contempt, discontent Attention, astonishment frontalis muscle.

teeth.

Procerus

I

Happine<-, laughter

laterally. 1 1.

1.

above the superior

Insertion:

Lower border of mandible and

the

line.

skin of the face.

Insertion: Into the galea aponeurotica,

i.e.

the

Action: Stretches the skin of the neck.

aponeurosis covering the top of the skull. Action: Draws backward the skin over the

2.

22, Fig. 3).

head.

Origin: The medial head arises from the an-

2. Frontalis muscle.

Origin: Root

nose

of the

terior surface of the

and superciliary

lateral

arches.

Insertion: Anterior

margin of

Insertion:

and wrinkles the

fore-

head.

1

the chin

and 2).

Origin: Lower border of the zygomatic arch.

2.

Wide

3.

is

raised.

Sternothyroid muscle (Plate 21).

manubrium

Origin: Posterior surface of the

Action: Elevates the mandible and presses the

sterni.

lower and upper teeth together.

Insertion:

Temporalis muscle (Plate 22, Figs.

Action: Pulls the hyoid bone down.

1

and 4.

2).

Body

of the hyoid bone.

Omohyoid muscle (Plate 21).

Origin: Superior temporal line, external sur-

Origin: Superior border of the scapula.

face of the temporal bone and anterior border

Insertion:

of the temporal fossa.

Action: Pulls the hyoid bone

Through

a

the

portion of the mastoid process

Insertion: Angle of the mandible.

Insertion:

:

muscles of each side contract simultaneously,

E. Muscles associated with the mandible.

Masseter muscle (Plate 22, Figs.

sterni

and the superior nuchal line. Action: If the muscle of one side contracts, the head is rotated to the opposite side. If the

Action: Draws forward the skin over the head, elevates the eyebrows

manubrium

head arises from the medial third of

the clavicle.

the galea apo-

neurotica (cranial aponeurosis).

1.

Sternocleidomastoid muscle (Plates 21 and

strong tendon,

which

Body

of the hyoid bone.

down and back.

In addition, this group of muscles includes

and the thyrohyoid

es deep to the zygomatic arch, into the

the sternothyroid muscle

coronoid process of the mandible.

muscle (Deep layer of the neck muscles).

Scalene muscles; three

5.

rior,

number,

in

tin-

Action: Pulls the scapula forward and pulls

ante-

middle, and posterior.

it

Origin of scalenus anterior muscle:

From

the

lightly against the trunk.

The deep layer of

anterior tubercles ot the transverse processes

the mOSl part

of the third to sixth cervical vertebrae. Origin

the

of scalenus

medius muscle: From the posterior

tubercles of the transverse processes

of

all

of

the cervical vertebrae. Origin of scalenus posterior muscle: the

From

intercostal

C. Muscles of the 1.

of

muscles:

On

rib.

On

Insertion:

abdominal

first

two

The

inguinal

the

three last digitations extend to

ligament and, in the midline,

fuses with the corresponding aponeurosis of the opposite side to

ribs.

the inner surface of the mastoid

On

the superior border of the hyoid

bone and the posterior aspect of the chin. Action: With fixed hyoid bone, pulls the mandible down.

increasing the intra-abdominal pres-

sure.

abdominal muscle-covered by Plate 24 shows appearance after removal of the external

2. Internal oblique

the external oblique muscle. its

25, the following structures are well seen: the contour of the anterior

oblique muscle.

portion of the digastric muscle, and, below

crest.

life,

Plate

its

two

Origin: Anterior superior

this, the

anterior surface of the hyoid bone, the laryngeal prominence (Adam's apple), and the inferior cervical fossa or jugular notch just above the manubrium sterni. The lateral view shows the sternoclei-

domastoid muscle with

Insertion:

Transversus

From

Origin:

Same

muscles.

down

to the level of

4.

by

the lower costal cartilages

and

Action:

aspect of the thorax and rotates

as external

and internal oblique

Insertion: External surface and lower border

the greater

of the

it

inward.

minor muscle (Plates 21 and 28, almost entirely covered by the

major muscle. the third, fourth, and fifth ribs.

Insertion: Coracoid process of the scapula.

Action: Pulls the scapula down. Serratus anterior muscle (Plate 28, Fig. 1).

Origin: Through nine slips (digitations) from the external surface of the eight upper ribs.

Insertion: \ ertebral border of the scapula.

fifth to

Plate 25 anatomy of

Same is

the

seventh costal cartilages. as the other

a study

Irom

abdominal muscles. life

of the surface

human body, demonstrating

the en-

below the skin, the depression between the tw o major pectoral muscles corresponding to the sternum, the inferior thoracic margin, the jugular notch above the manubrium sterni between the two sternocleidomastoid muscles, and the delto-pectoral or inferior clavicular fossa between the deltoid muscle and the pectoralis major muscle. The pectoralis major muscles form tire

Fig. 2).

From

muscle -covered

Origin: Pubis, from pubic spine to symphysis.

The bony ridge below

Action: Pulls the humerus toward the anterior

Origin:

as the external oblique muscle.

abdominis

Rectus abdominis muscle.

tuberosity of the humerus.

pectoralis

in the

Insertion: Into the linea alba.

Action:

is

and

the crest of the ilium.

Origin: The clavicle and the entire anterior

This muscle

the last three ribs

cles.

of the trunk as seen

Pectoralis major muscle.

2. Pectoralis

spine and iliac

both the external and internal oblique mus-

the sixth costal cartilage.

3.

Same

Action: 3.

of origin, the

sites

On

iliac

region of the linea alba.

sternum and the clavicle.

Plate 24 shows the muscles from the front. B. The thoracic muscles.

surface of the sternum

the "linea alba" or

Action: Decreases the size of the abdominal cavity,

from

form

white line.

From

Insertion:

or digita-

but thin aponeurosis which inserts partly into

process.

1.

>li|>s

the eight lower ribs.

the superior surface of the first

muscle (Plate 24).

In the study

wall.

the iliac crest; the other slips end in a broad

Action: Elevate the

Insertion:

the

and medius

anterior

scalenus

of scalenus posterior muscle: the external surface ol the second rib.

Origin:

from

tions

Insertion

6. Digastric

1),

Externa] oblique abdominal muscle.

Origin: Through eight fleshy

the posterior tubercles of

cervical vertebrae.

Insertion

muscles (Plate 28, Fig.

subclavius muscle, and the intertransverse muscles.

processes o( the three lower

transverse

thoracic muscles, covered for

by the muscles noted above, includes

course of the

left clavicle r

prominent masses. The tendinous inscriptions of the rectus abdominis muscle above the navel de-

lineate six, approximately quadrilateral areas; be-

medial portion

low the navel, the external oblique muscle

acic vertebrae.

ognizable. its

is

rec-

is

This group of muscles also include- several other

muscles adjacent

the >pine as well as muscles

Origin: Superior nuchal line of the occipital

cervical vertebra.

all

cervical

and

Plate 30,

from

the study

life

first

of the surface

thoracic vertebrae.

anatomy, shows the prominent spinous proce--

Insertion: Superior surfaces of the outer third

the

seventh

vertebra,

cervical

of the clavicle and the spine of the scapula.

scapula, and the iliac crest.

Action: Pulls the scapula backward and as-

the trapezius- muscle

arm by

raising the

raising the scapula.

Latissimus dorsi muscle. Origin: From the spinous processes of the lower six or seven thoracic vertebrae and the

spinous processes of

all

lumbar and sacral

spine appears as a

spine

the

of

of

the

The tendinous area of

about the seventh cervical

flat,

moderately depressed area.

The triangular tendon of origin of the trapezius muscle from the spine of the scapula produces a small fossa. The course of the trapezius muscle below the skin

is

well delineated as well as that of

Below

the lower bor-

vertebrae; also three or four slips arise from

the latissimus dorsi muscle.

the lower three or four ribs as digitations be-

der of the latter muscle

tween those of the external oblique muscle.

of the scapula. Below, the sacrospinalis muscle of

Insertion: Crest of lesser tubercle of

humerus

and intertubercular (bicipital) groove. Action: Pulls the arm back and down and rotates

seen the inferior angle

is

each side forms a prominent mass next

to the

mid-

line.

Plate 31 shows

a cross-section through the neck

of a 20-year-old male.

medially.

it

The

positions

and

relation-

ships of the bones and muscles as well as the large

The rhomboid muscles (Plate 47, Fig. 1). Origin: The spinous processes of the two

blood vessels and nerves, the larynx and esophagus,

lower cervical and four upper thoracic verte-

are clearly seen.

brae.

Plates 32 and 33 show a bone and muscle relationships

Insertion:

4.

to

extending between the occipital bone and the

sists in

3.

.»pinal

Trapezius muscle. bone, spinous processes of

2.

the

column.

well delineated and

forms the boundary between trunk and thigh. I). Muscles of the back (Plates 29 and 47). 1.

Adion: Straightens and extends

The inguinal (Poupart's) ligament, with

graceful curved course,

OD the lumbar and thor-

inserts

\

ertebral border of the scapula.

lateral

view of the

by

in ''The Fighter"

Action: Pulls the scapula upward and toward

Borghese. The work of Salvage, "Le Gladiateur

the spine.

Combattant," Folie, 1812, Paris, was used

Levator scapulae muscle (Plate 47, Fig. 1). Origin: Through four slips from the posterior

the general outlines.

tubercles of the transverse processes of the

splendidly developed male body. Surface anatomical

Insertion: Superior angle of the scapula.

sketches.

features

are

muscle (erector spinae muscle)

a

by the accompanying

clarified

Plates 36 and 38 serve

Action: Raises the scapula.

obtain

Plates 35, 37, and 39-44 are photographs of

four upper cervical vertebrae.

5. Sacrospinalis

to

examples of the

as

'"Hercules" type athlete. Accompanying diagrams

(Plate 47, Fig. 2).

sketch the muscles demonstrated. In the anterior

Origin: The lateral portion of this combined

view

muscle, arises

the

from

crest; the

iliocostalis

lumborum muscle,

the posterior portion of the iliac

medial portion, lying next

to

the

may

be seen the clavicle,

of the

chest)

with

adjacent

Below

from the sacrum. Insertion: The iliocostalis lumborum muscle inserts through 12 slips on the lower border of the 12 ribs at their angles and another slip

serratus anterior muscle

The

sternum

prominent

pectoral

muscles, and the triangular delto-pectoral fossae.

midline, the longissimus dorsi muscle, arises

goes to the transverse process of the seventh

iliac crest,

(as a deep longitudinal depression in the midline

the elevated right arm, five digitations of the

may

be identified. The

portion of the oblique abdominal muscles which inserts into the iliac crest is clearly delineated.

inferior thoracic border the grooves

due

is

well

to the three

marked

The

as well as

tendinous inscriptions

lateral portions of the

of the rectus abdominis muscle above the navel. In

longissimus dorsi muscle insert on the trans-

the posterior view, one can identify the two borders

lumbar vertebrae and

of the scapula, and in the midline, about the sev-

cervical vertebra.

verse processes of the

the lower borders of the

lower ten ribs; the

enth cervical spinous process, the somewhat

tri-

;

angular tendinous area

Below

is

the

oi

trapezius muscle.

soon tho curved line duo

The trapezius tendon attached produces a deep

to the

triangular

angle of the scapula

The

inferior

elbow

the

at

Coracobrachial muscle. ol the

scapula.

Insertion: Middle of the shaft ol the

hum-

erus.

Action: Elevates the arm.

ilium.

tions

forearm

the strongest supinator of the

Origin: Coracoid process

fol-

lowed some distance upward from the sacrum and Pi

is

foreai m. b.

muscle. The

muscle can be

sabrospinalis

Flexes the

and

t

below the promi-

nent border of the latissimus dorsi

well-developed

Iction:

scapular spine

fossa.

visible

is

Insertion: Radial tuberosity.

to the iliac crest.

wis 45 and 46 show anatomical demonstraof the human body in various positions as

c.

Brachialis muscle.

Origin: Anterior surface of humerus, sur-

seen from the front, side, and hack.

rounding the

site

of insertion of the deltoid

muscle.

The Muscles of

IV.

the

PLATES may

These muscles

Upper Extremity.

Insertion: Ulnar tuberosity.

Action: Flexes the forearm and puts tension

48-69.

on the medial portion of the capsule of the elbow t.

be divided into:

The shoulder muscles (Plates 48-53) B. The muscles of the (upper) arm (Plates 48\.

2. Posterior

53); C. The muscles of the forearm (Plate 54); D. The muscles of the hand (Plates 56-59). A. The shoulder muscles. 1.

a.

Origin of long head: Axillary border of scapula.

Origin of lateral head: Along a line which extends from the site of insertion of the in-

Deltoid muscles.

Origin: Lower border of the scapular spine,

fraspinatus muscle to the lower third of the

outer border of the acromion and lower border

humerus. Origin of medial head: Below the

of the clavicle. Insertion:

The triangular rough area on

lateral side at the

middle of the shaft of the

Insertion:

Action: Elevates the arm.

b.

From

Anconeus muscle. Origin: Lateral epicondyle of the humerus. Insertion: Lateral aspect of olecranon.

the entire extent of the infra-

spinous fossa with exception of the axillary C.

Insertion: Greater tuberosity of the humerus.

Action: Elevates the arm.

Action: Extends the forearm. Muscles of the forearm. 1.

Muscles on the flexor aspect, a.

Teres minor muscle.

Superficial layer. 1.)

Pronator teres muscle.

Origin: Middle portion of the axillary border

Origin: Medial epicondyle of the hum-

of the scapula.

erus.

Insertion: Greater tuberosity of the humerus.

Action: Rotates the

arm outward.

Teres major muscle. Insertion:

Medial

Rough area

middle of shaft

in

Action: Pronates and flexes the forearm. lip

of

2.) Flexor carpi radialis muscle.

intertubercular

groove.

Origin: Medial epicondyle of the humerus.

Action: Depresses the

arm and

rotates

it

in-

Insertion: Anterior surface of base of

second metacarpal.

ward.

The muscles of the arm. 1. Anterior arm muscles. a.

Insertion:

of radius.

Origin: Inferior angle of the scapula.

B.

of

part of olecranon.

Action: Extends the arm.

border and inferior angle of the scapula.

4.

Upper

numerous.

Origin:

site

insertion of the teres major muscle.

the

2. Infraspinatus muscle.

3.

arm muscles.

Triceps muscle.

Action: Flexes the hand 3.)

at the wrist.

Palmaris longus muscle.

Biceps muscle.

Origin: Medial epicondyle of humerus.

Origin: Short head arises from the coracoid

Insertion: Into palmar fascia.

process of the scapula; long head arises

from

the superior border of the glenoid

cavity.

Action: Flexes forearm and hand. 4.) Flexor carpi ulnaris muscle.

Origin: Medial epicondyle of humerus.

of the phalanges of the finger-.

