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ARTISTIC ANATOMY 
 
 OF 
 
 THE HUMAN FIGURE. 
 
 BY HENRY WARREN, 
 
 HONOKARY PRESIDENT OF THE INSTITUTE OE PAINTERS IN WATER-COLOURS, 
 HONORARY MEMBER OF THE PENNSYLVANIAN ACADEMY OF FINE ARTS, 
 HONORARY MEMBER OF THE SOCIETE BELGE DES AQUARELLISTES, 
 PROFESSOR OF DRAWING AT QUEEN's COLLEGE, LONDON. 
 
 With Twenty-Three Illustrations drawn on Wood by the Author. 
 SIXTEENTH EDITION. 
 
 LONDON: 
 
 WIlSrSGR AND l^EWTON, 38, EATHBOlSrE PLACE, 
 
 IHaixufacturmg ^rtigts' OTolourmm Special ^ppomtmmt lo ler iWajestH, 
 anti 2i:fj£ir Eogal W^W^m tte ?|rmce anU iPrincesa of mdXz%. 
 
LONDON : 
 
 Printed by A. Schulze, 13, Poland St-reet. 
 
743 
 
 PREFACE. 
 
 The Author has endeavoured to make this little work 
 sufficiently comprehensive to be useful to the general 
 student in the art of drawing the human figure. 
 
 In reference to the Plates, it may be observed that to 
 the same bones and the same muscles, wherever they 
 may occur through each section, the same letters or 
 numbers will apply. 
 
 The direction of the lines of shading in the Plates is 
 made to correspond to the direction of the muscular 
 fibres ; the consideration of this being necessary to that 
 dimpling and folding of the outer skin, which painters 
 more than sculptors love to indicate, perhaps too 
 freely. 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/artisticanatomyoOOwarr_0 
 
PREFACE 
 
 TO THE 
 
 SEVENTH EDITION. 
 
 The first object I had in view in producing the present 
 little work, was, not only the desirableness of some 
 concise Handbook of Anatomy, artistically explaining 
 what is required to be known by all who draw the hu- 
 man figure, but more particularly the necessity of such a 
 work as might be perused by the fairer portion of Art 
 Students. To them the mass of works on Anatomy, 
 already before the public, were " sealed books." 
 
 With this end in view, I set myself to the pleasant 
 task ; and the fact of a great number of ladies, already 
 possessing former editions of this little book, having 
 vouchsafed me their favourable expressions in regard to 
 it, leads me to hope that I have not altogether failed 
 in my endeavour. 
 
 But while I kept this peculiar object in view, I was 
 
6 PREFACE TO THE SEVENTH EDITION. 
 
 not unmindful to make the book generally useful, as well 
 to the student of one as of the other sex. 
 
 The call for this seventh edition was, therefore, grati- 
 fying to me— the more so as bearing out the many 
 expressions of its usefulness, which I have, from time 
 to time, been favoured with by my brother Artists ; and 
 finding that some portions of the work were not suffi- 
 ciently explained, the limits of it not then admitting 
 of extension, I have since been allowed to carry them 
 further, by the addition of descriptions of, and remarks 
 upon the muscles of the extremities. 
 
 In order, also, to miake the references to the Plates 
 more easy and complete, additional letters and numerals 
 have been given, but in all cases, the original system 
 has been adhered to, of making the same letters, the 
 same numerals, apply to the same muscles or bones 
 throughout the work. 
 
 HENRY WARREN. 
 
NOTES. 
 
 The general construction of the human frame is as 
 follows : — 
 
 The osseous (bony) structure is first overspread, es- 
 pecially at the joints, by a tough covering called 
 periosteum. 
 
 On this are placed the different layers of muscles, 
 enclosed in thin sheaths, with their various aponeuroses, 
 or semitendinous portions. 
 
 The muscles are partly formed of fleshy fibres, taking 
 various directions, according to their requirements, and 
 partly of tendinous or sinewy portions. 
 
 The whole is enwrapped by the adipose {fatty) mem- 
 brane, vulgarly called the skin. 
 
 Through this pliable and soft but thick clothing, 
 the actions of the muscles are visible, more or less 
 according to their powerful development or otherwise ; 
 but it is at all times difiicult to detect their exact forms 
 and directions, and it is a vulgar error to display them in 
 exaggeration. The general sweeping lines of the figure 
 
8 
 
 NOTES. 
 
 are to be first and chiefly considered, the poise and pro- 
 portion of the skeleton being the ground for this. 
 
 An affectation of grace is a common stumbling-block 
 to the student, while a rigid copying of the dead form, 
 to represent the living and moving figure, is no less an 
 error. 
 
 The antique statues are always the best models ; and 
 with such aids, and a little study of the anatomy of the 
 human form, together with a knowledge and due con- 
 sideration of its perspective changes, the difficulties of 
 drawing the human figure will need but moderate prac- 
 tice to overcome. 
 
INSTRUCTIONS 
 
 IN 
 
 ARTISTIC ANATOMY. 
 
 PLATE I. 
 
 THE SKELETON 
 
 A. 
 
 Os frontis — the frontal bone. 
 
 A. 
 
 The protuberances formed by the frontal sinuses. 
 
 B. 
 
 Os parietale. 
 
 C. 
 
 Os temporum. 
 
 D. 
 
 Ossa maxillaria superiora — bones of the upper jaw. 
 
 E. 
 
 Maxilla inferior — the lower jaw. 
 
 F. 
 
 The seven vertebrae of the neck. 
 
 a. 
 
 The vertebral column. 
 
 H. 
 
 The seven true and five false ribs. 
 
 I. 
 
 Os sacrum. 
 
 K. 
 
 Os ilium. 
 
 L 
 
 Os pubis. 
 
 M. 
 
 Os ischium. 
 
 N. 
 
 Sternum —breast bone. 
 
 0. 
 
 Clavicula — collar bone. 
 
 P. 
 
 Scapula — shoulder blade. 
 
 Q. 
 
 Humerus or brachium — upper arm bone. 
 
 E. 
 
 Kadius. 
 
10 
 
 THE SKELETON. 
 
 S. Ulna. 
 
 T. Bones of the carpus — wrist bones, 
 
 y. Bones of the metacarpus. 
 
 IT. Bones of the fingers. 
 
 W. Femur — thigh bone. 
 
 WW. The patella. 
 
 X. Tibia. 
 
 Y. Fibula. 
 
 Z. Bones of the tarsus. 
 
 AA. Bones of the metatarsus. 
 
 BB. Bones of the toes. 
 
 CO. Os calcis, or bone of the heel. 
 
 DD. Trochanter Major. 
 
 THE SKELETON. 
 
 By the skeleton is to be understood the framework 
 of the edifice, Man ; the beams and timbers, as it were, 
 upon which the superstructure depends. The skeleton 
 determines the size, power and capabilities of the animal, 
 and is formed of a material sufficiently hard and solid 
 for all the mechanical powers of sustension andretension, 
 columnar and lateral support, encasement and leverage. 
 The skeleton is a combination of two hundred bones, all 
 of which it is, however, not essential to give in a little 
 work like the present ; and, indeed, 4f we take into con- 
 sideration the fact, that most of them are to be reckoned 
 in pairs or clusters, our number will be considerably 
 diminished, as far as nomenclature is concerned. 
 
12 
 
 THE SKELETON. 
 
 Of the forms of bones we have great variety, some are 
 triangular in section, others quadrilateral, others again 
 round ; and in some bones all these forms are combined, 
 according to the uses and requirements of their different 
 portions. 
 
 So great indeed is the difference of form throughout 
 the bony structure, that it were as useless as tedious to 
 enlarge upon it here ; and I shall content myself with 
 the general distinctions given them by anatomists, as 
 long, broad, and short bones. 
 
 The combined mass or structure is simply divided 
 into the trunk and extremities. The former, the trunk, 
 is composed of the head, the thorax, or ribs, with the 
 sternum or breast bone, the bones of the hips and the 
 great vertebral column or back bone ; the latter, the 
 extremities, are designated as superior and inferior, and 
 are the arms and the legs. 
 
 The bones of the head, divided into the cranium and 
 the face, will be given more at large further on. 
 
 The bones composing the spine or vertebral column 
 are twenty-four in number. Seven are given to the 
 neck— ce7^vical, twelve to the back or rihs— dorsal, and 
 five to the loins — lumbar. The combined column, with 
 its intervening cartilages, measures on an average from 
 two feet four inches to two feet eight inches, indepen- 
 dently of its base the os sacrum and the terminating 
 bones of the coccyx. It has, when viewed in profile, a 
 
THE SKELETON. 
 
 13 
 
 curved or serpentine form. In the neck it is slightly con- 
 cave, in the back convex, and in the loins again concave ; 
 approaching and united with the os sacrum, it again 
 becomes convex. There is also a slight curvature as 
 seen from behind or in front, its inclination being to- 
 wards the left side. The intention of this deviation 
 from the straight line is not satisfactorily explained. 
 
 Each vertebra is supplied with transverse processes 
 or projections articulating with the ribs, as well as 
 others called oblique, which serve to connect the verte- 
 brae with one another. The most prominent, however, 
 and those which are most essential, as being most visi- 
 ble to the artist, are the spinous processes, having various 
 directions according to their various amounts or direc- 
 tions of leverage in different vertebrae, and it will be well 
 to note carefully the place of the seventh of the neck, 
 called from its greater projection, Vertebra prominens. 
 The fifth also of those of the loins is worthy of notice, 
 as most easily distinguishable. 
 
 The OS sacrum, forming the base of the vertebral 
 column, is — in an advanced stage of life— but one bone, 
 composed of five parts or vertebrae which have grown 
 together. The whole column owes its flexibility to the 
 discs of cartilage placed between each bone, and which 
 are so elastic as to allow the column to move in all 
 directions without injury to the spinal marrow which 
 runs nearly through its whole length. The greatest 
 
14 
 
 THE SKELETON. 
 
 amount of movement takes place in those of the loins and 
 neck. The bearing of the figure— more or less upright- 
 is dependent on the curvature of the spinal column. 
 
 To this column— against small smooth surfaces on 
 the sides of the vertebrae, are attached the ribs ; twelve 
 on each side ; partly bony, partly cartilaginous. The 
 upper seven are called true ribs ; the lower five false ribs, 
 as not being joined— like the upper seven — to the 
 sternum or breast bone. Their direction and arched 
 shape downwards, together with their increasing in- 
 clination, will be best seen by the figure of the skeleton 
 given at the head of this chapter ; and though the mass 
 or basket of the ribs presents a form so opposite to that 
 of the living figure when enveloped in its fleshy cover- 
 ing, it should nevertheless be well considered as the 
 foundation upon which must be built the true form of 
 the principal part of the trunk. 
 
 The sternum, or breast bone, forms at the centre and 
 front of the chest — as the vertebral column does pos- 
 teriorly—the bond of support for the seven true ribs, 
 to which it is attached by cartilaginous articulations. 
 In early youth, the sternum is composed of several bones; 
 but in the adult it has acquired the solidity of a single 
 bone, though its higher and chief point of original 
 division may in most cases be traced by a change in its 
 angle. The general direction of the sternum is forwards 
 and downwards, its angle varying much according to 
 
THE SKELETON. 
 