Insertion: Pisiform hone. .-

Hexes

the

on: Extend-

forearm ami hand.

Origin: Lateral epicondyle of the hum-

Origin: Medial epicondyle of humerus.

on the middle phalanges of the second

b.

erus.

Through four strong tendons

Insertion:

the fingers.

5.) Extensor carpi ulnaris muscle.

5.) Flexor digitorum sublimis muscle.

Insertion: Base of fifth metacarpal bone.

to

fifth fingers.

Adion: Extend- and abduct-

Action: Flexes the middle phalanges.

ulnarward.

Deep layer 1.)

6.) Supinator (brevi>) muscle (lies deeply

Pi \n: 5 1. Fig. 2). Flexor digitorum profundus muscle. i

concealed under the brachioradialis muscle).

Origin: Medial and anterior surfaces of the ulna and the interosseous

Insertion:

Origin: Lateral epicondyle of the hum-

membrane.

Through four tendons on

terminal phalanges of the second to

erus.

the

Insertion: Medial surface of the radius.

fifth

Action: Supinates the forearm.

fingers.

7.)

Action: Flexes the fingers, particularly

membrane, and

Insertion: Base of

Origin: Anterior surface of radius.

first

8.) Extensor pollicis brevis muscle.

Action: Flexes the terminal phalanx of

Origin: Below the abductor pollicis long-

the thumb.

us muscle.

3.) Pronator quadratus muscle. Origin: Lower fourth of the ulna.

On

the radius at the

same

Insertion:

On

first

phalanx of thumb.

Action: Extends the

level

from ulna.

Origin: Interosseous

this

ulna.

muscle

tendon of the extensor

the

pollicis brevis muscle.

us).

Origin:

with

fuses

(supinator radii long-

membrane and

The tendon of

Insertion:

Superficial layer.

Brachioradialis

phalanx of the

9.) Extensor pollicis longus muscle.

Muscles on the extensor aspect of the forearm,

1.)

first

thumb.

Action: Pronates the forearm.

a.

the radius.

metacarpal bone.

Action: Abducts the thumb.

Insertion: Terminal phalanx of thumb.

as origin

pollicis longus muscle.

interosseous

2.) Flexor pollicis longus muscle.

Insertion:

Abductor

Origin: Lateral surface of the ulna, the

the terminal phalanges.

2.

hand

the

Action: Extends both phalanges of the

Bony

ridge on the lateral epi-

thumb.

condyle of the humerus.

10.) Extensor indicis proprius muscle.

Insertion: Lateral side of base of styloid

Origin

process of radius.

Action: Flexes the forearm. Acts as supinator only

when forearm

is

I lna

Insertion:

extended and

and

interosseous

mem-

The tendon of

this

muscle

fuses on the dorsal surface of the hand

pronated.

with the tendon to the index finger from

2.) Extensor carpi radialis longus muscle.

the extensor digitorum

Origin : Below the brachioradialis muscle. Insertion:

:

brane.

communis muscle.

Action: Extends the finger.

Base of second metacarpal

bone.

V. Life Study of the

Action: Extends and abducts the hand.

Lpper Extremity.

PLATES

Origin: Lateral epicondyle of the hum-

48. 50-55. General Note: In these plates, a markedly welldeveloped upper extremity of a middle-aged man

3.)

Extensor carpi radialis brevis muscle.

erus.

is

Insertion: Metacarpal of middle finger.

natural, but the transitions

Action: Extends the hand radialward.

are in

4.) Extensor

digitorum communis muscle.

Origin: Lateral epicondyle of the humerus.

Insertion:

drawn from

life.

many places Plate 48 shows

The muscular prominences are from muscles to tendons

accentuated. the anterior view of the upper

extremity with forearm pronated. In this position, the bones of the forearm are crossed due to the

By four tendons on

the bases

rotation of the radius about the fixed ulna.

Vbove

tlif

mion are

deltoid muscle, the clavicle and aero«

Comparison with the accompanying figures, showing the superficial muscles of the upper extremity, will clarify the drawings. The clearlj seen.

crossing ol the extensor carpi radialis long-

site of

us and the brachioradialis muscles in

is

of importance

determining the lateral contour of the forearm.

The same

tine ol

is

the crossing of the pronator

out

forming

entire length

il>

well-marked boun-

a

darj between flexors and extensors.

The anconeus muscle presents

a

well-demarcated

triangular elevation and crosses the extensor carpi ulnaris muscle, below

importance

in

bend

the elbow.

id

01

contour

is

the crossing id the long muscles

thumb over

the extensor carpi radialis brevis

above the wrist of the

the

determining the external

teres

and the brachial is muscles ill relation to the medial contour. The biceps muscle extends with its

muscle.

tendon into the depths of the bend of the elbow. The veins ot the upper extremity are very promi-

extremity. 01 the bony structures, the olecranon,

nent, particularly the cephalic \ein over the biceps.

of the ulna are most prominent.

PlATE 3D shows

the medial view

of the upper

Of

bony

the

is

parts, the

medial epicondyle of the

very prominent

the figure near the

head of the ulna

On

about the center of

at

bend of the elbow and below the

the lateral contour, the deltoid muscle

down above

the

The biceps

is

seen

is

crossed also lower

bend of the elbow by the brachio-

The spine of

The venous network of the upper extremity is clearest in seen

obliquely, the

seen

is

flexor side of the this view.

A

the muscles which form the and the deep layer of muscles of the arm.

Plate 54 shows Plate 55 shows

deep layer of the muscles

the ulna on the medial side of

D. The muscles of the hand (Plates 56-59).

the

1.

The muscles of a.

pollicis brevis muscle.

and the greater multangular bone (trapezium). Insertion: Basal phalanx of the thumb. Action: Abducts the thumb. lar) ligament

deep veins of the arm. These,

to the axilla.

Abductor

thumb.

the ball of the

Origin: Transverse carpal (anterior annu-

along with the brachial artery and nerves, extend in In the middle of the arm,

these vessels lie almost directly beneath the skin.

b.

in the figures

verse carpal

ligament and greater mult-

angular bone; deep portion from the os

multangulum minus (trapezoid) and

the os

capitatum (magnum). Insertion: Base of the

demonstrating the mus-

phalanx of the

first

thumb.

covered by the brachioradialis and extensor

carpi radialis longus muscles.

Flexor pollicis brevis muscle. Origin: Superficial portion from the trans-

Plate 51 shows the lateral view of the upper extremity. Of the bony structures, the olecranon and the head of the ulna are most prominent. The bones of the arm and forearm are covered with muscles. The lateral epicondyle of the humerus, cles, is

the

of the forearm.

a bundle in a groove between the biceps and triceps

emphasized

its

large

bend of the elbow so-called median vein. The continuacrossing

t into the

the transition of the triceps muscle into

Plate 53 shows

on the medial aspect of the arm is called the basilic vein which empties above the

muscles

the scapula forms a depression be-

tendon.

tion of this vein

elbow

humerus, and the head

the arm.

radialis muscle.

is

the medial epicondyle ol the

axilla

the wrist.

at

crossing the biceps.

vein

the posterior view ol the upper

tween the trapezius and deltoid muscles. Clearly

extremity.

humerus

Plate 52 shows

Action: Flexes the proximal phalanx of the

The acromion and

thumb.

clavicle are clearly seen.

Note how the deltoid muscle is inserted between the biceps and brachialis muscles. Characteristic

c.

Opponens Origin:

pollicis muscle.

Transverse carpal

ligament

and

features of the medial contour are the transition of

greater multangular bone (trapezium).

the triceps muscle into

Insertion: Along the entire length of the

its

tendon, the attachment

lateral border of the first metacarpal bone.

of the lateral head of this muscle to the olecranon,

and the crossing of the brachioradialis and extensor

Action: Flexes, adducts, and rotates medial-

carpi radialis longus muscles over the brachialis

ward

form

the gently curved external contour

cranon

to

from

first

metacarpal bone. The volar is

thus brought in

apposition with the volar surfaces of the other fingers.

ole-

ulnar head, can be noted the ulna through-

the

surface of the thumb

and biceps muscles. Between the extensor carpi ulnaris and flexor carpi ulnaris muscles, which d.

Adductor

pollicis muscle.

Origin: Second and third metacarpal bones

and drop carpal ligaments. Insertion: Medial side of base of

2.

formed about

Action: Adducts the thumb.

the female and in children.

the ball of the little finger.

\l)duc(or digit! quinli muscle.

Origin: Pisiform bone. Insertion: Ulnar surface of the

of the

first

phalanx

lanx of the

lnar surface of the

Opponens

pha-

first

fat in

the

and shows over the central fold

little finger.

the wrist) digiti quiti

communis

the extensor digitorum

between the

ts

first

and

second phalanges three characteristic folds: the

little finger.

Action: Flexes the c.

Of

muscle and the veins are clearly seen in this view. The skin on the back of the fingers is stretched

Origin: Transverse carpal ligament. I

by collections of

hand muscles, note the abductor digiti quinti muscle forming the graceful curve on the medial border of the hand and the prominence on the lateral border of the hand formed by the interosseous muscle of the

The tendons of

little finger.

Flexor digiti quiti brevis muscle.

Insertion:

the knuckles

index finger.

little finger.

Action: Abducts the b.

trude as the "knuckles." Characteristic dimples are

lanx of the thumb.

The muscles of a.

pha-

first

Note the prominent head of the ulna on the external Contour. The head- of the metacarpal hone- pro-

muscle.

is

straight, the

proximal fold (toward

convex upward, and the

is

distal fold

is

convex downward. These folds are particularly

Origin: Transverse carpal ligament. Insertion: Ulnar border of fifth metacarpal

well-marked

thumb.

in the

Plate 57 shows

the

hand

from the

as seen

bone.

Action: Brings the tion with the 3.

The muscles of a.

radial side. Again, the heads of the metacarpals

apposi-

fifth finger into

thumb. the palm.

Interosseous muscles (dorsal).

Origin: Borders of the metacarpal bones. Insertion:

The

first

of these muscles goes

phalanx of

to the radial side of the basal

the index finger; the second, similarly to

middle finger; the third, to the ulnar side of the middle finger; and the fourth, to the

and phalanges are clearly seen. The tendons of the long and short extensors of the thumb form a characteristic triangle before ing one another distally. In hyperextension, a well-marked depression is

formed between

Of

Origin: The ulnar side of the index finger

and the radial sides of the fourth and

the "taba-

the

hand muscles, the interosseous muscle

muscle are important features of the external contour.

muscles (volar).

—

of the index finger and the abductor pollicis brevis

the ulnar side of the ring finger. b. Interosseous

the stretched tendons

tiere" or snuff-box.

Another muscle, the adductor

demonstrates

its

triangular

Small veins which proximally

fifth

vessels,

pollicis, clearly

shape in to

this

view.

form larger

are present over the radial side of the

fingers.

Insertion:

On

hand. the

borders

of

the

basal

phalanges.

Action:

middle 4.

Adduct

the

fingers

toward

the

finger.

Lumbrical muscles. Origin: In the palm, from the tendons of the

deep

flexors.

Insertion: Cross on the radial side of the four fingers

from

the

Between the abducted thumb and the index finforms a prominent fold called the "web." Plate 58 shows the palm. Of the bony parts, note the styloid process of the radius on the lateral contour just above the wrist, the pisiform bone as a small prominent elevation, and the very prominent head of the first metacarpal bone. The muscles of the ball of the thumb form a well-marked egg-shaped elevation, considerably

ger, the skin

palm

to

the

back of the

fingers.

Action: Flex the fingers

at the

basal phalanges.

more prominent than the

VI. Life Study of the Hand.

PLATES

is

56-60. For this purpose, the hand of an old individual chosen, since the various structures are more

distinctly seen.

Plate 56 shows

the muscles of the ball of

little finger.

Three tendons of muscles of the forearm are clearly seen above the wrist: medially, the tendon

of the flexor carpi ulnaris muscle; in the center,

more prominent than

the others, the tendon of the

palmaris longus; finally, immediately deep the dorsal surface of the hand.

to the

palmaris longus tendon, the tendon of the flexor

The palmaris longus tendon

carpi radialis muscle.

over

es

s the

the

palmar

carpal

transverse

ligament

and

The tendons and muscles

fascia.

the .inn- over the chest, the scapulae

the hark, the scapulae

of the palm arc poorly seen because oi surround-

()|

the

elbow

t

rotation of the radius about

tant

mar

pronation. This produce-

In the figure demonstrating the muscles, the pal-

mar

removed, \bo\e the transverse carpal ligament, there is a vein which can always he seen if the skin is thin enough. The skin of the palm covers a layer of fibrous fat. Small fat pads are fascia

is

is

creases,

and the

i.e.

back. As the radius rotates about the ulna, the

to

.-haft-

palm shows three prominent fingers and thumb are crossed by-

the ulna,

alteration- in the

is in the position of supination and the external shape of the forearm appears flattened from front

the finders. the

marked

appearance of the forearm. When the palm faces forwards, the ulna and radius lie in the same vertical plane adjacent to each other, i.e. the forearm

present immediately over the basal phalanges of

The skin of

arm- over

approach each other. movements, the most impor-

ing collections of tat and arc covered by the palfascia.

move toward

the sides of the thorax. In crossing the

of the bone- cross each other,

arm assumes

the fore-

i.e.

the position of pronation in which

external shape

its

rounded. (See also Plates 45 and

is

three transverse folds.

46.)

Pi \te 59 shows the hand as seen from the ulnar side. Most prominent of the bony structures is the

graphs. In the male, ts and extensor tendons

head of the ulna. In thin individuals, the ligaments about the phalangeal ts ami the pisiform bone may be seen, the latter, as a small rounded eleva-

Plates 67-69 are demonstrations of hand photoare

prominent.

In

the

female and

dimples produced by collections of

in

children,

fat

about the

knuckles are characteristic.

tion.

On

the external contour, the abductor

and ad-

ductor of the thumb and abductor of the finger can be identified.

The

thin palmaris brevis

muscle, arising from the palmar fascia, es transversely

from

its

quinti muscle which

Plate 60 shows prominent

origin to the abductor digiti it

partially covers.

hand which are anatomy (Plate 56).

value but rather

The thigh muscles; The leg muscles; D. The foot muscles.

B.

A. The-muscles of the hip and buttock. Superficial layer. a.

spine,

from

64

in relation to the

illustrates various

This combined t

articulation between ulna tion

—

On

the gluteal tuberosity of the

the

Gluteus medius muscle. anterior

and posterior gluteal

lines

and

the anterior three-fourths of the iliac crest.

Insertion: Anterior border of the great tro-

positions of the

chanter.

Action: Abducts the thigh.

of three ts:

and humerus,

articula-

between radius and humerus, articulation be-

tween ulna and radius

sacrum and coccyx, and

Origin: Outer surface of ilium between the

the

made up

the

thigh.

forearm. is

from

femur and the iliotibial band. Action: Most powerful extensor of b.