 15 
 
 climate or race, or according to the habits or occupa- 
 tions of individuals. The standard average angle for 
 the sternum has been fixed at from twenty to twenty- 
 five degrees. In the female the angle is greater than 
 in the.man; and so, in proportion, is the direction of 
 that portion of the vertebral column constituting the 
 neck, more upright in a woman than in a man. ' 
 
 To the upper end of the sternum are attached the 
 pair of claviculae or collar bones, slightly curved out- 
 wards at first and then inwards ; they are usually more 
 prominent in a man than in a woman, in whom we 
 find them thinner and straighter. At their junction 
 with the sternum they leave the small hollow between 
 them-usually termed the pit of the neck-which forms 
 so useful a point for the adjustment of a true balance 
 in the figure. The outward end of the clavicle is con- 
 nected with the acromion and coracoid processes of the 
 scapula, as will be further explained when we treat 
 of the shoulder and arm. 
 
 The pelvis comprehends the mass of large and strong 
 bones forming the great cavity which occupies the 
 middle of the human structure. Of these we may 
 chiefly consider the os ilium which forms on each side 
 the great projection of the hip. Spread out in a basin- 
 like form, it presents a capacious curved wall of bone, 
 projecting in a strong crest forward and downward ; and, 
 extending around the form posteriorly, it is surmounted 
 
1(5 THE SKELETON. 
 
 by a powerful rounded edge or spine for the attachment 
 of large and strong muscles. The figure of the skeleton 
 will sufficiently describe the forms and positions of the 
 other bones of this region. On the whole, the pelvis is 
 larger and more capacious in the female than in the 
 male; and it differs in form also, being comparatively 
 less protuberant between the two crests of the ilia. 
 
 The arm— which together with the wrist and hand, 
 is designated, by anatomists, the superior extremity— is 
 appended to the clavicle and scapula or blade bone, to 
 which it is attached by strong ligaments. The bone of 
 the upper arm, called the humerus or os brachii, is a 
 long bone, round in part and somewhat twisted, en- 
 larging at top into certain tuberosities and a rounded 
 head, which, enveloped by the usual cartilage, rests 
 against the glenoid cavity of the blade bone, fittingly 
 hollowed out, and lined also with cartilage, to receive it. 
 The lower end of the humerus becomes enlarged 
 transversely, and by a peculiar joint of beautiful me- 
 chanism is fitted to articulate with the two bones of the 
 fore arm, called the radius and the ulna, in such a way 
 as that the one— the radius-can be made to twist over 
 the other in the act of turning the hand from back to 
 front, or vice versa. This double action is called pro- 
 nation and supination. 
 
 To these are attached the numerous small bones of 
 the carpus, or wrist, followed by those of the metacarpus 
 
THE SKELETON. 
 
 17 
 
 the space occupied by the back and the palm of the 
 hand ;— to which succeed the bones of the fingers. 
 
 The inferior extremity— so called from its relative po- 
 sition— is comprised in a similar number and arrange- 
 ment of bones. The longer, called the femur, or thigh 
 bone, like the superior bone of the arm, is in part round 
 and twisted on its axis. Like the humerus, too, it is fur- 
 nished with a globular head, which fitting into a glenoid 
 cavity forms a powerful ball and socket joint. It has fur- 
 ther similarities to the before-named bone of the arm, in 
 the tuberosities about its head and neck. The chief of 
 these, called the trochanter major is of great importance 
 in its position, as regards general form, as well as in the 
 fact that it gives attachment to several powerful muscles. 
 
 At the lower end the femur, like the humerus, widens 
 into two projections or condyles, forming the hinge of 
 attachment to the main bone of the leg, called the tibia : 
 and as the bones of the carpus and metacarpus inter- 
 vene between the fore arm and the fingers, so the bones 
 of the tarsus and metatarsus, at the ankle and instep, 
 are the media of junction between the bones of the leg 
 and the toes. 
 
 The forms and uses of these several bones of the ex- 
 tremities, with others which make part of their structure, 
 will be explained at large in their proper places, and the 
 diff'erences existing in the male and female specimens 
 pointed out. Suffice it here then to remark, that the same 
 
 C 
 
18 THE SKELETON. 
 
 just proportion and balance of the figure is to be attended 
 to in drawing the skeleton as in the living man, for all 
 the different directions of limb and joint are adjusted in 
 conformity with the intended erect and duly poised pos- 
 ture of man in his state of natural dignity. 
 
 PLATE II. 
 
 THE HEAD AND NECK. 
 
 The head is divided by anatomists into the cranium 
 and the face ; but it will be perhaps more convenient to 
 consider it here under one term-the head; the face 
 being so intimately connected with the forehead, which, 
 indeed, we shall consider as forming part of it. 
 
 The skull, in its upper part, gives thaPOfeiplete form 
 of that portion of the head : and if we takejp|p.ek bone, 
 together with the lower jaw, we shall have a tolerably 
 just notion of it as a whole, save that the ears and lower 
 portion of the nose will be wanting. 
 
 Of the skull- we take the European as the standard- 
 two plates are here given, a front and a profile view, 
 fio-ured in reference to the names of the several bones 
 4ich are, for the most part, separated by irregularly 
 toothed or zigzag lines called sutures. 
 
 A. Frontal hone— osfrontis. 
 
 B. Parietal bone— os parietale. 
 
 C. Temporal bone— o« temporum. 
 
20 THE HEAD AND NECK. 
 
 D. Malar, or cheek bone — os maltB. 
 
 E. Upper jaw hone— maxilla superior. j 
 V. Lower jaw — maxilla inferior. 
 
 Gr. Occipital bone— os occipitis. 
 
 H. Tlie protuberances formed by the frontal sinuses. 
 
 I. The mammillary process. 
 
 The ethnoid and sphenoid bones being deeply seated, 
 it is not necessary to give them. 
 
 In the forehead we find great variety, not only in 
 different races, but in individuals of the same race. The 
 length of the nose, however, in Europeans, has been 
 given as the acknowledged standard of its height to 
 the limits of the hairy scalp. 
 
 The general spheroid form of the cranium is so little 
 changed by its thin muscular and membranous covering, 
 that it may be taken as the true form of that portion of 
 the head. Not so, however, of the face ; for of all the 
 muscles of the human structure, those perhaps of the face 
 are the least satisfactory to the artist. So united are they 
 together in their fasciculi, as to form but, as it were, 
 a perplexing network of muscular fibre over the face. 
 Adhering as they do to the bones, the aponeuroses, and 
 the skin, their action is counter, generally speaking, 
 to their forms, causing wrinkles or markings in an op- 
 posite direction to their fibres. 
 
 PLATES III & IV- 
 
 It is nevertheless necessary that these muscles be 
 
THE HEA.D AND NECK. 
 
 Studied, as a no less important matter than the expres- 
 sion of the various passions is dependent on them. They 
 
 PLATE III. 
 
 will be given, therefore, in as simple a form as possible, 
 divested in a great measure of their complexities, and 
 
22 
 
 THE HEAD AND NEGK. 
 
 kept as separate from each other as circumstances will 
 allow. 
 
 Before giving the names and uses of the muscles of 
 the face, it may be as well to notice the many marked 
 hony prominences which give so much character to the 
 human countenance. 
 
 The prominent eminence of the occiput, at the lower 
 part of the head — so much larger in some than in others 
 — is particularly remarkable in bald persons ; the mamil- 
 lary processes of the temporal bones behind the ears 
 giving attachment and powerful leverage to the pair of 
 strong muscles belonging to the neck ; the frontal arched 
 protuberances above the eyes, which, from their variety 
 and form of projection, give so marked a character to 
 individual foreheads, as also the curved temporal line 
 at each side above the outer ends of the eyebrows ; the 
 cheek bone more or less raised, and the coronoid pro- 
 cess of the lower jaw bone at its greatest angle— all 
 expressing more or less of mental or physical charac- 
 teristics. 
 
 Of the muscles of the face, the following will suffice 
 as most important and most easily understood. 
 
 The frontal muscle {a), musmlus frontalis^ originating 
 at the inner half of the upper ridge of the orbit of the 
 eye, runs upwards in an oblique direction, and becoming 
 tendinous above the middle of the os frontis, unites into 
 the galea aponeurotica capitis, which, covering the whole 
 
23 
 
 THE HEAD AND NECK. 
 
 skull, connects all its muscles. This muscle wrinkles the 
 
 PLATE IV 
 
 forehead by its action, and drawing up the inner angle 
 of the eye, together with the eyebrows, gives to the 
 face an expression of pain. 
 
 The temporal muscle, musculus temporalis (b), arises 
 from the parietal and frontal bones, and, passing under 
 
24 
 
 THE HEAD AND NECK. 
 
 the zygomatic arch, is inserted by a strong tendon into 
 the coronoid process of the lower jaw, which it raises 
 and compresses against the other in clenching the teeth. 
 It is thus an auxiliary to 
 
 The masseter (c), which takes its name from its use, 
 chewing or masticating; it arises in the upper jaw 
 and lower fore-part of the cheek bone. It is a mass of 
 muscular fibres having place at the lower and inner part 
 of the projecting cheek bone, which it descends along 
 the outer side of the lower jaw and is attached to it 
 all the way from the coronoid process to nearly the 
 corner of the mouth. Its use has already been shown 
 in conjunction with the temporal muscle. With the 
 assistance of the temporal muscle, the masseter acts 
 w4th amazing power, and then, as may be observed, 
 it loses its flattened surface and becomes swollen. The 
 two muscles, in fact, act simultaneously, becoming 
 swollen or contracted at the same moment, at which 
 time also the temporal artery becomes very visible. 
 This happens in violent pain or passion, or during any 
 great effort of the mind or body. 
 
 The orbicular muscle of the eyelids, miisculus orbicu- 
 laris palpebrarum (d), is a collection of fleshy fibres en- 
 circling the eyes, which it closes and draws together. It is 
 not attached to, but lies upon the bony margin all round 
 the orbit of the eye, in the angle of which it has its 
 origin, and — having completed the circle — its insertion. 
 
THE HEAD AND NECK. 
 
 25 
 
 The elevator muscle of the nostrils and upper lip, 
 levator alee nasi lahiique superioris (g), originates in a 
 double tendon at the nasal process of the upper jaw, 
 and terminates by spreading its fibres into the wings 
 of the nose and the upper lip, both of which it widens 
 and draws up. It serves materially, but also in con- 
 junction with other muscles, to produce the marked 
 line, or furrow, between the cheek and nostrils. 
 
 The compressor muscle of the nose, compressor na- 
 rium (e), originating at the root of the nostrils, is first 
 united with the last-mentioned muscle, but soon be- 
 coming membranous, covers the whole ridge of the 
 nose and terminates in the forehead. 
 
 Its use is to compress the orifices of the nostrils, in 
 the act of smelling. It has the power also of wrinkling 
 the skin of the nose. 
 
 The elevator muscle of the upper lip, levator labii 
 superioris (h), commencing below the orbit of the eye, 
 runs obliquely down to the upper lip, which it draws 
 upwards and outward. It thus produces the swelling 
 of the cheek in laughter and other passions, in concert 
 with iinother muscle called the levator anguli oris, lying 
 underneath it. 
 
 The zygomaticus minor (i), acting in concert with 
 the last muscle, has its place by its side, descending 
 in a parallel direction from the cheek bone. 
 
 The zygomaticus major (/), arises fleshy from the 
 
26 
 
 THE HEAD AND NECK. 
 
 cheek bone, and is inserted into the angle of the mouth. 
 It draws the corner of the mouth and underlip towards 
 the origin of the muscle, and makes the cheek pro- 
 minent as in laughing. 
 