Plate

the outer surface of the ilium

the ischial tuberosity.

Insertion:

elbow t. t have great influence on the appearance of the upper extrem-

Plate 64 shows movements of Since the movements at the elbow ity.

From

in the region of the posterior superior iliac

indicate the anatomical

relationships.

arm

Gluteus maximus muscle. Origin:

61-69.

to

Lower Extremity.

70-81.

These muscles are divided into: A. The muscles of the hip and buttock;

Plates 61-63 are drawings of various positions of the flexed upper extremity with corresponding studies from life of the surface anatomy. The purpose of these plates is to demonstrate the anatomy of the upper extremity held in various positions. The drawings are, therefore, not meant to be of artistic

of the

PLATES

1.

VII. Demonstrations.

PLATES

The Muscles

C.

the veins of the

in the surface

VIII.

little

the radio-ulnar t.

Plates 65-66 demonstrate various movements at the shoulder and elbow ts. In raising the arms, the inferior angle of the scapula moves outward, the clavicle moves up and out. In crossing

c.

Tensor fasciae latae muscle. Origin: Anterior superior iliac spine. Insertion: Inserts into iliotibial

band and

thereby indirectly into the lateral femoral condyle.

Action: Rotates medially, ducts the thigh.

flexes,

and ab-

2.

Deep

Through a tendon arising from the four muscles into the tibial tuberosity. The patella i- a -e-amoid bone in the substance of tin- tendon.

Insertion:

layer.

Gluteus minimus muscle.

a.

Origin: External surface of ilium. I

I

Anterior

ion:

border of great

tro-

chanter.

Action: Abducts the thigh and

rotate-

it

2.

Action: Extends the leg. Muscles on the medial aspect of the thigh.

medialward. I).

Gracilis

Origin: Symphysis pubis.

Origin: Anterior surface of sacrum.

Insertion: Into tibia below the medial con-

\|>e\ of great trochanter.

Insertion:

dyle.

Action: Adducts and flexes the thigh: flexes

Action: Extends, abducts, ami rotates the

the leg.

thigh laterally,

Obturator internus muscle. Origin: Inner surface of

e.

d.

b.

ischium

and

Insertion: Middle third of femoral shaft.

Action: Rotates the thigh laterally.

Action: Adducts the femur and crosses one thigh over the other.

Quadratus femoris muscle.

On

vertical ridge

c.

below the great

Action: Rotates the thigh laterally.

Psoas major muscle.

d.

Origin: Crest of pubic bone. Insertion: Behind lesser trochanter.

e.

Iliacus muscle.

Origin: Inner surface of the ilium. Insertion: Lesser trochanter.

Action: Flexor of thigh.

The muscles of

the thigh.

Action: Flexes and adducts the thigh. Adductor magnus muscle. Origin: Inferior ramus of pubis and superior ramus of ischium. Insertion: Femoral shaft from lesser trochanter to medial condyle. Action: Strongest of the adductor muscles.

Anterior group.

When

the thigh

is

fixed, the

adductor muscles

Sartorius muscle.

and the pectineus muscle

Origin: Ilium below the anterior superior

ing the erect position of the trunk and may-

iliac spine.

Insertion:

tibia

near

3.

Insertion:

Quadriceps femoris muscle. This muscle

is

(heads), three of which are partially united to each other.

Origin: Ischial tuberosity.

Origin: Anterior inferior iliac spine.

dyle of tibia.

Action: Flexes the leg.

Origin: Great trochanter and lateral lip of linea aspera. 3.) ^ astus medialis muscle.

shaft.

c.

Biceps femoris muscle. 1.)

Long head. Origin: Ischial tuberositv.

Origin: Medial lip of linea aspera. (crureus)

surface

Semimembranosus muscle. Insertion: Posterior surface of medial con-

2.) Vastus lateralis muscle.

Anterior

the medial condyle of the

Action: Flexes the knee. b.

Rectus femoris muscle.

intermedius

Below

tibia.

composed of four large separate muscles

Origin:

Semitendinosus muscle. Origin: Ischial tuberosity.

is

flexed.

4.) \ astus

maintain-

Muscles on the posterior aspect of the thigh. a.

Action: Rotates leg medially when knee

1.)

assist in

incline the trunk forward.

Medial surface of

tuberosity.

b.

Pectineus muscle.

tebrae.

Action: Flexes the thigh.

a.

Adductor brevis muscle. Origin: Inferior ramus of pubi-. Insertion: L pper third of linea aspera. Action: Adducts the femur.

Origin: Twelfth thoracic and lumbar ver-

Insertion: Lesser trochanter.

1.

symphysis

Insertion: Great trochanter.

trochanter.

B.

of

pubis.

Insertion:

f.

Adductor longus mu>cle. Origin: Superior border

pubis.

Origin: Tuberosity of ischium.

e.

muscle.

Piriformis muscle.

of

2.) Short head.

muscle.

Origin: Linea aspera.

femoral

Insertion:

Head

of the fibula.

Action: Flexes the knee.

(.'.

Origin: Lowermost

Tlu- muscles oi the leg. 1.

a. Tibialis

of tibia and the interosseous

membrane.

Aition:

b.

Popliteus muscle;

inner border of the font.

c.

Flexor hallucis longus muscle;

d.

Flexor digitorum longus muscle.

Extensor digitorum longus muscle.

ius

membrane, head and anterior

bor-

D. The muscles of the foot. 1.

Dorsal group. a.

Insertion: Second to fifth toes.

Action: Extends the lateral four toe?.

(near lateral malleolus).

Peroneus

Insertion:

tertius muscle.

bases of the second phalanges of the

Insertion: Base of fifth metatarsal bone.

eral four toes.

Action: Extends the b.

metatarsal bones.

and interosseous membrane. Insertion: Base of second phalanx of big

Insertion: Bases of

toe.

third

ond

leg.

c.

Head

and

first

Action: Extends the foot

and

raises

2.

Peroneus brevis muscle. Tuberosity of

Muscles on the sole of the a.

fifth

to

one another.

foot.

Abductor hallucis muscle. navicular,

metatarsal

the

cuneiform

first

and

Insertion: Medial side of the base of the

its lat-

proximal phalanx of the big toe and sesa-

eral border.

Muscles on the posterior aspect of the a. Gastrocnemius muscle.

moid bones.

leg.

Action: Abducts the big toe.

Origin: Lower end of femur. Insertion:

Through

the

Achilles'

b.

Abductor

digiti quinti

muscle.

Origin: Posterior portion arises from the

tendon

anterior portion

from

into the calcaneus.

calcaneus,

Action: Extends the foot; also flexes the leg

tubercle of the fifth metatarsal bone.

the

proximal phalanx of the

Origin: Back of the fibular head and upper

Action: Abducts the

third of posterior surface

and from the Insertion:

i

By

of fibular shaft

tibia.

fusion with the Achilles' ten-

3.

Deep

little toe.

little toe.

layer.

This group includes: a.

Flexor hallucis brevis muscle;

into the calcaneus.

b.

Adductor hallucis muscle;

Extends the foot.

c.

Flexor hallucis longus muscle;

d.

Flexor

:

the

Insertion: Lateral side of the bases of the

knee.

Soleus muscle.

Actio.

first

metatarsal bones.

Action: Extends the foot and raises

don

first

Origin: Medial surface of calcaneus, the

bone.

at the

lat-

to fourth toes.

Action: Pull the toes closer

its

Origin: Lower half of fibula.

c.

toes.

Plantar interosseous muscles.

phalanges of second

lateral border.

b.

toes only one.

Insertion: Medial aspects of bases of

sec-

ond metatarsal bones.

3.

and fourth

eral metatarsal bones.

of fibula.

Insertion: First cuneiform;

Insertion:

phalanges; the sec-

Origin: Medial surfaces of the three

Peroneus longus muscle. Origin:

first

toe has two interosseous muscles, the

Action: Spread the

toe.

Muscles on lateral aspect of

toes.

Origin: Medial surfaces of the four lateral

Extensor hallucis longus muscle.

Action: Extends big

lat-

Dorsal interosseous muscles.

Origin: Anterior portion of medial surface ot fibula

b.

Through four tendons on the

Origin: Lower third of fibular shaft.

vating the lateral border of the foot.

a.

Extensor digitorum brevis muscle. Origin: Superior surface of the calcaneus

Action: Flexes the foot and assists in ele-

2.

Tibialis posterior muscle;

a.

Action: Flexes the loot and elevates the

der of fibula.

d.

function in man.

tarsal ol the great toe.

Origin: Lateral condyle of the tibia, inter-

c.

No known

Deep layer. Tin- group include-: 1.

Insertion: Rarst cuneiform bone and meta-

-

lip

Insertion: Calcaneus.

anterior muscle.

Origin; Lateral condyle and lateral surface

b.

portion of lateral

of linea aspera.

interior group.

Plantaris muscle.

digiti quinti

muscle;

borders

Flexor digitorum brevis muscle; Flexor digitorum longus muscle;

c. t.

Lumbrical muscles. These muscles, however, have no influence on appearance of the

The gastrocnemius marked prominence al the base "I

the popliteal fossa. a

the popliteal fossa.

g.

the externa]

ol

muscle forms

On

the lateral aspect of the leg, the individual

muscles as well as the triangular uncovered lower end of the fibula with its lateral malleolus are

foot.

evident.

PLATES 70

Plate 72 shows the posterior view of the lower Bony structures visible: Great trochan-

73.

extremity. the anterior view of the lower

PLATE 70 shows

ter,

Bony the

structures

Heart-shaped patella,

visible:

head of the fibula; a portion of the medial sur-

face of the tibia covered only by skin and fascia is

the

Of

extremity.

apparent from the knee

Muscular

On

details:

to the

medial malleolus.

the lateral contour

may

be

head of the fibula and the two malleoli.

the buttock

muscles, note particularly the

maximus and medius muscles. Half of the gluteus maximus muscle goes to the femur and half to the fascia of the thigh. In the living, the lower border of the gluteus maximus is gluteus

completely covered by

fat, so

that the buttock

is

maximus and medius muscles, the gluteus maximus and medius mus-

considerably more rounded than the gluteus maxi-

cles as well as the crossing of the tensor fasciae

border of the muscle goes obliquely downward and

seen the gluteus crossing of the

latae muscle over the vastus lateralis muscle.

On

the medial contour, the course of the sartorius muscle clearly cles

adductor muscles on the medial aspect. Above the

common

seen the

is

tendon of the four

heads of the quadriceps femoris muscle which by insertion

the

into

patella

the patellar tendon, osity.

On

to

may

latae

be followed in to the tibia

muscle

course to the lateral

muscles

at

its

medial and

and the tensor

fas-

and downward condyle of the femur. Both of

in

its

their

lateral

cover the rectus

origins

femoris muscle. As they deviate from one another, a small groove

is

the lateral view of the lower

extremity.

Bony patella,

outward, the lower border of the buttock

is

lower trans-

The three flexor muscles— the biceps femoris, semimembranosus and semitendinosus muscles form a prominent mass below the gluteal mus-

the

—

cles and, as they gradually deviate to either side,

form

the popliteal fossa behind the knee. In ana-

tomical dissections, the popliteal fossa appears as a

deep rhomboid depression, but, in the

when the leg is extended, the popliteal made prominent by a collection of fat.

living,

fossa

is

Most prominent of the muscles of the leg is the muscle. The size of this muscle varies from one individual to another and determines the contour of the leg in this view. The lateral head is smaller than the medial and does not extend as far distally. The gastrocnemius muscle, along with the soleus muscle, ends in the

common

The

and the head of the

great trochanter, the

fibula.

The gluteus maximus and medius muscles are clearly evident throughout their entire extent. The

—

the strongest tendon in

Plate 73 shows the medial view of the lower Bony structures visible: Profile view of

extremity. patella,

structures visible:

Achilles' tendon

the body.

formed.

Plate 71 shows

In addition, while the

gastrocnemius

t.

downward course

these

pads

the anterior superior iliac spine, the sar-

torius muscle

ciae

fat

The development of these fat pads is the amount of pressure transmitted

through the knee

From

into

inserted into the tibial tuber-

each side of the patellar tendon,

are present. related

is

and prolongation

itself.

verse.

demarcates the group of extensor mus-

on the anterior aspect of the thigh from the

patella

mus muscle

medial surface of

tibia

from knee

to

me-

dial malleolus.

The course of the band-like sartorius muscle, from the ilium around the medial margin of the thigh to

its

insertion on the upper end of the tibia

position of the tensor fasciae latae muscle on the

is

outer

and soleus muscles, immediately behind the tibia, form with the flexor digitorum longus muscle an

contour

as

it

crosses

the

vastus

lateralis

muscle and the continuation of the tensor muscle through the iliotibial band to the lateral condyle of the tibia are evident. Note the demarcation be-

clearly marked. In the leg, the gastrocnemius

elongated prominence.

The smoothly convex anterior prominence of the is formed by the tibialis anterior muscle. The course of the great

tween the biceps femoris muscle on one side and the semitendinosus and semimembraneous muscles

leg below the tibial tuberosity

on the other as they descend

saphenous vein

to

form

the superior

is

easily followed in the leg.

PLATES

71-77.

uallj

as

extends forward under the tendons

it

oi

the extensor digitorum lottgu> muscle.

These plates arc drawings o( the musculature from a model of "The Fighter" by Borghese medial and lateral views oi the right lower extremity.

To demonstrates the deep layer of mus-

Pi ITE

The abductor digiti quinti muscle forms the elevation along the calcaneus and the second phalanx

of the

little toe.

llie

cles ol

lower extremity.

Pi \rv 77 Fig.

1.

Fie

2.

veins ol the

shows cross-sections: Through the thigh. Through the leg.

in this

PLATES

From

\

between the big toe and the

The abductor

78-81.

Bony

clearly seen.

and on a

structures: Note the prominent lateral lateral

malleolus

is

brevis muscle

border of the extensor digitorum easily recognizable.

is

It

Of

forms the

to

hallucis muscle in

the

and out

prominently. The posterior contour

Near

the vertical Achilles' tendon. the medial malleolus

below the ankle.

foot after removal of the skin.

Plate 82 shows Plate 83 shows

Immediately beneath the skin, the tendons of the longus muscles are easily followed to the toes.

The veins of the dorsum of the foot are clearlyevident. The largest vein goes upwards to the me-

Plate 79 shows The positions of

is

the great

the posterior view of the foot. the malleoli are well seen in

formed by

the border of

dorsum of

the

sketches of the knee in various

Extension and flexion of the leg pro-

positions.

duces marked changes in the shape of the knee and surroundings.

its

In

fat

marked

extension, the patella is

moves proxiand the

stretched,

pads on each side of the quadriceps tendon

appear as rounded prominences.

marked

In

this view.

is

saphenous vein.

the veins of the

mally, the patellar ligament

dial side of the leg.

is

muscles stand

longus

hallucis

smooth prominence called the arch of the foot and the convex lateral border of the foot immediately

extensor digitorum longus and extensor hallucis

course from

its

phalanx of the big toe

first

the tendons, those of the tibialis anterior

extensor

the

lower horizontal plane than the medial. lateral

metatarsal

first

bone.