 Of the several muscles which affect the action of the 
 mouth, those which have been already noticed, have 
 for the most part the pulling of that feature upwards. 
 Those which have the opposite power are, first, the 
 depressor of the corners of the mouth, depressor anguli 
 oris (0, which has its origin at the bottom of the lower 
 jaw, where it sets out broad, but becoming narrower 
 upwards, has received also the name of musmlus jpyra- 
 midalis. Running round the angles of the upper lip, 
 it has the effect of drawing the corners of the mouth 
 downward, as its name imports. 
 
 The closing of the mouth is brought about by the mus- 
 cle called orbicularis oris (p), but which, though its use 
 — the shutting of the mouth by drawing both lips to- 
 gether— is important, is scarcely to be considered a dis- 
 tinct muscle, so intimately are its fibres blended with, 
 and indeed a part of, other muscles in its vicinity. Its 
 effects, however, are peculiar in the several movements 
 effected by its varied action, as in constrained passion 
 or deep meditation, when the lips are compressed either 
 against each other or against the teeth ; as also in an- 
 tagonism to some of the other muscles, in the suppres- 
 sion of laughter. 
 
THE MUSCLES OF THE NECK. 27 
 
 The buccinator (o), or trumpeter, tells its use in its 
 name, the contraction of the lips, as in blowing a 
 trumpet or wind instrument. 
 
 Before dismissing the muscles of the face, it may be 
 useful to observe generally of them, that whilst in the 
 expression of pleasurable feelings, they may be said to 
 dilate or spread, they will be observed to contract or 
 concentrate towards the middle of the face, in violent 
 or powerful emotions. 
 
 THE MUSCLES OF THE NECK 
 
 Are, as will be seen, connected for the most part with 
 those of the head and face, with which they are there- 
 fore given in the Plate. 
 
 The situation of the windpipe, aspera arteria, is too 
 well known to need being pointed out. 
 
 It may be observed here, that the two principal move- 
 ments of the head— the forward, or bowing movement, 
 and the rotatory movement— are chiefly dependent on 
 two separate bones of the neck. The first, or bowing 
 movement, is that which takes place principally at the 
 articulation of the skull with the first vertebra, called 
 from its bearing the globe of the head, atlas. The 
 second, or rotatory movement, takes place at the articula- 
 tion of the atlas and second vertebra, called the dentata, 
 from a tooth-like process, which being inserted into the 
 foramen, or hollow of the atlas, forms a kind of pivot 
 
28 
 
 THE MUSCLES OF THE NECK. 
 
 on which it turns. The movement of the head towards 
 either shoulder is limited to a quarter of a circle in 
 each direction. 
 
 The other movements, whether lateral or oblique, 
 are performed by the five other vertebrae, in conjunc- 
 tion with the two already noticed. 
 
 The neck is formed of the following muscles, en- 
 closing the cervical vertehrce, and acting upon their 
 several joints in many motions. They are all in pairs. 
 
 The sterno-cleido mastoideus (k) is the powerful 
 muscle so prominently conspicuous from its position 
 and volume. Its front edge is rounded and prominent, 
 while its hinder portion is somewhat flattened or hol- 
 lowed. Its attachments are to the inner portion of 
 the clavicle and to the upper front part of the sternum, 
 whence rising obliquely towards the occipital and tem- 
 poral bones, somewhat twisted in its fibres, it is in- 
 serted into the mastoid process behind the ear. 
 
 It assists in almost all the actions of the neck. In 
 pulling the head towards the side, a wrinkling of the 
 skin on that side takes place, while a consequent tension 
 of the corresponding muscle occurs, on the opposite side, 
 with a strong development of the tendinous portion at 
 its junction with the sternum. In this action the promi- 
 nence caused by the thyroid cartilage of the larynx, 
 commonly called Adam's apple, becomes very evident. 
 
 Reference in respect to this action may be made to 
 
THE MUSCLES OF THE NECK. 
 
 29 
 
 the magnificent throat of the Apollo Belvidere where 
 the flatness or rather concavity produced by the space 
 between the lower end of this muscle and the trapezius 
 (m) is so broadly and finely treated, and where, too, the 
 wrinkling of the skin in front or towards the other side 
 is expressed with the delicacy always found in fine 
 works of antique Greek sculpture. 
 
 In old age, and in thin persons, this muscle becomes 
 so strongly marked as to be unsightly; while in the 
 throat of a beautiful female it is hardly visible, unless 
 the head be turned, or some violent effort shall call it 
 into energetic action. 
 
 The trapezius (m), so called from its quadrilateral 
 form-and sometimes cucullaris, from its resemblance 
 ■ to a monk's cowl {cucullus)-\^ a broad flat muscle, 
 consisting of a right and left half, covering the hinder 
 part of the neck, and running down the back in a pomt, 
 as women wear neck-handkerchiefs. 
 Its attachments are, 
 
 To the occipital bone ; 
 
 To the ligament, which binds the spinous pro- 
 cesses of the vertebrae of the neck ; 
 To the last of these processes ; and 
 To eight of those of the back. 
 From this extended line of attachment, setting out 
 tendinous, but soon becoming fleshy, its fibres are sent 
 out in a radiated form ; obliquely downward from the 
 
30 
 
 THE MUSCLES OF THE NECK. 
 
 upper part, obliquel)^ upward from the lower, and 
 laterally from the miiddle towards the shoulder, where 
 it fills up the angle formed by the clavicle and the 
 acromion process of the scapula with its .spine. 
 Eventually it attaches itself to the clavicle as far as 
 its middle, and to the superior angle and greater part 
 of the spine of the scapula. 
 
 With such a number of attachments, its actions— as 
 may be supposed— are many ; the portions intervening 
 between these attachments becoming swollen in pro- 
 portion to the energy of its contractions in the several 
 parts. So also the wrinkles or cavities at such attach- 
 ments are, generally speaking, at right angles with its 
 fibres, as seen on the outward surface of the skin. 
 
 The forward edge of the muscle may be traced, from 
 its adhesion at the occipital bone, downward to the 
 collar bone. 
 
 In pulling the head downward behind, many folds of 
 the skin are produced; but the projections of the spines 
 of the seventh, and mostly the sixth cervical vertebra, 
 are nevertheless visible. 
 
 It is this muscle which forms the beautifuly curved 
 line of junction betw^een the neck and the shoulder. 
 
 There are several muscles of the throat which lie 
 under those already named, but which it will not be 
 here necessary to describe. They are enwrapped, as 
 well as the sterno-liyoideus (5), by 
 
THE SHOULDER JOINT. 
 
 31 
 
 The latissimus colli (n), which has attachments to 
 the skin of the upper part of the chest below the clavicle, 
 and is inserted into the lower jaw bone. A portion of 
 it ascends towards the ear. 
 
 It is a flat and broad muscle, as its name imports, 
 and serves as a wrapper to those beneath it. 
 
 It assists in drawing down the angle of the mouth 
 and part of the cheek, and it has also the power of 
 drawing obliquel}^ downward the skin of the neck. 
 
 PLATE V. 
 
 THE SHOULDER JOINT. 
 
 One of the most important, as certainly not least 
 diflScult, portions of the body, is the shoulder joint, 
 requiring attentive study and keen observation, in 
 respect to its manifold movements. 
 
 It has been thought necessary to give several plates of 
 the shoulder, as seen in various directions and positions. 
 
 The first Plate represents the scapula^ or blade bone 
 as seen in front, through the ribs, with. acromion (r), 
 and coracoid processes (q), and its glenoid cavity, against 
 which is placed the head of the humerus^ or upper arm 
 bone. 
 
 The clavicle (p ), or collar bone, is also given in its posi- 
 tion with reference to the other bones, as seen when the 
 arm is hanging down. The clavicle is attached to the acro- 
 mion and coracoid processes by strong ligaments, form- 
 
Tlie Scapula, with its Spine as seen at tlie Back. 
 
THE SHOULDER JOINT. 
 
 in. an arch under which the humerus is suspended: 
 mg ail ciii. H wpre bv the several 
 
 and the whole is enwrapped, as it weie, oy 
 musck^ which hold all together. 
 
 Tt^seapula (o) is free to move or slide over the pos- 
 terior surface of the ribs ; and the clav^cle, by its at ach- 
 menronthe shoulder, is made to follow .ts motions 
 upward, downward, and forward. 
 
 The socket joint of the humerus (s).at its head, gives 
 it the power of moving in almost every ^u-tion, uide- 
 pendentlyof, but almost always in conjunction w^^^M^^^^ 
 movements of the other bones just named. Thus when 
 le arm is 'raised, the scapula rises with it changing 
 its angle. The outer end of the clavicle also rises, and 
 l: flso changes its angle, the inner or sternum end, 
 being its fulcrum. 
 
 PLATE VI. 
 
 Reference maybe made to this action in the raije^^ 
 arm of the Laocoon, and in that also of the Fightmg 
 
 ^ WheTihe arm is thrust forward, as in pushing, or 
 pulling, or striking, the scapula is made to slide par- 
 til ly r und the side of the ribs, and the clavicle makes 
 an angle forward more or less according to the energy 
 
 of the action. . 
 
 The statue of the Supplicating Youth may be in- 
 stanced as an example, where, as both arms are held 
 
34 
 
 THE SHOULDER JOINT. 
 
 forward, the space between the scapulce as seen behind 
 is much augmented. 
 
 In reference to the two actions of pulling and pushing, 
 it must be borne in mind, that while in the first the 
 
 PLATE VI. 
 
THE SHOULDER JOINT. 
 
 35 
 
 bones at their junctions are somewhat separated, giving 
 increased length to the arm, they are in the second 
 thrust close together, and the arm becomes proportion- 
 ably shorter. This of course will be the case but in a 
 slight degree. The muscle will be observed also to 
 act and change correspondingly. 
 
 When the arm is thrown back, as in the Fighting 
 Gladiator, or the Discobolos at the British Museum, 
 then the scapula slides back over the ribs. Were both 
 arms tied or placed together behind, the two blade 
 bones would approach each other so as nearly to touch. 
 
 The Theseus of the Elgin collection is a beautiful 
 illustration of the action of the scapula, where, in addi- 
 tion to the backward motion, the act of leaning on the 
 elbow forces the shoulder upward. 
 
 PLATE VII, 
 
 The varied angles of the scapula and clavicle in their 
 several motions, cannot be too well studied ; nor can too 
 much attention be paid to the place of the bony knob of 
 the acromion on the top of the shoulder, but neither 
 should it be too strongly marked. Almost all the antique 
 statues may be referred to as examples, for in them we 
 find no vulgar exaggeration of these bony prominences : 
 yet are they marked, and always in their proper places. 
 
 The muscles, portions of which, as has been said, en- 
 wrap the bones which form the shoulder joint, are, first— 
 
 D 2 
 
THE SHOULDER JOINT. 
 
 The deltoid (a) so named from its triangular form 
 like the delta A or D of the Greek alphabet. 
 It is composed of seven, but may be simplified 
 into three, principal lobes or masses of fibres. 
 
 PLATE VII. 
 
 Its attachments are— 
 
 In front, to about one-third from the shoulder 
 
 end of the clavicle. 
 In the middle, to the acromion process. 
 At the back, >to the lower edge of the spine of 
 the scapula. 
 
THE SHOULDER JOINT. 
 
 37 
 
 The whole of the three portions combine downwards 
 into a point, and are inserted into the humerus or bone 
 of the upper arm about its middle. 
 
 PLATE VIII. 
 
 The deltoid (a) is a powerful muscle, finely rounded 
 about the head of the arm bone. By its threefold power, it 
 
 PLATE VIII. 
 
 raises the arm laterally, or forward, or backward, accord- 
 ing as either portion of its fabric is more or less called 
 into energy ; the active portion being always the most 
 swollen, while its antagonistic portion becomes propor- 
 tion ably flattened or extended. 
 