Life.

calcaneus

The

;i-

iew.

Ft ate 78 shows the anterior view of the foot.

the

the fool a- well

<>i

Plate 81 shows the medial view of the foot.. Bony structures: The medial malleolus and the t

IX. Drawings

medial malleoli:

dorsum

a \ein over the lateral malleolus are clearly seen

flexion, a cleft

appears between the

femoral condyles and the upper end of the

tibia.

The abductor digiti quinti muscle, particularly when contracted, is of importance in determining

The

the lateral contour of the foot.

pads, capsule, and skin are pressed against the

The

Achilles' tendon

is

particularly important

in determining the appearance of the lower leg

and foot in this view. Above, this tendon is broad it narrows below as it approaches its insertion on the calcaneus. but

patella

is

pulled

down

fat

knee.

Plates 84 and 85 show various motions knee

at the

t.

PLATES

and phalanges of the outer four toes. Note particularly the curvature of the four outer toes a? compared with the straight course of the

Plate 86 shows the parts of the body of the

big toe. This

into eight

evident in all three figures.

The

rounded surfaces of the femoral condyles producing the rounded external appearance of the flexed

Plate 80 shows the lateral view of the foot. Bony structures: The lateral malleolus, the ts

is

into this space.

86-92.

relative proportions of the

adult, according to Michel-

body "head lengths" plus the distance from

angelo. This divides the total length of the

The exposed triangular surface of the lateral is bounded posteriorly by the peroneus longus and brevis muscles and anteriorly by the

the malleoli of the ankle to the sole of the foot. In

extensor digitorum longus muscle.

symphysis pubis, the lower extremities are

The extensor digitorum brevis muscle forms a prominent smooth mass at its origin from the

tively lengthened

superior surface of the calcaneus in front of the

given by Paul Richer, 1849-1933. Anatomie Artistique. Description des formes exterieurs du corps

malleolus

malleoli.

The muscle belly decreases

in size grad-

contrast with the older conception, which placed the center of the

Plate

body

at the

lower border of the rela-

and the trunk elevated.

87. Proportions of the

human

figure as

humain mi repos

ci

dam

principaux mouve-

les

mammary

the lobules of the

gland- which during

meats. Paris, 1890.

nursing secrete milk into canaliculi empt) ing

Plates 88 and 89. Phases in the development of a growing boy. The pictures were taken al ap-

nipple.

proximately two-year intervals under precisely the the same distance, standard Same conditions

Normally, the breasts extend from the third to the sixth ribs although they may be above oi below

comparable for proportions. These photographs, and those of the girl following, were taken at the Institute of Child Welfare at the University of California, and

this

Nancy Bayley. PLATES 90 and 91.— Phases in the development of a growing girl. The scale of this series is slightly

fold.

frame,

etc.

They are therefore

directly

are used through the courtesy of Dr.

.it

the

The nipple and the areola are more darkly

pigmented than the skin

—"high"

in general.

or "low". In general, "high" breasts

much more

are considered

and

beautiful.

A

well-built

and its lower margin should the body without any marked

breast

is

fixed

tense, not pendant,

Marked decrease

in

the fat content of the

breast produces a flabby pendant breast.

larger than that of the boy. Within the series, the

The breast is not completely developed until some time after adolescence and does not reach

pictures are again directly comparable.

full

Plate 92 shows

the proportions of the child ac-

development

until the nursing stage.

In girls under seven years, the breast

is

indis-

Kollmann. No general rules can be

tinguishable from the male breast except that the

given since the relative proportions of the body

nipple is more prominent. Later the areola becomes prominent and finally the body of the breast

cording

to

vary markedly with age.

On

the average, the total

body length of a new-born child is equal to four "head lengths"; at the sixth year, about six "head lengths"; at the twelfth year, about seven "head lengths." If one divides the total body length into 100 parts, the relative proportions in children from two to four years according to Kollmann are indicated by the following figures:

From From From

skull to navel (variable)

navel to sole of foot skull to

perineum

(sitting height)

Length of the lower extremity

Thigh length (only the mobile portion) Leg length Height of the foot

54 46 61 39 16 19 4

Arm

middle finger)

length

Forearm (elbow-t

Hand Head

to wrist t)

length

42 19 13

10

length (top of skull to lower border

of chin) 22 Widest diameter of head 15 Transverse diameter of the pelvis 15 The figures given above vary, of course, between individuals and are only approximate.

Plate kles

In later life, particularly in the white race,

prominence of the areola may become marked.

A

Hands by Heidi Lenssen.

Selection of

Plates 97-98. Hands of Courtesy of

S.

less

the violinist Isaac Stern.

Hurok.

Plate 99. Hands of Diego Rivera. Hands of an old laborer (one of the last surviving slaves)

by

.

Photos

Fritz Henle.

Plate 100. Fine mechanic silversmith. Photos

by

at

work. Hands of a

Fritz Henle.

Plate 101. Hands of a young man. Greek (c. 350 by C. W. Huston. Donatello, 1386(?)-

B.C.). Photos

1466. "St. John" (detail).

Length of the upper extremity (from acromion to the tip of the

itself.

the

93. Photographs showing folds and wrin-

around the eyes.

Plate 102. Andrea del Verrocchio, 1435-1488. Maria and Child" (detail). "St. John and an Angel" (detail).

Plate 103. Hugo van der Goes, 1452-1482. "Adoration of Jesus" (detail). South German (unknown),

c.

1470, (detail).

Plate 104. "Gentleman

Giambatti'sta Moroni, 1525(?)-1578.

in

Adoration" (detail). Jacopa Bas-

sano, 1510-1592, (detail).

Plate 105. Albrecht Dürer, 1471-1528. "Praying Hands." Courtesy of E. S.

Herrmann,

Inc.

Plate 106. El Greco, 1541-1614. "Incognito" (detail). Velazquez,

centius

Pope"

1599-1660. "Portrait of Inno1755-1828.

(detail). Gilbert Stuart,

Portrait (detail).

PLATES

94-96. Illustrations

Plates 94-96 show various types of breasts. The mature type includes the body of the breast, the areola, and the nipple. In the body of the breast, surrounded by more or less fatty tissue, are found

from

Historical Sources.

PLATES 107-189. Plate 107. Antonio Pollaiuolo, 1432(?)-1498. Naked Men." Pollaiuolo, a pupil of

"Battle of the

Donatella, seems

bodies artistic

order

in

to

purpose-.

"main bodies muscles. "

\\

in

to

have been the

make

Studies of

\ asari

order

tolls

to

it

is

\

Pi

ml

us that he dissected

study the action of the

bile this statement

erable doubt,

Pi

to

open

is

to consid-

nevertheless true that this engrav-

ing, together with his paintings ot subjects

such as

and

Muscles of the lower extremity. Ubrechl Dürer, 1471-1528. "Adam Diirer's interests, like those ol Leonardo,

res

dissect

anatomv for

first

tin-

I've."

ranged over

books

in

extending the study of

Pi vte 108. Jacopo de'Barbari.

c.

1450

1516. "Apollo and Diana." \n engraver oi origin, Jacob Italians.

He

into seven parts, then into eight parts.

lating the various proportions according to rules,

German

he produced examples of deformed and distorted

from

his

he knew

human

in

propor-

enthusiasm for the works of

is

The "Adam and Eve"

probably the most successful attempt along these

lines.

Compare Adam's

legs with those of Barbari's

Apollo, Plate 108.

Plates 125-138. Michelangelo Buonarroti, 1474-

Plates 109 It

studies were often criticized as being

too contrived and academic.

Barbari.

1518.

The

figures.

to us. at least partly, be-

Venice. Diirer's studies of perfect

By manipu-

before

-

of interest

whom

BubjeCtS including

results

called de'Barbari by the

cause of his influence upon Dürer tions stem

in

The

Walch was

is

ol

human figure based upon were incorporated into four which he considered the body to be divided

an enormous influence

and. later, in the rest of Europe.

wide variety

ideal proportions for the Italian art.

in Italy

a

mathematics, chemistry, and physio. In his anatomical studies, he attempted to arrive at a set of

Hercules, with their exaggerated musculature, had

anatomy

18- 123.

1

121.

Leonardo da Vinci, 1452-

to 123.

not impossible, properly to

is difficult, if

1564. Michelangelo's efforts

to

achieve a high de-

gree of realism led him to an extremely careful

He

evaluate Leonardo's contributions to the study of

study of whatever he was about to execute.

anatomy without taking

said to have bought fish in the market in order to

into consideration the tran-

sitional state of this science in his time

and the

diffi-

culty of obtaining exact information and of dealing

any systematic manner. Leonardo had fewfirst hand, and it is not known whether he ever had access to a complete skeleton. Yet, his drawings are remarkablyaccurate despite minor errors — errors which tend to become more numerous when he deals with deep dissections and inner organs. His far-ranging interests enabled him to understand and to present his material in a new light. His knowledge of mechanics, for example, was applied to the skeleton and the muscles, and he was able to demonstrate many of the facts of their operation. The plates which follow deal entirely with the osteological and myological systems and are arranged in a chronological order, so far as it can be ascertained. Plate 109. Bones of the foot. Lpper center: Dis-

with

it

in

opportunities to study cadavers at

study their scales.

cadavers In

in respiration,

cavities, subcostal

Plate 126. Studies of the nude. Plate 127. Nude seen from the back. Lower right: sketches in black chalk.

Plate 128. Sketch

for the Bruges

Madonna.

Three nude men. for Ignudi of the Sistine

ceiling.

Plate 130. Studies for the Libyan Sibyl. Plate 131. Sketches for the Sistine Chapel ing and the

tomb of

Plate 132. Study Plate 133. Study

ceil-

Julius.

for a Pieta. for a recumbent figure in the

Medici Chapel.

Plate 134. Arm and torso study for a Pietä. Plate 135. Study of heads for the Leda. Plate 136. Study for a background figure for the

sketches of the tensor fasciae latae muscle. of the foot. Muscles of the

head, neck, and shoulder.

"Risen Christ."

Plate 137. Study for the "Last Judgment." DeThe spot on the lower head is oil. Plate 138. Crucifixion for Yittoria Colonna. Plate 139. Domenico del Barbiere (Eiorentino),

tail.

tremity. Bottom, center to right: comparative study

of the hind leg of a horse with the corresponding

region in man.

the hu-

study for the marble David.

two sketches of the tensor

Plate 113. Surface anatomy- of the shoulder. Plates 114-116. Muscles of the shoulder. Plate 117. Surface anatomy of the lower ex-

was centered on

which follow were done in pen and ink, black and red chalk, and charcoal. The arrangement is chronological. See also Plate 86 for a study of proportions based upon Michelangelo. Plate 125. Sketch for the bronze David and arm

The

and vascular connections, and two more

Plate 112. Bones

interest

— landscape and portraiture among others. His anatomical studies cover a period of about twelve years in Florence and Rome. The drawings

fasciae latae muscle, three small sketches showing

nerve

any event, his

Chapel leg.

also said that he studied

things

smaller sketches near the top of the plate, from left

muscles

is

Plate 129. Studies

Plate 110. Muscles of the trunk. Plate 111. Muscles of the trunk and and abdominal

It

preparation for a sculpture of Christ.

.aan body to an extent which often excluded other

section of the shoulder t.

to right: thoracic

in

is

c.

1506

-

after 1565. Design

from an anatomy book.

al Fontainebleau with Rosso de Rossi, who was al work on an anatomy book for Francis I. This engraving presumably reproduces one of Rossi's drawings from the book which was never finished. Il was, at one time, believed to have

Barbier.- was associated 1

Mantegna's innovawas brought to the attention of Rembrandt by Borgioni's work reproduced here. Pi \n: 151. Hendrik Collzius, 1558-1616. The "Farnese" Hercules. Just as Baroque writers delarly useful in painted ceilings.

tion

many

been by Michelangelo.

rived

Plates 140-147. \ndreas Vesalius, 1514-1564. Vesalius came from a family of physicians and himself studied medicine at Louvain, Montpellier, and Paris. His later career was divided between teaching

of classical

various centers such as Louvain, Padua, Bologna, and Pisa and positions at the courts of Charles V of and Philip II of Spain. His researches were

at

based upon direct observation of the human body and aimed to counteract the Galenic methods based

upon studies of animal anatomy. The direction of his work made him naturally opposed to such anatomists as Eustachio (see Plate 148).

He

is

said to

sufficient to

for their revolutionizing influence

if



they were not

equally prized today for their artistic qualities. The plates reproduced here

appeared

in

Basel in 1543.

Plates 140 and 141. Male and female nudes from the Epitome. Plates 142-144. Views of the skeleton from the first book of the De Humani Corporis Fabrica. Plates 145-147. Three plates showing muscles from the second book of the De Humani Corporis Fabrica.

Plate 148. Bartolomeo Eustachio, (?)-1574. From the Tabulae Anatomicae, Rome, 1728. Eustachio's drawings, like those of Vesalius,

upon

direct observation

were based

and are characterized by

a high degree of accuracy although his Galenic

methods place him into a movement in anatomical studies that has been superseded. He is said to have introduced post-mortem examinations into Roman hospitals. While his drawings are exact, they are stiff and uninteresting as compared with those of Vesalius.

The

parts of the drawing are not labelled

literature,

so

Baroque painters and

sculptors went to classical models for instruction

and inspiration. The "Farnese" Hercules in Rome was a favorite subject. Goltzius particularly enjoyed exaggerated muscular development and unusual attitudes and often caricatured Michelangelo in his attempt to emulate his work.

Plate 152. Lodovico Cardi (Cigoli), 1559-1613. Both Cardi and his teacher Alessandro Allori produced brilliant examples of anatomical sculpture. The ecorche reproduced here was ite

a particular favor-

of Italians in their studies of anatomy.

Plate

have kept a careful check on his assistants, and the accuracy of his plates would be

of the laws of their craft from a study

153.

Peter

Paul

Rubens,

1577-1640.

"Studies of Venus," recto. Rubens' chief anatomical

work

is

a collection of drawings published after his

They may well have been intended larger work on anatomy. As it stands,

death.

as part of

a

there are

forty-four copperplates together with a Latin text on

anatomy and some reflections upon astrology and alchemy. The French translation, which omits the non-anatomical ages, appeared in Paris in 1773 under the title of Theorie de la Figure humaine. consideree dans ses principes, sou en repos ou en mouvement.

Plate 154. William Camper, 1666-1709. This is reproduced from Camper's book of 1697, the title of which is self-explanatory: The Anatomy of Humane Bodies, with figures drawn after the life by some of the best masters in Europe, and curiously engraven in one hundred and fourteen copper plates, illustrated with large explications, containing many new anatomical discoveries, and chirurgical observations: to which is added an introduction explaining the animal oeconomy, with a

study of the hand

copious index.

along the sides and top of the plate.