 When in the act of lifting the arm up, it swells aromid 
 
38 
 
 THE SHOULDER JOINT. 
 
 the acromion process which then, though still marked, 
 becomes a hollow in place of a projection. 
 
 The circumstance of its hindermost lobe being at- 
 tached to the sjnne of the scapula, and thus lower in 
 position than in front, causes a difference of form as to 
 height, when seen in profile, and a consequent flatness 
 above the scapular spine. This is more evident when 
 the arm is moved backwards, as then the rounded 
 head of the arm bone being pressed forward causes a 
 greater protuberance in front. 
 
 A proof of this is to be seen in the colossal statue 
 called the Farnese Hercules, which, though an exag- 
 geration of muscular development, is— and perhaps by 
 the very fact of such exaggeration— a most useful ex- 
 ample in the studies of an artist. 
 
 It may here he remarked, that when one arm is raised, 
 the head is naturally thrown over toward the opposite 
 shoulder, unless as in peculiar cases, the muscles of the 
 neck are made to counteract such motion. In raising the 
 arm too, it must not be forgotten, that, in order to keep 
 up a just balance of the figure, the general line of the 
 body is changed. It is well to observe this general 
 direction, and to mark it in sketching-in the mesial 
 line in front, or that of the spinal vertebrae behind. 
 
THE SHOULDER JOINT. 
 
 39 
 
 PLATE IX. 
 
 In a woman, we mostly find the deltoid with a slight 
 depression in the middle outwards, perhaps in conse- 
 
 PLATE IX. 
 
40 
 
 THE SHOULDER JOINT. 
 
 quence of its continuing to be fleshy nearer to its inser- 
 tion than in a man ; or it may be caused by a greater 
 thickness in that part of the adipose membrane which 
 covers the muscle. Sometimes, too, it happens that 
 at the articulation of the outward end of the clavicle a 
 too great elevation of the integument is observed. 
 These delicate differences, however, are best appre- 
 ciated through careful observation of the antique 
 statues or of the beautiful in nature. 
 
 The pectoral muscle, {£) forming the breast, has 
 attachments — 
 
 To the collar bone. 
 To the inner half of the sternum, and 
 To the cartilages of the second, third, fourth and 
 fifth ribs, and to the body of the sixth rib. 
 Its bundles of fibres produce in a man a broad flat, 
 though slightly rounded, surface, and uniting together 
 outwardly, form a triangle by insertion into the humerus 
 immediately underneath the deltoid [a). 
 
 Contributing to the forward actions of the shoulder 
 joint, it pulls it towards the sternum either directly, or 
 obliquely upward, or obliquely downward, according as 
 the several portions of its fibres are made to contract. 
 There is always to be noticed, more or less, a slight de- 
 pression or fold in this muscle as it approaches the inser- 
 tion, causing a secondary rise which is more observable 
 and still more beautiful in the female form. There are 
 
THE TRUNK. 
 
 41 
 
 too, when the muscle is stretched by the extended up- 
 lifting of the arm, certain little inequalities of fibre and 
 aponeurotic portions observable in and through the 
 ski-, or adipose membrane, which covers it. A deep 
 hollow occurs under the arm when stretched up laterally 
 or forwards, but it becomes less when the arm is raised 
 still higher. In a woman, the hollow thus formed is 
 not so deep. 
 
 PLATE X. 
 
 MUSCLES OF THE TRUNK. 
 (feont view.) 
 
 a. Deltoid: 
 
 b. The sterno-cleido mastoideus. 
 
 c. The pectorahs. 
 
 d. The rectus. 
 
 e. The trapezius. 
 
 f. The serratus magnus. 
 
 g. The obliquus descendens. 
 
 PLATE XI. 
 
 (back yiew.) 
 
 a. Deltoid. 
 
 b. The sterno-cleido mastoideus. 
 
 e. The trapezius. 
 
 f. The serratus magnus. 
 
42 
 
 THE TRUNK. 
 
 g. The obliquus descendens. 
 
 h. The latissimus dorsi. 
 
 i. The teres major, 
 k. Grluteus medius. 
 
 1. Longissimus dorsi (an underlay er). 
 
 m. Infra spinatus. 
 
 THE T R U N X. 
 
 The two sides exactly answering to one another ex- 
 ternally, it will be sufficient to describe the set of 
 muscles composing one half of the trunk. 
 
 The mesial line, as it is called, divides the two halves, 
 beginning at the hollow between the collar bones, pro- 
 ceeding all down the surface of the sternum^ and 
 through the whole of the trunk. 
 
 The pectoral muscles having been already described 
 it is merely necessary to say, that between them (and 
 caused by their several prominences on either hand) is 
 the sternal groove^ being the upper portion of the mesial 
 line. At the bottom of the sternum is a lozenge-shaped 
 hollow, caused by the projecting cartilage of the seventh 
 rib on each side. 
 
 In the antique statues generally, we find a broadly 
 arched prominence, answering in some measure to the 
 form of the ribs, and surrounding the pit of the stomach. 
 It appears, indeed, to have been a convention of the 
 
THE TRUNK. 
 
 43 
 
 PLATE X. 
 
44 
 
 THE TRUNK, 
 
 ancient sculptors to exaggerate and widen this arched 
 form. In some men, however, it is to be found much 
 more nearly approaching the antique form than in the 
 generality of persons, and it would be a bold measure, 
 requiring the nicest discrimination, to depart from an 
 acknowledged standard, such as the Greek antique. 
 
 Immediately on each side of the sternal groove just 
 named, are projections of the ribs, or their ster no-costal 
 articulations, the upper two being generally the most 
 prominent. In thin persons, these are, of course, more 
 salient ; and, as in such case the body of the pectoralis (c) 
 is flatter and thinner, so in proportion are these promi- 
 nences more evident and more extensive. 
 
 The nipple in a man is generally on a line with the 
 fifth rib, or somewhat above it ; but this is dependent 
 on the action of the muscle. 
 
 From the bottom of the sternum the mesial line con- 
 tinues dawn, as before stated, throughout the whole 
 length of the trunk, separating the two bodies of muscle 
 which form the abdomen longitudinally. 
 
 The 7'ectus (c?), or straight muscle alluded to, is at- 
 tached above to the sternum, and to the cartilages of 
 the fifth, sixth, and seventh ribs ; and, running di- 
 rectly down, is inserted into the os pubis at the low^er 
 extremity of the body. 
 
 The outline of this muscle, as seen in profile, varies 
 so much in difi*erent individuals as well as in different 
 
THE TRUNK. 
 
 45 
 
 actions, that it will be best studied from the antique 
 statues, where it is given in its greatest purity of form. 
 In its action of pulling the upper part of the body 
 downwards and forwards, it produces many folds in the 
 outer skin which covers it, and this is further carried 
 out by certain transverse bands, uniting at their outer 
 ends with the tendinous expansion of its neighbour 
 muscle These bands are tendinous on the surface, but 
 not usually through the whole thickness of the muscle. 
 They are generally three in number, and serve to divide 
 the fore part of the body very symmetrically. As they 
 are not quite alike, either in number or position, in all 
 persons, the antique statues may, as before mentioned, 
 be adduced as examples of the best form of this muscle. 
 
 The ohliquus descendens (g) the great obliquely-des- 
 cending muscle, adjoins the last named, and gives, at 
 and above the crest of the z7tMm, that beautiful curved 
 prominence, so elegantly defined in the antique statues. 
 Its chief attachments are to the upper ridge of the 
 ilium, and to seven, or sometimes eight of the lower 
 ribs, in' regular obliquely-disposed serrations. 
 
 The fibres constituting this muscle take such various 
 directions, that it would occupy too much space to 
 particularise them here. 
 
 The depression or indent at the junction of this 
 muscle with theilium is caused by the sudden fleshiness 
 of its fibres, as compared with the aponeurotic attach- 
 ment to the bone itself; thus the projection of bone iu 
 
46 THE TRUNK. 
 
 the skeleton becomes a groove or furrow in the living 
 man, and the fuller and stronger the muscle, the deeper 
 the groove. This rule— which applies generally to the 
 muscles at their attachments to strong projections of 
 bone in fleshy persons— will nevertheless be found to 
 have its exceptions in emaciated forms. Thus too, it may 
 be observed, that although, in a general way, the larger 
 projections of the skeleton are those observable in the 
 living being, it must not be supposed that outlines drawn 
 immediately from point to point, or from one projection 
 of bone to another, will give the drawing of the human 
 form ; for in addition to the layers of muscles enwrapping 
 the bones— in some places thinner, in others thicker— 
 we have to take into account the binding and uniting 
 aponeuroses^ and above them the thick adipose membrane, 
 or skin — generally so called— which constitutes the 
 outer covering. 
 
 The serratus magnus (/), is the saw-like muscle seen 
 on the side of the figure. It has tendinous attachments 
 to the outer sides of the ten uppermost ribs ; its first 
 digitation to the first two ; the other eight to the eight 
 remaining ribs in succession, forming a course of zigzag 
 serrations on a line obliquely backwards and down- 
 wards, interlacing with those of the great obliquus 
 muscle (g). From thence running obliquely upward 
 and backward, it is attached to the scapula, which it 
 draws forward and downward. 
 When, however, the scapula is held firmly in posi- 
 
THE TRUNK. 
 
 47 
 
 tion, its power is that of raising or lifting the nbs out- 
 ward, as in actions where violent respirations are re- 
 quired When the arm is raised, this muscle is more 
 apparent, as exemplified in the Fighting Gladiator, and 
 also in the group known as Haemon and Antigone, as 
 well as in many others. 
 
 PLATE XI. 
 
 The Utisshnus dorsi (h), large broad muscle of the 
 back, wraps broadly over the portion below the blade 
 bones. Its attachments are to the vertebrte from about 
 the sixth of the back downwards, as well as to the 
 lowermost four ribs, from whence it runs upwards in 
 many fibres to the rough protuberance under the head 
 of the humerus, where it is inserted by a long, thin, 
 • but powerful tendon. 
 
 This muscle draws the scapula and upper arm down- 
 ward and backward, retaining the lower angle of the 
 .capwk in its place, sufi^ering it, however, to play upon 
 the ribs, and showing its form in its various changes 
 of position. 
 
 Like the last muscle, and in like manner it acts upon 
 those ribs to which it is attached, when the raised arm 
 is held firmly in position. 
 
 When the body is bent forwards, and this muscle 
 consequently stretched, the ribs make their appearance 
 in projections seen beneath it. 
 
THE TRUNK. 
 
 Beneath, and enwrapped by this broad muscle, we see 
 the forms of the more fleshy and rounded long muscle 
 of the back, longissimus dorsi (/), attached to the ilium 
 and OS sacrum at its lower extremity, and to the angles 
 of the ribs and the processes of all the vertebrfe. 
 
 In bending the body backward, this muscle produces 
 many transverse folds ; but in various positions of ex-^ 
 tension there are certain peculiar characteristics of pro- 
 tuberance or rotundity, or of edginess, according to 
 circumstances of action, that can only be understood by 
 reference to nature or fine antique statues. 
 
 It may be remarked here that the greatest flexibility 
 of the trunk is at the loins ; and the transverse folding 
 of the skin on the one hand, and its tension on the 
 other, according to the flexion or extension of the body, 
 is therefore most observable in this region. 
 