Plate 155. Francisco de Goya y Lucientes, 17461828. "The Giant." This aquatint is one of several

Plate 149. Melchior Meier. "Apollo Flaying Marsyas." Not much is known about Meier except

The method

directly but

may

be referred

to

by the coordinates

which Goya made during the is

last

years of his

life.

particularly exacting since the picture

that

he flourished about 1581. Subjects such as Apollo flaying Marsyas and the martyrdom of St.

can be lightened (by scraping) but not darkened.

Sebastian became increasingly popular after the appearance of Vesalius' book of 1543 since they

the thoracic basket.

afforded

artists the opportunity of combining a display of their anatomical knowledge with a standard artistic subject.

nor were they published during his lifetime. Nine-

Plate 150. Orazio Borgioni, died 1616. "The Dead Christ." Following Mantegna's example in his "Dead Christ," Baroque painters perfected the tech-

tomical studies of the bones and muscles, for the use

niques of extreme foreshortening, a

skill particu-

Plate 156. John Flaxman, 1755-1826. Views of The anatomical studies left by Flaxman were not intended as a textbook for artist,

teen plates, together with two

by Robertson, were title of Ana-

published in London in 1833 under the

of artists, from drawings by the late John Flaxman,

engraved by Henry Landseer: ivith two additional plates and explanatory notes by William Robertson.

.

I'l vie 170. The triceps and muscles of the arm. Plates 171-176. Jeno Barcsay. Anatom) for the

Pi iTES 157-166. Jules Cloquet. These plates are

reproduced from his imatomie de Lasteyrie. 1821-1832.


VHomme.

Paris,

C

u»

Pi

Plate eral

\

Artist.

157. Skeleton of infant.

138. Musculature of torsi» and neck,

lat-

iew.

Pi vie 159. Musculature of torso and neck, anterior view.

Plate UiO. Female pelvis, anterior view. Plate 161. Female pelvis, anterior view from below.

Plate 162.

Skull, anterior view.

Pi vte 163. Bones of the skull, anterior view.

Plate

164. Lateral view with sagittal section of

Budapest, Corvina. 1956.

Plate 171. Trunk in movement. Plate 172. Trunk in movement. Plate 173. Trunk in movement. Plate 17 1. Foreshortened body. Plate 175. Foreshortened body. Plate 176. The foot in movement. Plate 177. Hilaire Germain Edgar Degas, 18341917. "The Bath." Degas' interest in the human body, as demonstrated by his numerous canvases on ballet dancers,

is often focused on considerations of balance and displacement of the center of gravity.

skull.

Although his approach

Plate 165. Bones of the hand. Plate 166. Bones of the foot,' lateral view Plate 167. Jean Auguste Dominique Ingres, 1780-1867. "Studies for the Dead Body of Acron." Classical themes became a favorite subject in the

rather than sensual, he compares this

early nineteenth century in painting and sculpture,

motion. 1887. The pioneering work of Muybridge

The emphasis on line rather than on color as the means of creating the illusion of volume, form, and motion led to an extremely high degree of skill in David and in Ingres, who continued the methode David. Huneker spoke of particularly in .

Ingres as "the greatest master of line

who ever

lived."

Plates 168-170. William Rimmer, 1816-1879. Rimmer was a physician who gave up his practice in order to teach art— at the Cooper Institute in New lork and at the Art Museum in Boston. In 1876, he drew a series of plates in pencil on white paper, published in 1877 as Art Anatomy. Plate 168. Muscles of the Back. Plate 169. Muscles of the torso, solid and unalterable sections.

is

often said to be intellectual

woman

bather

to a cat licking herself.

Plates 178-189. Eadweard Muybridge. 18301904. These studies are reproduced from The Human Figure in Motion, 1913, and Animal Locois

especially remarkable in that

it

was produced

be-

fore the invention of the motion picture camera. The

device used, the zoöpraxiscope, produced a series of transparent photographs on glass w hich were pror

jected on a screen.

The

results of the research,

carried on chiefly in California and Pennsylvania,

were published in eleven volumes under the Animal Locomotion.

Plates 178 Plates 180 Peates 182 Plates 184 Plates 186 Plate 188. Plate 189.

and and and and and

title

179. Athlete, walking. 181. Athlete, running.

183. 185.

Woman, walking. Woman, throwing

187. Child, crawling.

Child, walking. Child, running.

ball.

of

SOURCES OF ILLUSTRATIONS and

2— after

Lucae, Frankfurt-an-Main.

Plates 45 and 46— after Richer.

PLATES 3 and

4— after

Spalteholz.

Plate 47— after Spalteholz.

PLATES

1

Plates 48-52— from

Plate 5— original.

PLATE

6— after Spalteholz.

and anatomical prepara-

Plates 53 and 54— after Spalteholz.

Plate 7— original. Plates 8-10— from

life

tions.

Plate 55— from anatomical preparation.

life.

Plates 56-59— from

Plate 11— after Spalteholz. Plates 14-17— from

life.

and anatomical prepara-

Plate 60— from anatomical preparation.

Pl\tes 18 and 19— original.

Plate 20— after Spalteholz and

life

tions.

original.

Plates 61-63— after a model. A. ETrenek in Vienna, and from

Plate 21— original. Plate 22— after Spalteholz.

life.

Plate 64— from anatomical preparations.

Plate 23— original.

Plates 65 and 66— after Richer.

Plate 24— after Duval-Xeelsen.

Plates 70-73— from

Plate 25— original.

Plate 26— after Salvage.

life

and anatomical prepara-

tions.

Plates 74 and 75— from plaster models.

Plate 27— Kollmann.

Plate 76— after Spalteholz.

Plate 28— from Spalteholz.

Plate 77— original.

Plate 29— after Duval-Xeelsen.

Plates 78-81— from

Plate 30— from

Plate 31— original.

life

and anatomical prepara-

tions.

life.

Plate 82— after Xeelsen and anatomical prepara-

Plates 32 and 33— after Salvage.

tions.

Plate 34— Kollmann.

Plates 83 and 84— after Richer.

Plates

Plate 85— Kollmann.

35, 37,

and 39-44— original.

Plates 36 and 38— from photographs of van der \^

evde.

Plate 86— after

a sketch by Michelangelo.

Plates 87-189— see Introduction.

XXIV

PLATES

Fig.

Fig. 2

I

ANTERIOR VIEW

LATERAL VIEW

THE SKELETON

PLATE

1

PLATE

2

POSTERIOR VIEW OF THE SKELETON

Fig. 2 Fig.

HUMERUS

A sulcus

(groove)

A rough

surface

I

FEMUR

(thigh bone)

Fig. 3

(arm bone)

TIBIA

Trochanters (prominences for muscle attachments)

(leg

bone)

„

Anterior bony border crest of the tibia or "shin")

Crest of the ilium

Bone marrow

Anterior

Fig.

4

superior

iliac

spine of

iliu

cavity

Acetabulum

INNOMINATE BONE

Fig. 5

SECTION OF

A LONG BONE

TYPES

OF BONES PLATE

3

Fig.

I

CAPSULE OF THE SHOULDER T Fig.

4

COMBINED T

e t

Fig. 3

T OF A FINGER

Fig. 5

Immobile

BALL

AND

SOCKET T TYPES PLATE 4

OF TS

t

Bone structure

Periosteum

t cartilage

t space

Spongy bone (Course of bony trabeculae determined by lines of pressure and tension) t capsule

t space filled with synovial fluid

Compact bone

Bone marrow cavity containing yellow bone marrow

SCHEMATIC CROSS-SECTION THROUGH A T

(HIP T)

PLATE

5

Fig.

I

EXTERNAL VIEW OF THE BASE OF THE SKULL

Palate.

Vomer

Zygomatic bone_ Pterygoid process

Mandibular fossa

Sphenoid bone Styloid process

Mastoid process Occipital condyle

Foramen magnum

External occipital crest

Squamous portion occipital

of

bone (nuchal plane

Central tubercle inferior nuchal

in

line

Fig. 2

ANTERIOR VIEW OF SKULL

Frontal

eminence

bone

Parietal

Temporal ridge Temporal bone Greater wing of

Superciliary arch

the sphenoid bone

Zygomatic process of the frontal bone

Slacel

3

Zygomatic or malar bone-f? Maxilla

Alveolar process the maxilla

of_

Ramus of the mandible

Mandible

Angle of the mandible Mental foramen

Mental tubercle

PLATE

6

THE SKULL

Fig.

SKULL OF

I

NEWBORN

Fig. 2

SKULL OF A

(viewed from above)

NEWBORN

(viewed from the

left side)

Fontaneile

Fig. 5

Fig. 3

SHORT SKULL

SENILE SKULL

Fig. 6

Fig.

4

LONG SKULL

SKULL OF AVERAGE LENGTH

Sagittal

J

suture

Coronal suture

PLATE

TYPES

OF SKULLS

7

Frontal

eminence Coronal Suture Glabella

Temporal ridge Superciliary arch

Zygomatic process

of the frontal

Temporal bone

blade

Nasal bone

Zygomatic bone Mastoid p'ocess Nasal spine

Ramus

of the mandible

Angle

of the

mandible

Mental foramen

Mental tubercle

7th cervical vertebra 1st

thoracic vertebra

Manubrium

(sterni)

Body of the sternum

Ribs

Costal cartilage

Xiphoid process

I21h thoracic

Is*

to 5th

vertebra

lumbar vertebrae

/ Intervertebral cartilage

Anterior superior iliac spine

Anterior inferior iliac spine Intervertebral (sacral) foramina

Superior ramus of the pubis

Great trochanter

Neck of the femur

Head

Pubic symphysis of the ulna Inferior

ramus of the ischium

Sacral tuberosity

PLATE

THE BONES OF THE TRUNK

8

\

ANTERIOR VIEW

Sagittal suture

Lambdoid

suture

Occipital bone

Origin of the trapezius muscle

s

Mastoid process

Axis

Mandible Angle of the mandible s

Vertebral arch

Transverse process Clavicle

Superior angle of the scapula

Acromion process

Tubercles of ribs

Spine of the scapula

Greater tuberosity of the humerus Glenoid fossa Infraspinous fossa

Vertebral border oi the scapula Insertion of the deltoid

muscle Axillary border of the scapula Inferior

angle of

the scapula

The

five false ribs

Lateral epicondyle of the humerus

Olecranon process of the ulna

Head

of the radius

Tuberosity of the radius •'

:

-.;

the

medius muscle

Origin c : Hl€ gluteus minimus muscle

Innominate bone

Margin

of the

acetabulum

Spine of the ;:

Coccyx anter

Radius

Head

of the ulna

Styloid Process

PLATE

THE BONES OF THE TRUNK

POSTERIOR VIEW

9

Coronal suture Frontal

eminence Temporal ridge

Superciliary arch

Lambdoicl suture

Temporal bone Zygomatic bone Nasal spine_ __

Occipital bone

Maxilla

Mastoid process

External occipital protuberance

Zygomatic arch

Mandible

Acromion Coronoid process

Head

of the

of the scapula

humerus

Insertion of pectoral muscles

Vertebral border of the scapula Axiliary border of the scapula

Insertion of the deltoid muscle Inferior angle of the scapula

Lumbar vertebrae

Lateral epicondyle of the humerus

Olecranon

Radius

Ulna

Sacrum Intervertebral (sacral) foramina

Coccyx Great trochanter

Head

of the ulna

Styloid process of the ulna

PLATE

10

THE BONES OF THE TRUNK

LATERAL VIEW

PLATE

11

öl o-g

115

o.e

O

10

ol 2

s

2? «S. 1-8 a.

£

LU

PLATE

13

.Clavicle

Clavicle

Acromion

_

Coronoid

Manubrium

Acromion

process

-

Coronoid process Greater tuberös^ Lesser tuberosity

Insertion of pec

muscles

Lateral epicondyle of the humerus

Capitulum

of the

„Medial epicondyle

hume -Olecranon

Head

of the radius

Head

of the radius-

Carpal bones

Metacarpal Bones

.

Proximal phalanges

,

Middle phalanges

-Terminal phalanges

PLATE

14

ANTERIOR VIEW

BONES OF THE UPPER EXTREMITY

MEDIAL VIEW

-

Carpal bcnes

Metacarpal bones

_

Termina

-

PLATE

LATERAL VIEW

BONES OF THE UPPER EXTREMITY

POSTERIOR REVIEW

15

Innominate bone

Great trochanter

Lateral lip of the linea aspera

Lateral femoral condyle

Articular ;„- ;

Lateral tibial condyie

:e

Border of latera e

Head

5

:

fibula

of the fibula

=t

Posterior surface c ;

I

Lateral surface of the tibia

Lateral malleolus

Medial malleolus

Medial malleolus

_

PLATE

Lateral r-alleolus

16

THE BONES OF THE LOWER EXTREMITY

ANTERIOR AND POSTERIOR VIEWS

fibula

»upenor

Interior Superior

thac spine ;

Posterior Inferior iliac spine

Anterior Inferior iliac sptne *

Head

of the femur

Pubic bone

HeaH

of the fibula

Tuberosity of the tibia

Lateral tibial surface

Anterior crest of the tibia

Lateral malleolus

MEDIAL VIEW

THE BONES OF THE LOWER EXTREMITY

LATERAL VIEW

PLATE

17

z O

(j 2.

PLATE

18

Flg.

I

Patella

Lateral condyle of femur

Cruciate ligament

Fibular collateral ligame

Patellar ligament

Lateral meniscus

Head

of the fibula berosity of the tibia

rosseous

membrane

Fig. 2

&&.

Quadriceps tendon

Patella

Capsule with

fat

pad Patellar ligament

Fibular collateral ligament

Tuberosity of the tibia

KNEE T

Fig.

Flg. 2

I

Fig. 3

Origin

Tendinous plates (in gastrocnemius

Muscle belly

Tendinous bands m e*+ensor carp muscle

Terminal tendon (Achilles tendon

(

in

Lineae transversae (transverse tendinous bands)

Aponeurosis (overlying the rect

abdominis muscle

PLATE 20

leg)

TYPES

OF TENDONS AND MUSCLES

PLATE

21

Fig.

Fig. 2

I

BUCCINATOR AND TEMPORAL MUSCLES

MASSETER MUSCLE AND FASCIA OVERLYING TEMPORAL MUSCLE

Temporal muscle Fascia overlying

temporal muscle

Zygomatic arch (cut across and removed Masseter muscle Buccinator muscle

Fig. 3

MUSCLES OF THE NECK

or belly of e digastric muscle

rohyoid muscle

ohyold muscle rnohyoid muscle

rnocleidomastoid muscle

pezius muscle

Sternothyroid muscle

muscle

MUSCLES OF THE HEAD AND NECK PLATE

22

Rg.l

Fig. 2

Nasal bona

Triangular cartilage

Triangular cartilage

J

A

i- .-«r-tilage

Alar cartilage

Fig.

Fig. 3

p

4

Orbital portion of the upper eyelid Ocular portion of the upper eyelid

r-tlon of

the upper eyelid

-

Ocular pc— ; - :~ Hk upper eye 2 Ocular portion of Ocular

the lower eyelid c •

er eyelid :

lotion of

-

Orbital portion of the lower eyelid

er eyelid

Fig.

Fig. 5

4

Helix of the ear Anterior branch of the helix ,. Superior branch ) , u ,. ot the anti-helix f Interior branch I ,

.

1

,

>•

Anti-helix

Tragus Posterior branch of the anti-helix

tragus IT

end of the

anti-helix

Lobule of the ear

NOSE,

EYE,

AND EAR

PLATE 23

Frontalis muscle

Procerus muscle

Temporal muscle Orbicularis oculi muscle

?>uedratus iab>> ivpenoi «gomatic head.of »he ql.33-j'js iab'i superiors muscle Zygomaticiii muscle

Orbicularis oris muscle

Masseter muscle

Succinate

Giand Medial head sternodeidomas*: Omohyoid muscle Sternohyoid muscle Scalenus medius muscle Lateral head of the sternocleidomastoid moicbj Trapezius muscle Clavicle

Acromion Clavicular portion of the pectoralis maior muscle Deltoid muscle

Sternal portion o £ tft€ pectoralis maior muscle

Brachials

r

Biceps muscle

Se r ratus anterior muscle

Intercosta

r

Ribs

=

*end!nous bands

Internal oblique muscle

"Rectus

abdominis muscle

-Crest of The ilium

G

»tew med

-usde

us

SartoriuS muscle

Pectineus muscl

:

PLATE 24

MUSCLES OF THE TRUNK

ANTERIOR VIEW

ris

muscle

THE TRUNK

ANTERIOR VIEW

(SURFACE ANATOMY)

PLATE 25

PLATE 26

sertion I

I

es major, partially

Upper border

shown

of the lotissimus dors

Lotissimus dorsi

Conformation of teres major

|

Lateral

edge

.

Origin of the serratus muscle

^

.

-

Muscle

slips

Muscle

slips

attached to the four lower ribs

attached to the hip bone

KOLLMANN, THE LATISSIMUS

DORSI,

WITH ARM RAISED

PLATE 27

Z

LL

<

X < a! O I

o u '

LU

X> CN

<

a: c£

g-OQ

"-la: LU I—

I—

uj

PLATE 28

2

•

v muscle

-Deltoid muscle

Acromion Triceps muscle "

Spine of the scapula

nfraspinatus muscle

Teres major muscle

Deltoid muscle s

Vertebral margin of the scapula

muscle

I

Rhomboideus major muscle stus

muscle

"e-es major muscl

Latissimus dorsi muscle

-

External oblique muscle

Sacrospinalis muscle (medial portion)

Crest of the ilium

Gluteus medius muscle

Gluteus maximus muscle

Great trochanter

MUSCLES OF THE TRUNK

POSTERIOR VIEW

PLATE 29

PLATE 30

THE TRUNK

POSTERIOR VIEW

(SURFACE ANATOMY)

E

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PLATE

31

Medial malleolus

SKELETON

PLATE

32

IN

POSITION OF "THE FIGHTER" BY BORSHESE

Extensor diqitorum lonqus musclo Extensor carpi ulnaris muscle Flexor carpi ulnaris muscle

Medial epicondyle

Infraspinatus muscle Teres minor muscle Teres major muscle

Pectoralis major muscle

Serratus anterior muscle External oblique muscle

Gluteus maximus muscle Gluteus medius muscle

Great trochanter Tensor -fasciae latae muscle

Tensor fasciae latae muscle Sartorius muscle

Adductor longus muscle Gracilis muscle

Pate

±

Fat pad

lleolu*

MUSCLES

IN

POSITION OF "THE FIGHTER" BY BORGHESE

PLATE

33

Infraclavicular fossa

Acromion process

of sea

Deltoid muscle

Clavicular portion of the pectoralis major muscle

Space between

~th

sternal

and

claviculai

portions of pecroralis major muscle

Pectoralis major

ctus

abdominus muscle

Ex+ernol oblique muscle

KOLLMANN, THE PECTORALIS MAJOR, BASED ON THE BORGHESE "FIGHTER"

PLATE 34

.

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PLATE 35

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PLATE 36

cn

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PLATE 37

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PLATE 38

-r

iri

<j

1.

Sternocleidomastoid muscle

2.

Trapezius muscle Clavicle

3.

major muscle Rectus abdominis muscle

4. Pectoralis 5.

Serratus anterior muscle 7. External oblique muscle 8. Deltoid muscle 9. Biceps muscle 6.

10. Brachiails I

I

.

12.

muscle

Triceps muscle

Latissimus dorsi muscle between the two heads of the sternocleidomastoid muscle a. Medial triangle of the neck b. Lateral triangle of the neck c. Mohrenheim's fossa (deltopectoral 13.

X. Fossa

groove) Sternum

d.

Linea alba

e. f.

Tendinous Inscriptions margin

g. Inferior thoracic

CcracobrachiaÜs muscle

Fig. 2

ATHLETE

THORAX

PLATE 39

-

~

E

~

E

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—

-° ° 5.-5

6 o_5 o t-

J

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1

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;

.

.

PLATE 40

-

1 1 _ —: Jl

=Z =L

—

~ t

-c

n

aj

."

.

Trapezius muscle

7.

Brachialis muscle

2.

Lattissimus dorsi muscle

8.

3.

Teres major and minor muscles Infraspinatus muscle Deltoid muscle Biceps muscle

a.

Triceps muscle Clavicle

1

4. 5. 6.

ATHLETE

b.

X.

BACK

Scapula Tendinous area of the trapezius muscle

II

PLATE

41

I <

E o ©

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:

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5~ü = © E = => E.2 • «. E 5 g~o Eiö =-2 S3 S

„£?

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PLATE 42

»,

-2-5

3^^,

-

Fig. Trap:"us muscle Latissimus dors! muscle Teres major muscle 4. Teres minor muscle 5. Infraspinatus muscle 6. Deltoid muscle 7. Pectoralis major muscle 8. Serratus anterior muscie 1.

3.

14.

3.

15.

9.

Rectus abdominis muscle oblique muscle Biceps muscle Brachialis muscle

10. External I

I

2.

I

.

12.

I

Triceps muscle Brachioradialis muscle Extensor carpi radialis longus muscle

16.

Anconeus muscle

17.

Extensor carpi radialis brevis muscle Extensor carpi ulnaris muscle

18.

19.

Gluteus maximus muscle medius muscle

20. Gluteus

21. Tensor fasciae latae muscle 22. Rectus femoris muscle

23. Vastus lateralis muscle 24. Biceps femoris muscle,

long head 25. Biceps femoris muscle,

short head Gastrocnemius muscle 27. Achilles' tendon 28. Scleus muscle 29. Peroneus longus muscle 30. Peroneus brevis muscle 31. Extensor digltorum Icngus muscle 26.

Fig. 2

ATHLETE

KNEELING

PLATE 43

p toc

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^ t_ :

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^eEe^ S 0.° § S 7? .«

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PLATE 44

o_o

;^3

Fig.

Fig. 3

Fig. 2

I

Fig.

4

Fig.

Fig.S

POSITIONS OF THE TRUNK

I

6

PLATE 45

POSITIONS OF THE TRUNK Fig.

PLATE 46

4

Fig. 6

u

i*

9^ < LU

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PLATE 47

Clavicle

Pectoralis

major musc'i '

Brachials muscle

Pronator teres muscle

Brachloradialis muscle

Extensor carpi radia

is

brevis muscle

Extensor dlgitorum longus muscle

Abductor pollids longus muscle Extensor polllcis brevis

muse

e

\

Pronator quadratus muscle

-v

PLATE 48

ANTERIOR VIEW FOR COMPARISON WITH SURFACE THE MUSCLES OF THE UPPER EXTREMITY,

ANATOMY

Humerus

.

Coracobrachial muscle

n* Biceps muscle

-Long head of the triceps muscle

.

Medial head of the triceps muscle

.

,

Lacertus fibrosus

J

-

Brachialis muscle

Intermuscular septum

Medial epicondyle

O'ecronon Pronator teres muscle

Brachioradialis muscle

Flexor carpi radialis

muscle Palmaris longus muscle

Flexor carpi ulnaris

Flexor pollicis longus muscle

Pronator quadratus muscle

.

-

muscle

Flexor tendons of the fingers

Head

of the ulna

Pisiform

bone

THE MUSCLES OF THE UPPER EXTREMITY, MEDIAL VIEW PLATE 49

PLATE 50

THE UPPER EXTREMITY, MEDIAL VIEW

SURFACE ANATOMY

Trape: us muscU :

Triceps muscle

TendinoLi

.

THE MUSCLES OF THE UPPER EXTREMITY, LATERAL VIEW FOR COMPARISON WITH SURFACE

ANATOMY

PLATE

5!

Trapezius muscle

Spine of the scapula

Deltoid muscle Infraspinatus muscle

Teres minor muscle

Teres major muscle

k

I

§

Lonq head of the tnceps muscle

Lateral head of the triceps muscle

Tendinous portion of the triceps muscle

Medial head of the triceps muscle

Brachioradialis muscle

Olecranon

Anconeus muscle

Ulna Extensor carpi ulnaris muscle

PLATE 52

THE MUSCLES OF THE UPPER EXTREMITY, POSTERIOR VIEW FOR COMPARISON WITH SURFACE ANATOMY

2

LU

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PLATE

53

ü 2

PLATE 54

V

.(

-

Basilic vein

Cephalic vein

SUPERFICIAL VEINS OF THE UPPER EXTREMITY

PLATE 56

OL

<

Q-

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1

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u * et 3

PLATE

57

z O <

a.

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U < d£ 3 Li.

c

z <

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U 2

PLATE 58

PLATE 59

Accessory cephalic vein [vena salvatella

Cephalic

THE SUPERFICIAL VEINS OF THE HAND

PLATE 60

Tiuscle

Extensor digitorum

communis muscle

>r -

carp

radia

s

"-uscle

Extensor carpi ulnaris muscle

Flexor carpi ulnaris

Latera

muscle

eo'condyle

Flexor carp! ulnans muscle

THE MUSCLES OF THE FLEXED UPPER EXTREMITY, LATERAL VIEW WITH FOREARM PARTIALLY PRONATED

PLATE

61

ec+oralis

major muscle

Batacobrachialis musc'e

fc^

Brachioradlalis muscle Flexor digitorum

Serratus anterior

communis muscle

!

muscle

Palmaris longus muscle

BPernal oblique rTwS

:

e

Bchialis muscle Flexor carpi radialis muscle

Flexor carpi ulnaris muscle

_

Medial epicondyle

THE MUSCLES OF THE FLEXED UPPER EXTREMITY,

MEDIAL VIEW, FOREARM PARTIALLY PRONATED

Pisiform bone Abductor pollicis longus muscle i

Head

g

Pectoralis major muscle

—

torum communis muscle

of the ulna

Extensor digitorum

communis muscle

.

External oblique muscle

Serratus anterior muscle

BracHioradialis

Latissjmus dorsl muscle

muscle carpi

-

:

ulnaris muscle

Rexor carpi ulnaris muscle

_

:

'

i

:

t

:::---

t

Anconeus muscle Medial epicondyle

—

Olecranon

THE MUSCLES OF THE FLEXED UPPER EXTREMITY, ANTERIOR VIEW

Brachial

s

muscle

Brachioradialis muscle

Extensor carpi radialis longus muse E»tensor carpi radialis brevis

muse'e

Extensor digitorum

commuE«tensor carpi -

s

muscle Flexor

c

Extensor carpi

rada Extensor digitorum

r

longus

carpi radialis -

BracHioradialis

muscle

Tr ceps muscle

i

muscle

Biceps muscle Brachialis muscle

Bracriioradialis muscle :

Extensor carpi radia' longus muscle

s

Extensccingus muscle E

Extensor carpi

-

isor carpi

rad

a

brevis muscle

5

radialis brevis

Extensc

muscle

: :

Flexor carpi uiraris

muscle

Fig. 6

Fig. 5

PLATE 64

POSITIONS OF THE

ARM

I

- : .

-----

Fig.

Fiq.4

I

Fin. 3

Fiq.2

Fig. 6

Fig. 5

MOTIONS OF THE SHOULDER T

I

PLATE 65

Fig. 3 Fiq.

I

Fig. 2

Fig.

4

Fiq. 5

Fig. 6

MOTIONS OF THE ELBOW T PLATE 66

FLEXION, EXTENSION, PRONATION,

AND SUPINATION OF FOREARM

Fig. 7

PLATE 67

POSITIONS OF THE

PLATE 68

HAND

II

POSITIONS OF THE

HAND

PLATE 69

1 Tensor fasciae

Ml •

n

muscle

;eps tendor

',

Tendon Biceps

c* the

I

:

Fat pad

Head

c*'

"e

fibu

5

nuscfe.

Media! surface -

.

r

'.

e

tibia

rr

jscle

e

muscle

.

Peroneus brevis muscle

—

longuS ~

_:

:

ES

J

PLATE 70

THE MUSCLES OF THE LOWER EXTREMITY, ANTERIOR VIEW WITH SURFACE ANATOMY FOR COMPARISON

muscle (long head

-d'nosus muscle

Biceps

fe

i

muscle (short head

Semimembranosus muscle

Head

of the fibula

rnemius muscle (right head)

Peroneus longus muscle Soleus muscle

Peroneus brevis muscle

Extensor digitorum longus muscle

Lateral malleolus.

THE MUSCLES OF THE LOWER EXTREMITY, LATERAL VIEW, WITH SURFACE ANATOMY

PLATE

71

Crest of the ilium

Gluteus medius muscle

Sacrum

Gluteus maximus muscle

—

Tensor fasciae latae muscle Fascial insertion of

gluteus maximus muscle Great trochanter

Adductor magnus muscle Vastus lateralis

muscle

ceps muscle, ng head

Plantaris muscle

Head

of the fibula

Gastrocnemius muscle, right head

:~*

Soleus muscle

Achilles'

PLATE 72

Soleus muscle

tendon

THE MUSCLES OF THE LOWER EXTREMITY, POSTERIOR VIEW, WITH SURFACE ANATOMY

^-:?,

-_>; e

•

\ astus

media

is

must

8

Semitendinosus muscle

Se~ ~e~branosus muscle

Gas+roce^'-s muscle

Achilles'

tendon

THE MUSCLES OF THE LOWER EXTREMITY, MEDIAL VIEW, WITH SURFACE ANATOMY

PLATE

73

Gluteus maximus muscle

Great trochanter

Semitendlnosus

lateralis

mu

Biceps fe

Achilles'

tendon

Extensor digitorum longus

m

Peroneus brevls muscle

Extensor halluces longus muscle

—

Lateral malleolus

Extensor digitorum brevis

mus

Peroneus tertius muse e

Abductor

PLATE 74

digiti quinti

muscle

THE MUSCLES OF THE FLEXED LOWER EXTREMITY, LATERAL VIEW

muscle

Tensor fasciae latae muscl Iliopsoas muscle

Sartorus muscle -^

Pectineus muscle

Rectus femoris muscl

Adductor longus muscle

f

muscle

— edialis muscle

Sartorlus muscle

Flexor digitorum longus muscle

— Medial

malleolus

Tendon of the

Abduc f or

tibialis anterior

hallucis longus

muscle

muscle

THE MUSCLES OF THE FLEXED LOWER EXTREMITY, MEDIAL VIEW

PLATE 75

o

,

,

>-

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21

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PLATE 76

Rectus femoris muscle

Vastus medialis muscle

Sartorius muscle

Deep portion

of

quadriceps femoris muscle

Saphenous nerve

Femoral artery Femoral vein

Adductor longus muscle Gracilis muscle

Deep

vessels

of the thigh

Adductor brevis muscle

Adductor magnus

Semimembranosus muscle

muscle

Fiq.