 The comparative width of the shoulders and the hips 
 in the male and female form, has already been pointed 
 out in treating of the skeleton. It is not necessary, 
 therefore, to enlarge on the difference of proportion 
 thus produced ; but it may be as well to remark that 
 there is a slight diS'erence in the form of the ribs, 
 which in woman are less curved. 
 
 The difference of form, too, in the pectoral region 
 of the female is too obvious to need more than a mention 
 here. 
 
 K 
 
50 THE SUPERIOR EXTREMITY, OR ARM. 
 
 PLATE XII. 
 
 THE SUPEEIOR EXTREMITY, OE AEM. 
 
 The arm, together with the hand, is a most beautiful 
 piece of complicated mechanism, giving to man powers 
 no other animal is gifted with. There is no part of 
 the exterior surface of the whole body that the hand 
 cannot reach, nor are there any bounds to the variety 
 and usefulness of its motions in combination with those 
 of other parts of the body. 
 
 The osseous structure of the arm, independently of 
 the scapula and clavicle, consists, like the lower limb, 
 of three bones— one belonging to the upper portion, 
 two to the lower. Those of the wrist and hand are 
 more numerous, as will readily be seen. 
 
 It may, however, be noticed, that it is no uncommon 
 error of the tyro, in drawing the arm, to omit altogether 
 the consideration of the cluster of the carpal bones, as 
 if the hand were immediately attached to the fore arm, 
 without the intervention of those forming the wrist. 
 
 Great as is the similarity in general arrangement of 
 the upper and low^er extremities, there is nevertheless a 
 marked difference in one peculiar action of the fore arm, 
 in which the one bone, the radius^ is made to roll over 
 and to cross the other. Its joint, therefore, with the 
 bone of the upper arm is constructed suitably to this 
 motion, and differently to that of the knee. 
 
a OF lu, L/a 
 
52 
 
 THE SUPERIOR EXTREMITY, OR ARM. 
 
 PLATE XIII. 
 
 AA^hen the bones are thus 
 crossed, the thumb is turned 
 inward and the palm of the 
 hand backward. This act is 
 called pronation: the hand 
 being thus prone or ready for 
 action. 
 
 When the bones are side by 
 side, the thumb is turned out- 
 ward, and the palm of the hand 
 is in front. This is called 
 supination^ in antagonism to 
 the other. The muscles pro- 
 ducing these two motions are 
 therefore called, pj^onators and 
 . supinators. So also it may as 
 well be borne in mind, that 
 muscles, which bring about the 
 flexion or bending of the arm, 
 or any other part of a limb, are 
 designated flexors, while those 
 which cause the extension of 
 a limb are called extensors; the 
 first being for the most part in 
 front, the others at the back. 
 
THE SUPERIOR EXTREMITY, OR ARM. 
 
 53 
 
 It is necessary, however, to remark that in many cases, 
 the flexors and extensors act together. So, for instance, 
 when the flexor carpi radialis acts in conjunction with 
 the extensor radialis^ the wrist is moved laterally to- 
 w^ards the radius So, also, when the extensor carpi id- 
 naris and the flexor ulnaris act together, the wrist and 
 hand are moved sideways in the direction of the ulna. 
 
 It will be observed that the joint of the arm is not 
 a right angle with the direction of the shafts of the bones 
 and that in the position referred to, as supination^ an 
 
 angle like this will be produced by the varied 
 
 direction of the upper and lower portions of the arm. 
 In pronation^ however, the general direction of the 
 whole arm is straighter when stretched out ; as will be 
 readily observed in nature. 
 
 In the setting on of the hand, it may be remarked that 
 the greatest proportion is on the thumb side ; thus, if a 
 line were drawn continuous with the arm at the wrist, 
 it would take the direction of the outside of the hand 
 along the edge of the little finger; whereas on the 
 other side a similar line would run with the second 
 finger leaving the thumb and forefinger beyond, or on 
 the outside of the line. The hand as portrayed by the 
 ancient Egyptians in their painted sculptures, will il- 
 lustrate this in exaggeration. 
 
54 
 
 THE SUPERIOR EXTREMITY, OR ARM. 
 
 PLATE XIV. 
 
 The back of the human hand is arched transversely, 
 while the interior is proportionately concave. Of the 
 knuckles, or bony prominences of the metacarpal bones 
 at their junction with the fingers, that of the middle 
 finger is most prominent. In a fleshy female hand, or 
 that of a child, they become hollows or dimples instead 
 of prominences. To these are directed the fan-like 
 tendons of the extensor muscles seen— particularly in a 
 thin hand— through the integument. That of the 
 thumb is the most distinct; and in addition to it, is 
 also seen passing round over the radius, the tendon of 
 another extensor of the thumb, between which and the 
 former is thus formed a long triangular hollow. On 
 the other side, the muscles proper to the little finger 
 form a more fleshy mass. 
 
 When the fingers bend inwards, the tendency of each 
 is to incline towards the middle of the palm. The pecu- 
 liar direction of the joints of the thumb and of each finger, 
 as well as the angle, which the whole make in respect 
 to their junction with the metacarpal bones, must be 
 studied from the living hand to be properly understood. 
 
THE SUPERIOR EXTREMITY, OR ARM. 
 
 55 
 
 The bony prominences on each side of the wrist are 
 internally, the head of the cuhit or ulna; externally, 
 the loAver end of the radius, this latter being somewhat 
 low(*r in position than the other. 
 
 At the elbow joint, the inner condyle of the humenfs 
 forms the greatest projection, though even this in a 
 fleshy female arm frequently becomes a dimple, or 
 hollow. 
 
 The projection of the olecranon or elbow itself must 
 be considered, as it regards proportional length in tlie 
 lower arm, which becomes greater when the arm is 
 bent, on account of its continuing as a projection be- 
 yond the lower end of the upper arm bone. AVhen 
 the arm is straightened, this point or projection, iits 
 into a groove between the condyles of the hiimern.% 
 hollowed out to receive it. 
 
 PLATE XV. 
 
 It were a vain endeavour to describe by words tlic 
 
e56 
 
 THE ARM SEEN IN FRONT. 
 
 infinite A^ariety of action and consequent change of form 
 which occurs in the human arm. Suffice it, therefore, 
 to give in a tabular form the names of the principal 
 muscles, such names being sufficiently expressive of their 
 functions. Some few remarks are, however, appended, 
 The diagrams will point out their several attachments. 
 
 PLATE XII. 
 
 THE ARM SEEN IN FRONT. 
 (supine.) 
 
 1. DeUoides. 
 
 2. Biceps brachii. 
 
 3. Triceps brachii. 
 
 4 Pronator radii teres. 
 
 5. Supinator radii longus. 
 
 6. Palmaris longus, 
 
 7. Flexor carpi nlnaris. 
 
 8. Flexor carpi radialis. 
 
 9. Sliort muscles of the tluimb. 
 10. Palmaris brevis. 
 
 The deltoid has already been described at p. 53, as 
 the chief muscular portion of the shoulder. Were the 
 front of this muscle removed, the biceps would be seen 
 with its two heads —whence its name ; the shorter of 
 these heads, or tendons, Avould be observed attaching 
 itself to the coracoid process of the scapula ; the longer en- 
 tering the bicipital groove of the humerus, to be attached 
 
THE ARM SEEN FROM BEHIND. 
 
 57 
 
 to the upper margin of the 
 glenoid cavity of the sca- 
 pula. The combined mass 
 becoming very fleshy, and 
 then again tendinous, af- 
 fixes itself to the bicipital 
 tubercle of the radius, 
 and gives off a fascia 
 or sinewy membrane de-' 
 scending the fore arm to 
 the wrist. 
 
 When strong action is 
 manifest, this muscle con- 
 tracts very much in its 
 fleshy part, though a flat- 
 ness is still more or less 
 observable in front. 
 
 The triceps hracliii is 
 seen on either side of the 
 biceps continuing round 
 the back of the humerus. 
 Its three heads, to which 
 it owes its name, have in- 
 duced some to consider it 
 as three distinct muscles, 
 and as such it is seen in 
 
THE ARM SEEN AT THE SIDE. 
 
 the back view of the arm. 
 AVhen acting together, they 
 extend the fore arm. 
 
 14 
 
 7. 
 12. 
 13. 
 
 14. 
 15. 
 16. 
 17. 
 
 plate xvi. 
 
 the arm seel^ eeom behind. 
 
 (supine.) 
 
 . Deltoides. 
 
 Ancoiiseus externus \ , . ^ 
 
 Aiiconseiis lon2:us > , f 
 X 'PS brachii. 
 
 Anconseus mternus ^ 
 
 Sapinator radii longus. 
 
 Flexor carpi ulnaris. 
 
 Kadialis externas longus. 
 
 Eadialis externus brevis. 
 
 Extensor digitorum communis. 
 
 • Extensor muscles of thumb. 
 
 Extensor carpi ulnaris. 
 
 PLATE XVII. 
 
 A ligament — purposely 
 omitted in the illustrations — 
 which binds together the va- 
 rious tendons at the wrist is 
 called the ligamentum carpi 
 annulare. 
 
 THE AEM SEEN AT THE SIDE. 
 
 1. Deltoides. 
 
 2. Biceps bracliii. 
 
 3. Triceps brachii. 
 
 4. Brachialis internus. 
 
 5. Supinator radii longus. 
 
 9. Tendons of muscles of thumb. 
 
 12. Eadialis externus longus. 
 
 14. Extensor digitorum communis. 
 
THE VEINS OF THE ARM. 
 
 PLATE XVIII. 
 
 The positions of the princi- 
 pal veins are given at large. 
 They may be shown or not, as 
 occasion requires, but in all 
 cases are to be introduced with 
 judgment and sparingly. The 
 antique statues will serve us as 
 sure guides in this particular. 
 
 In the female, the bony tube- 
 rosities and muscular promi- 
 nences are less marked. The 
 muscles are less tendinous and 
 more gently rounded in their 
 fleshy masses, less divided by 
 furrowed and annular divisions 
 which become more evenly 
 filled with soft integuments. 
 
 The biceps in particular is 
 less abrupt, and the deltoidhas 
 a peculiarity of form, as best 
 described in the Plate at page 
 39. In other respects, the 
 general form and disposition 
 are the same, unless indeed by 
 the comparative narrowness of 
 
60 
 
 THE INFERIOR EXTREMITIES. 
 
 the shoulders, and greater expansion of the hips, we 
 find a slight difference in the hanging down of the arm 
 at the side. 
 
 PLATE XIX. 
 
 THE IJfEERIOR EXTREMITIES. 
 
 The muscles of the lower extremities are for the most 
 part united with each other in their several functions as 
 well as fabric, and the limits of a little work like the 
 present do not admit of so tedious and complicated a 
 description as they might necessarily require. With 
 the following remarks, therefore, the reader is referred 
 to the tables of the muscles of the leg and thigh given 
 in explanation of the plates, where their several forms 
 and positions are made sufficiently evident. It has 
 been thought necessary, however, to pay a little further 
 attention to the knee joint, as a portion of the human 
 form not less beautiful than important, and two views 
 of tlie muscles as they appear w4ien the knee is bent 
 are given at page 67. 
 
 The numbers attached to the following descriptions, 
 correspond with those given in the tables and the 
 diagrams. 
 
 The iliams interims (18), arising from the inner edge 
 of the ilium, unites with another muscle, and inserts 
 itself, in common with it, into the lesser trochanter. 
 Its use is to bring the thigh forward. 
 
THE INFERIOR EXTREMITIES. 
 