CROSS-SECTION

I

THROUGH THE THIGH

Tibialis anterior

muscle

Fig. 2

CROSS-SECTION

THROUGH THE LEG

CROSS-SECTIONS .THROUGH THE LOWER EXTREMITY

PLATE 77

a.

c

PLATE

78

>-

o I—

<

z < Ü <

>

O a.

PLATE

79

Achilles'

tendo

Peroneus longu Peroneus bre

Lateral malleolus

Laciniate ligam

Peroneus brevis muscle-

Peroneus lonqus muscle Fifth

metatarsal bone-

Abductor

digiti

quinti muscle

THE MUSCLES OF THE FOOT, LATERAL VIEW, WITH SURFACE PLATE 80

ANATOMY

Soleus muscle

Tendon of the

tibialis anterior

muscle

Extensor hallucis longus muscle

Achilles'

tendon

Tibialis

posterior muscle

Abductor hallucismuscli

SURFACE ANATOMY THE MUSCLES OF THE FOOT. MEDIAL VIEW, WITH PLATE

81

Great saphenous vein Malleolar vein

Communicating

vein

_ Heel veins Small saphenous vein

Veins of the inner border of the fcot

Small saphenous vein

-

Dorsal venous arch

Metatarsal and phalangeal veins

SUPERFICIAL VEINS

PLATE 82

OF THE FOOT

u

•

I

.

Vastus lateral

i

•

band

"

Dr

muscl

c-us

muscle

»us longu:

F;

,^v

q .2

—

.

.scle

Quad^cec b

al

band

6 :ecs 8

Head the

Gastrocn Peroneus

Sole_:

long..:

Peron« breT

muscle

Fig. 4

Fig. 3

:

Sartor SuS rr Semitencii^csus a^d 5 r se" rr em Gastrocnemius n r:

5c eus

rr

'

:

jscle

_

angus muse

b

1

anterlrI

ante r

;

*

m

sc e

POSITIONS OF THE KNEE T PLATE 83

Flg.

4

Fiq.6

Fig. 5

PLATE 84

MOTIONS OF THE KNEE T

FLEXED

AND EXTENDED KNEE

Fig. 7

fernal femoral extensor on

medial

femoral condyle external femoral condyle

Tendon of vastus

lateralis

.

Capsular

fot

and condyle

Capsular fat •

Edge

m

of tibio

»

Edge

of tibi.

longus muscle

Peroneus longus muscle

Tibialis anterior muscle

Gastrocnemius muscle -

Edge

digitorum long.

of external

|

condyle and outer

Internal condyle

and inner femoral

femoral extensor

External condyle

extensor

Medial condyle Articular space

Tibial condyle

Extensor dtgitorum longus muscle

Peroneus longus muscle

,rr

Tibialis anterior muscle

Extensor digitorum longus muscle

KOLLMANN, ANATOMY OF THE

KNEE, EXTREME

ANGLE OF BEND

aC i-e—

:i

-s

HEAD HEIGHTS

PLATE 86

RELATIVE PROPORTIONS,

MALE ADULT

(AFTER

MICHELANGELO)

4 years

4 years

8 years

PLATE 88

10 years

PHASES

IN

THE DEVELOPMENT OF

4 years

6 years

12 years

14 years

A GROWING BOY

I

6 years

14 years

14 yeors

9 years

1

PHASES

IN

9 years

THE DEVELOPMENT OF A

19 years

GROWING BOY

II

PLATE 89

4 years

8 years

PLATE 90

PHASES

4 years

4 years

10 years

12 years

IN

THE DEVELOPMENT OF A

GROWING

6 years

14 years

GIRL

I

14 years

14 years

I

8 years

16 years

18 years

18 years

PHASES

IN

THE DEVELOPMENT OF A

GROWING

GIRL

II

PLATE

91

(0

z Q OL

o Ü u <

PLATE 92

Reproduced through the courtesy

PHOTOGRAPHS SHOWING FOLDS AROUND THE

of Air Express

EYES PLATE 93

BREASTS

PLATE


I

A

Selection of

Hands

By Heidi Lenssen

Courtesy of

HANDS OF THE

S.

Hurok

VIOLINIST ISAAC STERN

PLATE 97

."-.-•

HANDS OF THE

PLATE 98

VIOLINIST ISAAC STERN

Photo by

Fritz

Henle

HANDS OF DIEGO RIVERA

Photo bv

HANDS OF AN OLD LABORER (ONE OF THE

Fritz

Henle

LAST SURVIVING SLAVES) PLATE 99

Photo by rntz Henle

HANDS OF A

SILVERSMITH

Photo bv

FINE

PLATE 100

MECHANIC AT WORK

Fritz

Henle

Wtoto by C.

HANDS OF A YOUNG MAN, GREEK

(c.

350

Photo by C.

DONATELLO,

"ST.

JOHN"

W.

Huston

B.C.)

W.

Huston

(DETAIL) PLATE 101

VERROCCHIO, "MARIA AND CHILD"

VERROCCHIO, PLATE 102

"ST.

(DETAIL)

JOHN AND AN ANGEL"

(DETAIL)

VAN

DER GOES, "ADORATION OF JESUS" (DETAIL)

SOUTH GERMAN

(c.

1470) (DETAIL)

PLATE 103

MORONI, "GENTLEMAN

IN

BASSANO PLATE 104

ADORATION"

(DETAIL)

(DETAIL)

Courfesv of

DURER, "PRAYING

E. S.

Herrmann,

Inc.

HANDS" PLATE 105

EL

GRECO, "INCOGNITO"

(DETAIL)

VELASQUEZ, "PORTRAIT OF INNOCENTIUS POPE"

(DETAIL)

STUART, PORTRAIT (DETAIL)

PLATE 106

A

Selection of Illustrations

And

from the Old Masters

Historical Sources

*„•

'

•

;

PLATE 107

Courtesy of the Metropolitan Museum of Art

BARBARI,

PLATE 108

"APOLLO AND DIANA"

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LEONARDO DA

VINCI,

BONES OF THE FOOT AND DISSECTION OF THE SHOULDER T.

PLATE 109

»4

jtin-iinS,

«**

Courtesy of the Burndy LJbrory, Norwolk, Conn.

LEONARDO DA

PLATE 110

VINCI,

MUSCLES OF THE TRUNK

1

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Conn. Courtesy of the Bu idy Library, NorwalV,

LEONARDO DA

VINCI,

MUSCLES OF THE TRUNK AND LEG

PLATE

1 1

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Courtesy of the Burndy Library, Norwolk, Conn.

PLATE 112

LEONARDO DA

VINCI,

BONES OF THE FOOT AND MUSCLES OF THE AND SHOULDER

HEAD, NECK,

WES. ^

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PLATE 113

.

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.

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.

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PLATE 114

LEONARDO DA

VINCI,

fhe Borodh Libron

MUSCLES OF THE SHOULDER

I

Moiwoll

Com

Courtesy of the Burndy Library, Norwalk, Conn.

LEONARDO DA

VINCI,

MUSCLES OF THE SHOULDER

II

PLATE 115

-

I

'-

: .Mi-

PLATE 116

LEONARDO DA

VINCI,

MUSCLES OF THE SHOULDER

III

-

•

•

>,A,/v,i, »Br

fit

••'•'•'

If

7

1

1

••

\v'V

Courtesy of the Burndy Library, Norwalk, Conn.

LEONARDO DA

VINCI,

SURFACE ANATOMY OF THE LOWER EXTREMITY

PLATE 117

it*

— —

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-*' •;Ar»"ö'A' -'[Ml

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Courtesy of the Burndy Library, Nor

LEONARDO DA PLATE 118

VINCI,

MUSCLES OF THE LOWER EXTREMITY

I

*

.>

-

•'-


y.

u*

* Courtesy of the Burndy Library, Norwolk, Conn.

LEONARDO DA

VINCI.

MUSCLES OF THE LOWER EXTREMITY

II

PLATE 119

\

Courtesy of the Burndy Library, Norwolk, Conn.

LEONARDO DA

PLATE

1

20

VINCI,

MUSCLES OF THE LOWER EXTREMITY

III

Courtesy of the Burndy Library. Nor

LEONARDO DA

VINCI,

MUSCLES OF THE LOWER EXTREMITY

IV

PLATE 121

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LEONARDO DA

PLATE 122

VINCI,

MUSCLES OF THE LOWER EXTREMITY V

Courtesy of the Burndy Library, Norwailc, Conn.

LEONARDO DA

VINCI,

MUSCLES OF THE LOWER EXTREMITY

VI

PUTE

123

-

DURER, PLATE 124

"ADAM AND

EVE"

sum of Art

<

*

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MICHELANGELO, SKETCH FOR THE BRONZE DAVID AND ARM STUDY FOR THE MARBLE DAVID

PLATE 125

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PLATE 126

Courtesy of Cosa Buonarroti, Florence

MICHELANGELO, NUDE SEEN FROM THE BACK

PLATE 127

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British

,/--sf

Museum. London

MICHELANGELO, SKETCH FOR THE BRUGES MADONNA, THREE NUDE MEN

PLATE 128

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PLATE 130

MICHELANGELO, STUDIES FOR THE LIBYAN

SIBYL

Museum

of Art

U

1

-

Courtesy of the Ashmoleon Mu/seum, Oxford

MICHELANGELO, SKETCHES FOR THE SISTINE CHAPEL CEILING AND THE TOMB OF JULIUS PLATE 131

PLATE 132

Courtesy of Coso Buonorroti, Florence

MICHELANGELO, STUDY FOR A RECUMBENT FIGURE IN THE MEDICI CHAPEL PLATE 133

Courtesy of Coso Buonarroti. Florence

MICHELANGELO. ARM AND TORSO STUDY FOR A »IETA

PLATE 134

Courtesy of Casa Buonarroti, Florence

MICHELANGELO, STUDY OF HEADS FOR THE LEDA

PLATE 135

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MICHELANGELO, CRUCIFIXION FOR VITTORIA COLONNA

PLATE 138

Museum. London

PLATE 139

VESALIUS, PLATE 140

MALE NUDE

VESALIUS, FEMALE

NUDE PLATE 141

VESALIUS, SKELETON PLATE 142

I

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-..

KMNfcMHW

II

PLATE 143

VESALIUS, SKELETON PLATE 144

VESALIUS,

MUSCLES

I

PLATE 145

VESALIUS, PLATE 146

MUSCLES

VESALIUS,

MUSCLES PLATE 147

Courtesy of the Metropoliton Museum of Art

EUSTACHIO, PLATE FROM THE "TABULAE ANATOMICAE" PLATE 148

PLATE 149

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BORGIONI, "THE DEAD CHRIST"

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qmfvt ttrrrr jrbit

Courtesy of the Metropolitan

Hereulti-

'<**

Museum

of

Art

GOLTZIUS, THE "FARNESE" HERCULES PLATE 151

Courtesy of the Museo Nozionale, Florence

CARDI, PLATE 152

ANATOMICAL FIGURE

>.

fe

a

4

i

4i

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PLATE 153

PLATE 154

CAMPER, A STUDY OF THE HAND FROM THE ANATOMY OF

HUMANE

BODIES

Courtesy of the Metropolitan Museum of Art

GOYA, "THE GIANT" PLATE 155

FLAXMAN, VIEWS OF THE THORACIC BASKET

PLATE 156

'

CLOQUET, SKELETON OF INFANT PLATE 157

V,

CLOQUET, MUSCULATURE OF TORSO PLATE 158

AND

NECK, POSTERIOR VIEW

II l\\\lll

/'

CLOQUET, MUSCULATURE

O F TORSO AND

NECK, LATERAL VIEW

PLATE 159

PLATE 160

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PLATE 161

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33

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PLATE 163

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CLOQUET, SKULL, LATERAL VIEW PLATE 164

AND

SAGITTAL SECTION

CLOQUET, BONES OF THE HAND PLATE 165

(

CLOQUET, BONES OF THE FOOT, LATERAL VIEW

PLATE 166

PLATE 167

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PLATE 170

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IN

MOVEMENT PLATE 171

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PLATE 172

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PLATE 173

BARCSAY, FORESHORTENED BODY PLATE 174

/

BARCSAY, FORESHORTENED BODY PLATE 175

BARCSAY, THE FOOT PLATE 176

IN

MOVEMENT

Courtesy of the Metropolitan

Museum

of Art

DEGAS, "THE BATH"

PLATE 177

MUYBRIDGE, ATHLETE, WALKING

PLATE 178

MUYBRIDGE, ATHLETE, WALKING

PLATE 179

MUYBRIDGE, ATHLETE, RUNNING

PLATE 180

MUYBRIDGE, ATHLETE, RUNNING

PLATE 181

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WOMAN, WALKING

PLATE 183

WOMAN, THROWING

PLATE 184

BALL

WOMAN, THROWING

BALL

PLATE 185

PLATE 186

PLATE 187

PLATE 188

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PLATE

1

89

AN ANNOTATED

BIBLIOGRAPHY OF BOOKS ON HUMAN ANATOMY OF INTEREST TO ARTISTS By Adolf K. Placzek

such

libraries,

Metropolitan

as

the

Museum

New York

Public

Library,

the

of Art, or the Columbia Univer-

and a review of the books catalogued under Art Anatomy is a rewarding and enriching experience that is strongly recommended to the student. It is hoped

sity Library,

that this bibliography will serve as a guide to such indi-

WORKS OF HISTORICAL INTEREST

2.

This bibliography does not pretend to be complete but

aims to suggest, in the various categories it covers, the most important avenues for further study and the wide variety of anatomical material available at different levels of instruction. A visit to one of the more important

Albinus

Bernhard Siegfried (1697-1770). Tabulae ana-

,

tomicae

sceleti

musculorum hominis. Lugdunae

et

Bala-

vorum. 1747. Exquisite engravings. Text in Latin and English. Muscles

and bones of the male body.