 61 
 
 The triceps (19), thoiigli so named, is said to consist 
 of four distinct muscles : they, however, all unite to move 
 the thigh inwards, with little differences of inclination. 
 
 The pectinalis (20) pulls the thigh upwards, as does 
 the gracilis (22) inwards. 
 
 The sartorius (23) is said to have its name from the 
 fact of its bringing the legs obliquely across in the 
 way tailors are used to sit at work. It arises from the 
 anterior part of the ilium — tendinous at first, but soon 
 becoming fleshy — descends over the rectus^ and then 
 inclining more inward, passes obliquely over the triceps 
 and vastus internus^ between the tendon of which and 
 the gracilis it descends — again tendinous— to its inser- 
 tion into the fore part of the tibia. 
 
 The rectus femoris (24) is an important muscle, con- 
 stituting the front of the thigh. It arises partly fleshy, 
 partly tendinous, from the lower part of the ilium, and 
 running straight downwards— as its name implies — fixes 
 itself, by a strong tendon, into the upper part of the 
 patella. The patella, however, being moveable, there 
 is necessarily, a very strong, thick ligament attached to 
 its lower point, which ligament is firmly rooted into a 
 tubercle on the fore and upper part of the tihia, or shin 
 bone, and thus the extension of the leg is effected, as 
 if the muscle itself were attached at this spot. 
 
 The tubercle above mentioned— vulgarly called the 
 hump of the tibia — is prominent, and should be well 
 marked in the drawing of the leg. 
 
62 
 
 THE INFERIOR EXTREMITIES. 
 
 The tensor vagincp, femoris^ or memhranosus (25) is 
 chiefly observable near its origin at the fore part of the 
 spine of the ilium, where it is both fleshy and tendinous. 
 It descends obliquely outwards, but soon spreading itself, 
 and becoming wholly tendinous, it enwraps the last- 
 named muscle, as w^ell as the vastus externus^ ^ndivastus 
 internus ; for it will be observed that it has extended itself 
 to the inside of the knee, which it envelopes ; and though 
 properly it has its insertion in the head of the tibia, be- 
 tween the tubercle lately named and the head of the 
 fibula, it yet sends down an expansion to envelope the 
 tibialis anticus, which^ however, it does not in any way 
 hide. Its insertion between the bump of the tibia and 
 the fibula is scarcely visible ; and, indeed, one of the 
 beauties, artistically speaking, of this muscle, is the 
 enwrapping and partially connecting into one beautiful 
 mass, the many abrupt projections of bone and sinew 
 necessary to the knee-joint. 
 
 The vastus internus (26) has its origin betw^een the 
 lesser trochanter and the front of ih.^ femur, and descend- 
 ing, with oblique fibres, in a large fleshy mass, is in- 
 serted tendinous, into the inner side of the patella, 
 whence it throw^s off an aponeurosis to the muscles 
 below the head of the tibia. 
 
 There is a little fold shewn on the outer skin at this 
 point, which is beautifully expressed in the antique 
 statues; though in some, w^here the bent knee occurs, 
 it is somewhat exaggerated. 
 
THE INFERIOR EXTREMITIES. 
 
 63 
 
 The four last-named muscles, taken together, pro- 
 duce at the knee-joint so many exquisite varieties of 
 form, that it would be impertinent to attempt their des- 
 cription. So many wonderful antique examples, how- 
 ever—fortunately for the arts— exist, that such descrip- 
 tion, if possible, would be needless. The Fighting 
 Gladiator, the Laocoon, the Barberini Faun, the Illissus 
 of the Elgin collection, the Crouching Venus, and 
 many others might be quoted in reference. 
 
 Descending, now, to the lower leg, we have the tibialis 
 anticus (28), which, from its origin in the upper appen- 
 dage of the tibia, runs down the outside of that bone 
 somewhat obliquely, and passing under the common 
 angular ligament which binds together the several 
 muscles at the ancle, is inserted into the large wedge- 
 shaped tarsal bone, adjoining the meta-tarsal of the 
 great toe, which it acts upon by an additional small 
 tendon. It bends the foot upwards. 
 
 The mass of muscle known as the extensor magnus, is 
 made up of four lobes, or heads, under the names of ^as- 
 trocnemius externiis or gemellus, gastrocnemius internus or 
 solceus. The gastrocnemius, taken as one portion, but 
 having two distinct originations, takes its rise from 
 the two protuberances of femur, at the back of the 
 knee, and descending, dilates into two fleshy masses, 
 vulgarly called the calf of the leg ; the innermost lobe 
 being the longer and thicker. Joined together and 
 
64 
 
 THE INFERIOR EXTREMITIES. 
 
 united with the solceus (30), they make a broad and 
 strong tendon called the tendo achillis. 
 
 The portion called solceus (30), arising from the back 
 parts of the tibia and Jibula, lies under and between the 
 two lobes of the gastrocnemius, which two lobes appear 
 to slide up over the solwus, and assume different forms 
 of flatness and edginess, according to the powers be- 
 longing to the different portions of their fibre. Obser- 
 vation of nature is here the only guide. 
 
 Where the strong tendon, common to these muscles, 
 attaches itself to the os calcis, or heel bone, there is a 
 marked protuberance which must not be omitted in 
 drawing this part of the figure. 
 
 It will be at once seen, that the enormous power of 
 these combined masses of muscle and tendon is called 
 into requisition by the actions of running, leaping, &c. 
 
 It may be well to observe, that, in the fine antique 
 statues, the calf of the leg is never large; it is a 
 vulgarism of modern sculpture, and is surely indicative 
 of decline in art. 
 
 The peroneus (31) is a long fibrous muscle, running 
 down the outer side of the leg, attaching itself in its 
 w^ay, to the upper and external part of the fibula, and 
 passing tendinous, through the channel at the outer 
 ancle, it inserts itself into the upper part of the 
 meta-tarsal bone belonging to the great toe. Its chief 
 use is to move the foot outwards. 
 
THE INFERIOR EXTREMITIES. 
 
 65 
 
 Extensor longus digitorum pedis (32) arises tendinous 
 and fleshy from the upper and outer part of the head 
 of the tibia and from the head of the fibula. It splits 
 into round tendons and passing under the annular liga- 
 ment (34) is inserted by a flat tendon v^io the root of 
 the first joint of each of the four small toes, and is ex- 
 panded over the upper side of the toes, as far as the 
 root of the last joint. It extends all the joints of the 
 four small toes. 
 
 Abductor poinds pedis [?>?>) arises fleshy from the in- 
 side of the root of the protuberance of the os calcis, 
 where it forms the heel, and is inserted tendinous into 
 the root of the first joint of the great toe. To pull 
 the great toe from the rest. 
 
 PLATES XX & XXI. 
 
 The marked difference which exists in the knee of the 
 woman as compared with that of the man, is chiefly 
 dependent on the skeleton form. In the female, as 
 the expansion of the hip bones is greater, so the in- 
 clination of the femur bones towards each other at their 
 lower extremities (in order to produce a just and beau- 
 tiful equilibrium), produces a necessary difference of 
 angle in the setting on of the bones of the lower leg, and 
 a consequent greater protuberance inwards at the knee. 
 
 F 
 
THE INFERIOR EXTREMITIES. 
 
 .PLATE XIX. 
 
THE INFERIOR EXTREMITIES. 
 
 In addition to this, the female knee is more abundantly 
 clothed with adipose membrane^ and is thus propor- 
 tionably larger than in the man. 
 
 In hardly any action of the leg or arm does it occur 
 that the greatest protuberance of muscle on one side, is 
 answered by a corresponding opposite protuberance on 
 the other. The architect, in his works, is regular as 
 to contour ; the one side always answering the other for 
 uniformity's sake. The Great Architect of man has 
 constructed with more picturesqueness and certainly 
 not less beauty. 
 
 . This rule will be found to apply not only to the leg 
 and arm, but pretty generally to the figure, taken either 
 as a whole or in its several parts, if we except that bi- 
 lateral symmetry which governs the whole figure. 
 
 PLATE XX. 
 
 F 2 
 
68 MUSCLES OF THE INFERIOR EXTREMITIES. 
 
 PLATE XXI. 
 
 (See Plates 19 and 32.) 
 
 When tlie knee is beiit, the patella or knee-cap re- 
 cedes partially into the space formed by the separation 
 of \\\'^. femur and tihia bones at the joint. 
 
 PLATE XIX. 
 
 MUSCLES OF THE INFERIOR EXTREMITIES. 
 
 ■ SEEN ly EEOXT.) 
 
 18. Iliaciis interuus. 
 
 19. Triceps, or adductor longus. 
 
 20. Pectiiialis. 
 
 22. aracilis. 
 
 23. Sartoriiis. 
 
 24. Rectus foDioris, 
 
MUSCLES OF THE INFERIOR EXTREMITIES. 
 
 PLATE XXII. 
 
MUSCLES OF THE INFERIOR EXTREMITIES. 
 
 25. Tensor vaginse fern oris. 
 
 26. Vastus internus. 
 
 27. Yastus externus. 
 
 28. Tibialis anticus. 
 
 29. Grastrocnemius. 
 
 32. Extensor longus digitorum pedis. 
 
 33. Abductor pollicis pedis. 
 
 PLATE XXII. 
 
 MUSCLES OF THE INFERIOR EXTREMITIES. 
 (seen at the side.) 
 
 32. 
 
 Glutseus maximus. 
 
 35. 
 
 Glutaeus medius. 
 
 21. 
 
 Biceps femoris. 
 
 27. 
 
 Vastus externus. 
 
 25. 
 
 Tensor vaginae femoris. 
 
 29. 
 
 Gastrocnemius. 
 
 28. 
 
 Tibialis anticus. 
 
 24. 
 
 Rectus femoris. 
 
 
 PLATE XXIIL 
 
 MUSCLES OF THE INFERIOR EXTREMITIES. 
 
 (seen at the back.) 
 
 32. Gluta3us maximus. 
 2L Biceps femoris. 
 
MUSCLES OF THE INFERIOR EXTREMITIES. 
 
 19. Triceps, or adductor femoris. 
 
 33. Semimembranosus. 
 
 34. Semitendinosus. 
 
 22. Gracilis — part of. 
 
 23. Sartorius — edge of. 
 
 29. Grastrocnemius. 
 
 30. Soleus. 
 
 31. Peroneus. 
 
 In drawing the foot, it may be 
 remarked that the same rule ob- 
 tains with respect to its setting on 
 to the leg as the hand to the fore 
 arm; that is to say, it is not placed 
 immediately or directly under, but 
 somewhat obliquely with the tibia 
 bone ; so that the inner ancle is 
 made to project more than the 
 outer. Nor must it be forgotten 
 that the tarsal cluster of bones 
 have here their place. In fact, it 
 should be observed that through- 
 out the whole skeleton, the bones 
 are so arranged with respect to 
 each other that there shall not 
 exist a right angle at their joints; 
 and thus is avoided the chance 
 of violent concussion in sudden 
 
72 MUSCLES OF THE INFERIOR EXTREMITIES. 
 
 movements, as of jumping, striking, or the like. A 
 sinuous or slightly undulating line is thus maintained 
 throughout the structure, and it is this line which gives 
 the grace and elasticity of appearance so observably 
 beautiful in the human figure. 
 
 END. 
 
 LONDON : 
 
 Printed by A. Schulze, 13, Poland Street. 
 
WINSOR & NEWTON'S 
 
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 m POUCELATN PANS. 
 
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 Brown, Neutral Tint, and Sepia. 
 