Audran

Gerard Proportionen

(1640-1703). Des menschlichen leibes

,

.

Many

.

Nuremberg. Sandrart. 1686.

.

Proportions

editions.

and

measurements,

in-

fluenced by Dürer. Based mainly on ancient sculpture.

Buonarroti Michelangelo (1475-1564). Michelangelo drawings, bv Ludwig Goldscheider. London, The Phaidon Press. 1951. ,

vidual study. 1.

ATLASES AND MEDICAL WORKS

Frohse Franz. Alias of human anatomy, by Franz Frohse, Brodel and Leon Schlossberg. Explanatory text by lesse Feiring Williams. New York, Barnes and Noble,

ever, in their perception of form, plasticity

Inc. 1942.

of the body, his drawings are unsured.

,

Max

Convenient small book of descriptive anatomy. Colored

Michelangelo, unlike Leonardo, was no scientist; nor try, like Dürer, to arrive at set proportions. How-

did he

Camper Petrus (1722-1789). .

plates.

No

surface description.

Autrecht, B. Wild and

Gra y, Henry. Anatomy of the human body phia, Lea and Febiger. 1942.

Compact medical textbook for advanced

.

.

Philadel-

.

Dissertation physique

.

.

.

Altherr. 1791.

Proportions, national characteristics and expressions

human

of the study.

J.

and motion

Good engravings.

face and head.

Dürer Albrecht (1471-1528). Hierinn sind begriffen vier bucher von menschlicher proportion Nuremberg. 1528. .

New

Peck, Stephen Rogers. Atlas of human anatomy. York, Oxford University Press. 1951.

A

manual with good photography and

clear, concise

drawings. Pfeiffer

.

.

Many

L.

Handbuch der angewandten Anatomie

.

.

.

Interesting for

its

irregularities of the

study of medical proportions and

human

body.

Sobotta, Johannes. Atlas of York. Stechen. 1930-39.

editions.

.

.

.

New

of the great works. For the art student, only vol(bones, ligaments, ts, muscles, and regions)

of particular use. ,

human anatomy.

Phila-

Used by generations of medical students. Three umes of clear and detailed presentations, of which first

two are of use

Toldt

.

Carl.

An

vol-

the

to the art student.

atlas

of

human anatomy. New York,

Macmillan Company. 1926. "For students and

physicians."

Of limited use for

artists.

Wolff Eugene. Anatomy for Lewis and Co. 1933. .

.

.

master strove for a clas-

Genga Rome.

.

B.

Anatomia per uso

et

intelligenza del disegna

.

.

.

Rossi. 1691.

Large engravings of the male

athletic

body, based on

ancient sculpture.

human anatomy

Spalteholz Werner. Hand-atlas of delphia. J. B. Lippincott. 192-.

great

point of view.

Jombert Charles Antoine (1712-1784). Methode pour apprendre le dessein representant differentes parties Paris. L'auteur. 1755. du corps humain ,

.

One ume 1

The

"canon" of types— not altogether successful from the sic

Leipzig, Spamer. 1899.

later

artists

.

.

.

London, H. K.

Detailed anatomy, good description of surface form, functions and movements.

.

.

.

.

.

Engravings, based on the great Renaissance painters. Heads. Surface proportions.

Leonardo da Vinci (1452-1519). The drawings of Leonardo da Vinci. With an introduction and notes by A. E. Popham. New York, Reynal and Hitchcock. 1945. Searching medical analysis of the human body, by the pen of one of the greatest artists— in fact, the almost unique merger of the creative and the scientific mind.

Leonardo da Vinci. Leonardo da Vinci on the human body; the anatomical, physiological and embryological drawings of Leonardo da Vinci, by Charles D. O'Malley and J. B. de C. M. Saunders. New York. H. Schuman. 1952.

A notes

reproduction and emendation of Leonardo's research

and drawings, system by system and region by

I

MiMmruh anatomist

A

lion ol the

Leo na rde da Vinci, the James Baltimore, William.-- am) W ilkins. 1930. Playfair.

.

.

.

Translated from the French edition of- 181.'). Deacrip male body; plates alter ancient sculpture (e.g.

human bod\

region, of the

I

Flaxman John (1775-1826). Anatomical hones and muscles, for the use of artists M. A. Nattali. 1833. .

Rubens, Peter Paul (1577-1640). We Htmdzeichnungen ion Peter I'tiul Ruhms. Herausgegeben von Gustav Glück und Fran/ Marlin Haberditzl. Berlin. Bardverlag. 1928. Details of (inures ami studies of dramatic motion, with a complete masterv of technique and a perfect under-

Engraved

humaine consien repos ou en moui ement

.

dered Jans SOI principes soil .

.

la figure

.

.

.

.

.

.

1917. descriptive anatomy, with few illustrations.

Hartley Jonathan Scott. Anatomy in ,

art student

.

.

art.

New York,

.

A

practical text

Press of Styles and

A

detailed descriptive analysis of bones

.

and muscles,

well illustrated.

1834,

Based on Petrus Camper. Continued by Physionomie Nationale. 1835. Polvclete contains beautiful plates on

proportion of the body. Physionomie Nationale concerns with national characteristics, proportions, and ex-

itself

Marshall

Vesalius Andreas (1514-1564). The Epitotne of Andreas New York. The Macmillan Company. 1949. lesalius

Philadelphia,

.

.

A modern

.

translation of the writings of the great Flem-

anatomy. The original Latin

ish pioneer in

text

and the

plates are reproduced.

Andreas. The illustrations from the works by J. B. de C. M. Saunders and Charles D. O'Malley. Cleveland. The World Publishing Company. 1950. Vesalius

.

.

.

.

Excellent reproduction of the plates: translations and

The anatomy and philosophy of expression. London. Henry G. Bohn. 1865 (Fifth edition). Concerned with the facial expression. Much used and several times reprinted in .

of life

its

Cuthbert. London,

.

George. Anatomy in

its

relation to art

.

.

.

The Author. 1900.

Muybridge, Eadweard. The human figure in motion. An electro- photographic investigation of the consecutive phases of muscular action. Inc. 1955.

New York. Dover

Publications.

Important for the study of motion, consecutive move-

.

.

Victor Semon.

.

Anatomy and drawing

.

.

New

.

York. Perard. 1928.

anatomy, but simplified and purposes of sketching.

Little text. Detailed

fied for the

Richer

time.

Adolphe Armand. Hieroglyphic or Greek method drawing London. Postal University. 1918.

clari-

Paul Marie Louis Pierre. Anatomie artislique;

,

description des formes exterieures du corps

humain

.

.

.

Paris. 1890.

.

Presentation of an individual method, supposedly based on the Greeks. Emphasis on the female body. The photographs of only historical interest.

Duval Mathias Marie. Artistic anatomy translated by Frederick E. Fenton. London, Paris, Cassell and Co. 1848. .

.

Based on lectures delivered

A

S.

W ritten by a medical doctor, but with proper emphasis on the visual. Well illustrated. Still very useful, apart from the change in taste with regard to the photographs.

Perard

OLDER WORKS ON ANATOMY FOR ARTISTS

Bell . Sir Charles.

Braun

J.

ments, and balance.

annotations. 3.

by two

artists; illustrated

Extensive description, structure as well as surface.

McClellan

.

Anatomy for

John.

,

hundred original drawings by Smith, Elder and Co. 1890.

pressions of face and head.

arts.

.

Cash. 1891.

Johann Gottfried (1764-1850). Polyclete; ou Berlin. The author. l'homme

.

London.

.

after the artist's death.

for art students .

book for the

bens drawings. tkiorie des mesares de

.

Alfred

Sir

.

Good

Jombert 1773.

Fngraved by Pierre Aveline. 1702-1760, based on Ru-

Schadow

.

Downing, and Thompson, Ralph R. and an appendix on comparative anatomy London, Sealey, Service and Co. I'ripp

Human anatomy

Rubens Peter Paul. Theorie de Paris. C. A.

Henry Landseer

l>\

studies of the

Beautiful large plates of the limbs and parts of the body.

standing of anatomy.

.

aocoon

.

report on Leonardo's achievements as anatomist.

full

thorough description,

at

.

Line drawings of rare clarity and simplicity, in the "The body at rest and in its principal move-

classic taste.

Good text. Rimmer William. Art anatomy. Dover Pub. Inc.

ments."

1962.

,

.

the Ecole des Beaux-

Interesting mainly as a record of teaching methods of

Ellwood George and Yerbury, F. R. Studies of the human figure, with some notes on drawing and anatomy London. B. T. Batsford. 1918.

Rim-

the 19th century. Plates after sketches of William

1816-1879,

mer,

little illustration.

sculptor,

painter,

and

physician

art

teacher, with his remarks.

,

.

Good

descriptive

change of

text.

The photographs

.

.

the

reflect

Ha v David Ramsey. The .

An body

.

.

artistic

anatomy

.

.

.

New

The male

athlete's

body analyzed by muscles and

bones. Limited scope.

taste.

figure defined

Roth Ch. The student's atlas of York. W'estermann. 1891.

.

.

geometric beauty of the human Edinburgh, Blackwood and Sons. 1851.

elaborate system of proportion. Little on the

human

itself.

Fau. Julien. The anatomy of the external forms of man, issued for the use of artists, painters and sculptors .

London. Hippolyte

Balliere. 1849.

.

.

Smith John Rubens. A key to the art of drawing the Philadelphia, S. M. Stewart. 1831. human figure An early American art teacher, concerned with proportions and perspective. Good plates. Thomson Arthur. A handbook of anatomy for art stu.

.

.

.

.

New York. Dover Publications, Inc. 1964 By an art teacher. Few illustrations, but extensive and

dents.

.

valuable textual explanations.

Vanderpoel

Dover Publications,

figure.

New

'l

ork.

Inc. 1958.

parts of the body, visually rather than analytically.

The

thorough

.A

John H. The human

.

4. RECENT BOOKS Andrews Sloan. Anatomy and figure construction for the fashion and figure artist. New York. Manhattan Art Stu-

introduction.

Photographs,

anatomical

drawings, roentgenograms.

human

Hurley. Faye. Simplified anatomy of the New York. Library Associates. 1945. .

.

figure

.

Elementary handbook for beginners. Lenssen Heidi. Art and anatomy. .

New

York,

J. J.

Augus-

.

dios. 1935.

Anatomy

Barcsav. Jeno. '

for the Artist. Budapest. Corvina.

1956.

1944.

tin.

"Studies of the human figure by masters of the Middle Ages and the Renaissance, together with anatomical draw ings by contemporary American artists."

Loomis Andrew. Figure drawing for York. The Viking Press. 1946. .

Based on Greek proportions and Renaissance examples, with modern instruction for quick sketching.

A

Maugard. Adolfo. The simplified human figure. Intuitional expression. New York. Alfred A. Knopf. 1936. Best

Geometrical-schematic approach. Stress on simplification.

Bradbury. Charles Earl. Anatomy and construction of the human figure. New York. McGraw-Hill Co. 1949. Equally concerned with structure and representation.

Competent text. Well illustrated. Bridgman George B. Constructive anatomy. New \ ork. Bridgman Publishers. 1936. Sketches of the various parts of the body, from the ,

v

textbook for art students, instructive on technique approach.

Marsh Reginald. Anatomy for .

Meyner. Friedrich. Künstleranatomie. Leipzig. mann. 1951.

sis

Moses. Salter Farrington. Artistic anatomy

A

than analysis of the body.

A

techniques with illustrations from old and

painters and master draftsmen.

,

thorough presentation.

.

.

figure.

Simple, with emphasis on the visual, primarily for

wide

5.

tions; useful for structural perception. Eisele

Louis A. Figure drawing for fashion and costume Pelham, N. Y. Bridgman Publishers. 1939.

.

designers

.

.

.

Simplified schemes of the female body. .

.

.

.

Touching on many aspects— historical, technical, anatomical.

Farris

,

J.

Dover Publications,

Art students' anatomy. Inc. 1961.

New York.

.

New

York,

solidity of

An

Press. 1920.

extensive historical survey of the field.

Cox. George James. Art and "the life"; a book on the human figure, its drawing and design. Garden City. N. ^ ..

Doubleday. Doran and Co. 1933. Contains an excellent chapter on books about anatomy,

.

Bical. Albert.

L'anatomie des

maitres. Paris. A. Quantin. 1890.

Thirty plates of anatomical drawings by Leonardo. Michelangelo. Gericault. and others. Historical introduction

and

Duval

notes.

Mathias Marie, and Cuyer. Edouard. Histoire de

.

et les

ecorches.

Paris. Societe franchise d'editions d'art. 1898.

Well illustrated and more recent than Choulant. the edition of which came out in 1852. Singer Charles. A Short History of Anatomy and Physiology: from the Greeks to Harvey. New York. Dover Pub-

German .

Edmond

.

I

The University of Chicago

Illinois.

l'anatomie plastique. Les maitres, les litres

George. Drawing figures New York and London, The Studio Publishing Co. 1944.

Giusti

Little text

SOURCES OF BIBLIOGRAPHICAL REFERENCE ON ANATOMY

Duval Mathias Marie, and

.

An

Choulant. Ludwig. History and Bibliography of Anatomic Chicago, Illustration. (Translated bv Mortimer Frank.

Dunlop. James M. Anatomical diagrams for the use of art students New York. Macmillan Co. 1946. .

.

'

with extended discussion of several.

.

Los

field in a light style.

pencil sketching.

Clear and precise colored diagrams, with short descrip-

.

.

a

Elementary handbook with stress on the volumes rather than the linear quality.

.

Doust Len A. A manual on drawing the human London and New York. F. \5 arne and Co. 1936.

still

the

good chapter on

.

.

Y.,

Dobkin Alexander. Principles of figure drawing. Cleveland. World Publishing Co. 1948. Different

simplified but

Tomasch. Elmer J. The ABC s of anatomy The William-Frederick Press. 1947.

books about anatomy.

modern

.

Borden Publishing Co. 1939.

Ranging over the

Empha

Anton. Natural figure drawing, with photos and drawings New York. Tudor Publishing Co. 1948

ing techniques.

artist rather

also historical reproductions.

on the male body.

Refregier

.

E. A. See

Sketches and diagrams of muscles, bones and details

Good photographs,

.

Cox George James. Art and "the life''; a book on human figure, its drawing and design. Garden City, N. Doubleday. Doran and Co. 1933. Main value: the stimulating text. Techniques for

New York. Amer

Based on older sources. Useful illustrations. Yisua approach.

Complete guide to drawing from Bridgman. George B. New York. Sterling Publishing Co. 1952. The new. broader edition. Added information on draw.

artists.

ican Artists Group. 1945.

geles.

.

New

isual

structural-mechanic point of view. ""Man as machine.

life.

worth.

all it's

lications. Inc. 1957.