 (Empty, 155.) 24 Cake Box. Fitted, £2 12^. Qd. 
 
 Gamboge, Aureolin, Lemon Yellow (i), Eaw Sienna (J), Yellow 
 Ochre, Pale Cadmium Yellow (J), Cadmium Orange (J), Cadmium 
 Yellow, Burnt Sienna, Eose Madder, Crimson Lake, Light Eed, 
 Yermilion (J), Indian Eed (J), Brown Madder, Purple Lake, Cobalt, 
 French Blue, Prussian Blue, Indigo, Yiridian (J), Emerald Green (^), 
 Terre Yerte (^), Oxide of Chromium (i), Olive Green, Brown Pink, 
 Yandyke Brown, Neutral Tint, and Sepia. 
 
 (Empty, 185.) 30 Cake Box. Fitted, £4 4?. 
 
 Gamboge, Pale Cadmium Yellow (J), Lemon Yellow (J), Aureolin, Eaw 
 Sienna, Yellow Ochre, Cadmium Yellow, Cadmium Orange, Mars 
 Orange, Burnt Sienna, Eose Madder, Carmine, Crimson Lake, 
 Light Eed, Orange YermiHon, Yermilion (J), Indian Eed (^), 
 Brown Madder, Purple Madder, Burnt Carmine, Yiolet Carmine, 
 Smalt (J), Intense Blue (J), Emerald Green (i), Yiridian (J), 
 Ultramarine Ash, Cobalt, French Blue, Prussian Blue, Oxide of 
 Chromium (J), Terre Yerte (J), Brown Pink, Yandyke Brown, 
 Neutral Tint, and Sepia. 
 
18 
 
 WINSOR Sc NEWTON, LONDON: 
 
 WINSOR AND NEWTON'S 
 JAPANNED TIN BOXES OF 
 
 MOIST WATER COLOURS. 
 
 JAPANNED TIN BOX OF MOIST WATER COLOURS, 
 
 The Lists of Colours are the same as placed in the Patent-riexible- 
 Division Boxes of Moist Water Colours, (Pages 16, and 17). 
 
 WHOLE CAKE- 
 
 Empty. 
 
 2 Cake 
 
 3 „ 
 
 4 „ 
 6 „ 
 8 „ 
 
 10 „ 
 
 12 „ 
 
 Empty. 
 
 
 s. d 
 
 3 3 
 
 3 Half Cake 
 
 4 0 
 
 6 
 
 4 6 
 
 8 
 
 5 0 
 
 10 
 
 5 6 
 
 12 „ 
 
 Eittedwitk 
 
 
 
 Colours. 
 
 Empty. 
 
 
 £ s. d. 
 
 s. d. 
 
 
 0 5 6 
 
 6 9 
 
 14 Cake . « 
 
 0 6 6 
 
 7 6 
 
 16 „ . . 
 
 0 8 6 
 
 8 3 
 
 18 „ . . 
 
 0 10 6 
 
 9 0 
 
 20 „ . . 
 
 0 14 0 
 
 9 9 
 
 22 „ . . 
 
 0 18 0 
 
 10 6 
 
 24 „ . . 
 
 1 .1 0 
 
 13 6 
 
 30 „ . . 
 
 HALF 
 
 CAKE. 
 
 Pitted witk 
 
 
 
 Colours. 
 
 Empty. 
 
 
 £ s. d. 
 
 s. d. 
 
 14 Half Cake 
 
 0 5 0 
 
 6 0 
 
 0 7 6 
 
 6 6 
 
 16 
 
 0 9 0 
 
 7 0 
 
 18 „ 
 
 0 10 6 
 
 7 6 
 
 20 „ 
 
 0 12 6 
 
 8 6 
 
 24 „ 
 
 Eittedwith 
 Colours. 
 £ s. d. 
 15 0 
 1 11 6 
 
 1 15 0 
 
 2 2 0 
 2 5 0 
 2 12 6 
 4 4 0 
 
 Fitted with 
 Colours. 
 £ s. d. 
 0 15 0 
 
 0 18 0 
 110 
 15 0 
 
 1 11 6 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 19 
 
 WINSOR & NEWTON'S THUMB-HOLE BOXES. 
 
 Empty. 
 
 s. d. 
 
 9 0 
 10 6 
 12 0 
 
 THUMB-HOLE BOX. 
 
 11 Cake Moist Water Colour Thumb-hole Box 
 17 „ ditto .... 
 
 21 ditto .... 
 
 Fitted itli 
 Colours. 
 £ s. d. 
 15 0 
 
 1 15 0 
 
 2 5 0 
 
 WINSOR & NEWTON'S PALETTE-BOXES. 
 
 Empty. 
 s. d. 
 5 0 
 
 5 6 
 
 6 0 
 6 6 
 
 PALETTE BOX. 
 
 6 Half Cake Moist Water Colour Palette Box 
 with Patent Flexible Divisions 
 
 8 Ditto ditto ditto . 
 
 10 Ditto ditto ditto . 
 
 12 Ditto ditto ditto . 
 
 £ s. d. 
 
 0 8 6 
 
 0 10 6 
 
 0 12 6 
 
 0 15 0 
 
20 WINSOR & NEWTON, LONDON: 
 
 THE OVAL-POCKET-BOX. 
 
 {Size of the box.) 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 21 
 
 WINSOE & NEWTON' kS 
 
 REGISTERED 
 
 JAPANNED TIN BOXES OP 
 
 MOIST WATER COLOURS. 
 
 THE OVAL-POCKET-BOX. 
 
 EEaiSTBEED KO. 257,752. 
 
 {As illustrated on o'p'posvte page.) 
 
 Yery convenient for the pocket, both in shape and size. Contains 
 twelve Colours, and has a division for brushes. 
 
 Fitted with twelve Colours, Price 15^. 
 
 THE LOCKET BOX. 
 
 BEGISTEEED NO. 257,753. 
 
 THE LOCKET EOX. 
 
 {Size of the box.) 
 
 A neat, light, bijou Box, that can be carried on a watch-guard or 
 chain, and containing six Colours. 
 Fitted loitk six Colours^ Frice Qs. 6d. 
 
22 
 
 WINSOR Sc NEWTON, LONDON: 
 
 WINSOR & NEWTON'S 
 i^EG-iSTEi^EnD cr^i^j^isrisrED misr bonces oif 
 MOIST WATEE COLOUES. 
 
 ' CONTINUED. 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 23 
 
 WINSOR & NEWTON'S MOIST WATER COLOURS 
 
 I3Sr COXjXjJ^iFSIBXiEl TUBES. 
 
 Moist Tube Colours, though somewhat wasteful and troublesome in use, are of 
 assistance as furnishing quickly a quantity of colour, and affording facilities for power 
 of touch and vigour of effect. They should, however, be used within reasonable time, 
 as they do not keep so long or so well as the ordinary solid or "Pan " form of Moist 
 Colour. 
 
 Antwerp Blue 
 Bistre 
 Blue Black 
 Brown Ochre 
 Brown Pink 
 Burnt Sienna 
 Burnt Umber 
 Chinese White 
 Chrome Yellow 
 
 1*. e 
 
 Deep Chrome 
 Emerald Green 
 G-amboge 
 Indian Red 
 Indigo 
 Italian Pink 
 Ivory Black 
 Lamp Black 
 Light Red 
 
 ach. 
 
 Naples Yellow 
 Neutral Tint 
 New Blue 
 Olive Green 
 Orange Chrome 
 Payne's Grey 
 Prussian Blue 
 Prussian Green 
 Raw Sienna 
 
 Raw Umber 
 Roman Ochre 
 Terre Verte 
 Vandyke Brown 
 Venetian Red 
 Vermilion 
 Yellow Lake 
 Yellow Ochre 
 
 Brown Madder 
 Crimson Lake 
 Indian Yellow 
 
 Is. 6d. 
 
 Leitch's Blue 
 
 (or Cyanine Blue) 
 Mars Yellow 
 Neutral Orange 
 
 each. 
 
 Purple Lake 
 Roman Sepia 
 Scarlet Lake 
 
 Scarlet Vermilion 
 Sepia 
 
 Warm Sepia 
 
 2^. each. 
 
 Cobalt Blue | Orange Vermilion | Violet Carmine 
 
 Aureolin 
 Burnt Carmine 
 Cadmium Yellow, Pale 
 Cadmium Yellow 
 
 3s. e 
 
 Cadmium Orange 
 Carmine 
 French Blue (or 
 French Ultramarine) 
 
 ich. 
 
 Gallstone 
 
 Green Oxide Chrom. 
 Indian Purple 
 Pink Madder 
 
 Rose Madder 
 
 (or Madder Lake) 
 Viridian 
 
 5s. each. 
 
 Mars Orange | Purple Madder | Ultramarine Ash j Smalt 
 
 JAPANNED TIN BOXES OF MOIST TUBE WATER COLOURS, 
 
 Containing 12 Moist Tubes £1 Is. ; 15 ditto, £1 11*. 6d. ; 20 ditto, £2 2*. ; 
 24 ditto, £2 12*. Gd. ; 30 ditto, £3 13*. ed. 
 
24 WINSOR & NEWTON, LONDON: 
 
 WINSOR & NEWTON'S 
 GLASS-COVERED MOIST WATER COLOURS 
 
 Illummation uxtH Jlissal J^amtins, 
 
 Decorative and Ornamental Work, &c. 
 
 {See illustration on opposite pa^e.) 
 
 The complete separation effected by tlie Colours being contained 
 in separate Grailipots, tlie protection afforded hj the glass lids, and the 
 convenience of seeing tints through them, cause this form of colour 
 to be most useful in all cases where it is of importance to avoid dust, 
 dirt, and accidental admixture of tints. Winsor and Newton's 
 Glass- Covered Moist Colours, being preserved clean and unsullied 
 while in use, have been adopted generally, for Illumination, and all 
 kindred arts. 
 
 Colours and Prices same as those of Moist Water Colours in Fans. 
 Pages 12 and 13. 
 
 WINSOR & NEWTON'S 
 FITTED BOXES 
 
 OF GLASS'COVERED COLOURS AND MATERIALS 
 
 FOR 
 
 Elumtnation anU jltssal Pamtmg, 
 
 DECOEATIYE AND OENAMENTAL WOEK, &C. 
 
 Half Guinea Box. — Containing seven Half Colours in Pans, and 
 fittings. 
 
 Guinea Box. — Containing eight Grlass- covered Colours, and Materials. 
 Guinea and a Half Box— Containing twelve ditto ditto. 
 Two Guinea Box. — Containing sixteen ditto ditto. 
 
 Three Guinea Box. — Containing twenty-one ditto ditto. 
 Five Guinea Box. — Containing twenty-four ditto and complete 
 Materials. 
 
AND LOCAL ARTISTS' COLOURMEN, Sec. 25 
 
 GLASS-CO VEILED MOIST WATER COLOUR. 
 
 (See opposite page.) 
 
 WINSOR & NEWTON'S 
 JAPANNED TIN BOX OF COLOURS AND MATERIALS FOR 
 PAINTING ON GLASS. 
 
 Price £2 2s. 
 
 WINSOR & NEWTON'S FRENCH POLISHED MAHOGANY 
 
 CADDY LID BOX OF COLOURS AND MATERIALS FOR 
 
 Price £3 3;?. 
 
 INDIAN INK. 
 
 " SUPER SUPER " INDIAN INK. — {SlZe of Stick.) 
 
 Per stick. Per stick. 
 
 s. d. .V. d. 
 
 Good, small size 80 to the lb. 0 6 Best, larger, 40 to the lb. 1 6 
 Best, small size, „ „ 10 Best, larger, 32 „ 2 6 
 Very Choice "Super, Super" per stick 7 6 
 
26 WINSOR & NEWTON, LONDON.- 
 
 WINSOR & NEWTON'S 
 
 PERMANENT CHINESE WHITE. 
 
 WiKSOR AND Newton's Oxide of Zinc, sold under the name of 
 
 C H I 3Sr DE S E -W H I T E . 
 
 A peculiar ^preparation of White Oxide of Zinc, the only eligille 
 White Pigment for Water Colour Painters, 
 
 PRICE 1*. PER BOTTLE. 
 
 It is now upwards of thirty-seven years since WiNSOR and Newton 
 turned their attention to remedying a want that was much felt bj the 
 Water Colour Painters of that day, viz. : of a White that should combine 
 perfect permanency with good body in working. The invention and 
 introduction of the pigment named by them " Chinese White " was the 
 result, and its superior body and freedom of working immediately 
 attracted the notice of the leading Water Colour Painters. 
 
 The late Mr. J. D. Harding being particularly desirous of ascertaining 
 its permanency, and by submitting it to the examination of one of the 
 greatest Chemists in Europe (the late M. Faraday), having satisfied 
 himself that it might be employed with perfect safety, strongly re- 
 commended it in preference to all other white pigments. In his 
 Principles and Practice of Art, he wrote : — 
 
 "When this pigment, which is prepared by Winsor and Newton under the name of 
 * Chinese White ' was first put into my hands, some years ago, I applied to one of my 
 friends, whose name as a chemist and philosopher is amongst the most distinguished in 
 our country, to analyze it for me, and to tell me if I might rely on its durability ; the 
 reply was, that if it would in all other respects answer the purpose I required of it, I 
 had nothing to fear on account of its durability." 
 
 Ever since that time (1834) Winsor and Newton's Chinese White 
 has been in use by all the Eminent Water Colour Artists, and it is a 
 source of great satisfaction to Winsor and Newton that they are able 
 to say, that in no instance has any ivorJc of art, in which their White 
 has been used, suffered from its employment, while prior to its introduc- 
 tion the complaints of Whites changing were of every day occurrence. 
 
AND LOCAL ARTISTS' COLOURMEN, Sec. 27 
 
 WINSOR & NEWTON'S 
 WATER COLOUR LIQUIDS, MEDIUMS, &c. 
 
 BOTTLE OF LIQUID COLOUE. 
 
 (Size of the bottle J 
 
 Liquid Indelible Brown Ink, for Outlines or for 
 
 Sketching pei' ^^o^tle 
 
 Liquid Prout's Brown )> 
 
 Liquid Sepia a 
 
 Liquid Asphaltum. (In bottles similar to illus- 
 tration on opposite page) . . . . jj 
 
 Liquid Carmine sj 
 
 Liquid Indian Ink, for Architects, Surveyors, &c. „ 
 
 Colourless Liquid Ox G-all . . . . }} 
 
 Artist's prepared Gum Water ; pure, clear, and 
 
 strong small bottles . „ 
 
 Ditto ditto middle bottles ,, 
 
 Ditto ditto large bottles . 
 
 Water Colour Megilp j, 
 
 Illuminating Body, for Illumination, Missal 
 
 Painting, &c. „ 
 
 Raising Preparation, for Illumination, Missal 
 
 Painting, &c „ 
 
 Water Mat Gold Size .... per gallipot 
 
 Prepared Ox Gall „ | 0 6 
 
 1 6 
 1 6 
 1 6 
 
 1 6 
 
 1 6 
 
 1 0 
 
 1 0 
 
 0 6 
 
 0 9 
 
 1 0 
 1 6 
 
 1 6 
 
 1 6 
 
 1 6 
 
28 WINSOR Sc NEWTON, LONDON: 
 
 WINSOE & NEWTON'S 
 
 FINEST 
 
 BROWN OR RED SABLE BRUSHES 
 
 i3sr q,tjixjILiS 
 
 FOE 
 
 WATER COLOUR PAINTING. 
 
 Extra Small S^an. • 
 
 Large Swan. 
 
 WATER COLOUK, SABLES IN QUILLS. 
 
 iSizes of the Brushes.) 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 
 
 WINSOE & NEWTON'S 
 
 FINEST BEOWN OE EED SABLES IN QUILLS. 
 
 % 
 
 (See illustrations on opposite page.) 
 
 Crow 
 Dack . 
 Goose . 
 Extra Groose 
 
 each 0 
 
 » 0 
 
 » 1 
 
 „ 1 
 
 Extra Small Swan 
 Small „ 
 Middle „ 
 Large „ 
 
 s. d. 
 
 each 4 6 
 
 „ 6 6 
 
 „ 8 6 
 
 „ 10 6 
 
 FINE SIBERIAN HAIR beushes IN QUILLS. 
 
 Crow 
 Duck 
 Goose 
 
 each 0 2 
 „ 0 4 
 „ 0 6 
 
 Extra Small Swan 
 Small 5, 
 Middle „ 
 Large „ 
 
 each 
 
 CAMEL HAIR beushes IN QUILLS. 
 
 Crow 
 Duck 
 Goose 
 
 each 0 1 
 „ 0 1 
 „ 0 2 
 
 s. d. 
 
 Extra Small Swan . each 0 9 
 Small „ . „ 10 
 
 Middle „ . „ 16 
 
 Large „ . „ 2 0 
 
30 
 
 WINSOR k NEWTON, LONDON: 
 
 WINSOR & NEWTON'S 
 FINEST BEOWN OR RED WATER COLOUR 
 SABLES m ALBATA.— FLAT. 
 
 No, 1 
 „ 2 
 » 3 
 „ 4 
 
 each 
 
 1 0 
 
 1 3 
 
 1 6 
 
 2 0 
 
 No. 5 
 » 6 
 » 7 
 
 each 2 6 
 „ 3 0 
 „ 4 0 
 
 N.B. — These Brushes have JEhony Handles, and are marked with 
 three nerls on their Albata Ferrules. 
 
AND LOCAL ARTISTS' COLOURMEN, Sec. 31 
 
32 
 
 WINSOR Sc NEWTON, LONDON: 
 
 WmSOE & NEWTON'S 
 FINEST BEOWN OR EED WATEE COLOUE 
 SABLES IN ALBATA.— ROUND. 
 
DITTO-EXTRA LARGE SERIES. 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 
 
 BROAD RED SABLE beushes IN ALBATA. 
 
 BROAD EED SABLE IN ALBATA. (Size of the 1 inch BruskJ 
 2^, J, 1, IJ, 2, and 2^ inches wide. Price 5^. per inch. 
 
 SKY OE WASH BRUSHES. 
 
 WASH DYED SABLES IN ALBATA. (Sizes of the Brushes.J 
 
 s. d. 
 
 Siberians in Tin, Flat . each 1 6 
 
 Ditto in Quill, Round . . . . . .,,26 
 
 Wash Dved Sables in Tin, Flat or Round . . . „ 3 
 Ditto in Albata, Flat or Round . . . . „ 5 0 * 
 
 FLAT CAMEL HAIR BRUSHES IN TIN. 
 
 POLISHED CEDAE HANDLES. 
 
 From J inch to 4 inches wide. Price \0d. per inch. 
 
36 
 
 WINSOR & NEWTON, LONDON: 
 
 ARTISTS^ DRAWING PAPERS. 
 
 Messrs. Winsor & Newton pay particular attention to 
 this department of their business, and keep constantly on hand 
 a very large and varied stock of first class Drawing Papers, 
 comprising every description needed for the Fine Arts. 
 
 EXPLANATION OF SURFACES. 
 
 — "Not" — or ordinary surface; having a slight grain. 
 H.P. — " Hotpressed "—or perfectly smooth surface. 
 H. — " Eough " — or very coarse surface ; of large and open grain. 
 
 OEDINAEY DEAWIISrG PAPERS (WHATMAN'S). 
 
 Per Sheet. 
 
 Demy 
 
 Medium 
 
 Eoyal 
 
 Imperial 
 
 Double Elephant 
 
 Antiquarian 
 
 N. and HP. 
 
 about 20 inches by 15J 
 „ 22 „ 17i 
 
 s. 
 0 
 
 d. 
 2 
 
 N. and HP. 
 
 0 
 
 3 
 
 N. and HP. 
 
 » 24 „ 19J 
 
 0 
 
 4 
 
 N. HP. and R. 
 
 30f „ 22i 
 
 0 
 
 6 
 
 N. HP. and K 
 
 40 „ 27 
 
 0 
 
 9 
 
 N. . 
 
 „ 52J „ dOi 
 
 4 
 
 0 
 
 AETISTS' SEAMLESS DRAWING PAPERS 
 (WHATMAN'S). 
 
 suEPACES. WEIGHT Per Sheet. 
 
 s. d. 
 
 Thick Imperial HP.andR. 90 lbs. to the ream 0 9 
 
 Extra Thick Imperial IS". HP. and R. 140 „ 13 
 
 Ex. Thick Dble. Elephant N. . .235 „ 2 6 
 
 GRIFFIN ANTIQUARIAN. 
 
 A PTJBE, CHOICE, AND FIBST CLASS HAND MADE DRAWING- PAPER 
 MANTTEACTITRED BY WHATMAN FOR WINSOR & NEWTON. 
 
 Per sheet of about 53 inches by 31 ins., N. or R. . .75. 
 
 N.B. — The initials of the Firm (W. & N.) are in the Water mark : 
 and at the corner of every sheet is stamped their trade mark (Griffin). 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 37 
 
 OLD AND CHOICE DRAWING PAPERS. 
 
 Messrs. Winsoe & Newton liave succeeded in getting together 
 a choice stock of Whatman's Drawing Papers of mature age. 
 
 PEICES, DOUBLE THOSE ON OPPOSITE PAGE. 
 
 {The stock consists principally of extra tUcJc Imperial and 
 Double 'Elephant Fapers.) 
 
 Imitation Creswick's Drawing Papers. 
 
 Stout Imperial 1^. per sheet. Stout Double Elephant 2s. per sheet. 
 
 J. D. Harding's Drawing Papers. 
 
 Imperial Qd. per sheet. Extra Thick Imperial Is, per sheet. 
 
 Tinted Crayon Papers. (Machine made) . A great variety of Tints. 
 Royal Zd. per sheet. Imperial ^d. per sheet. Double Elephant 
 ^d. per sheet. {Fattern BooJcs on application^ 
 
 Handmade Tinted Papers.— Stout Imperial Id. per sheet. 
 
 Vellum Paper. (A highly finished and toned Paper, resembhng 
 Yellum.) Extra Thick Royal 1*. per sheet. 
 
 HollingWOrth or White Pencil Paper.— Demy Id. Medium 2d. 
 Royal ^d. Imperial 4i. Double Elephant Qd. per sheet. 
 
 Cartridge Papers.— Medium Id. Royal l^d. Thin Log 2d. Thick 
 Log 2ld. Thin Engineers' M. Thick Engineers' M. per sheet. 
 
 Cartoon, or Continuous Drawing Cartridge Paper, 4 ft. 6 in. wide. 
 Thick White Is. per yard. Thin White 6^. per yard. 
 
 Outsides, Drawing Papers, various. 
 
 141b. Parcels of variously assorted kinds and surfaces, each 12s. 
 {These Outsides have to he taken as assorted in the parcels, and 
 * cannot he specially selected^ 
 
 Tracing Papers. Tracing Cloth. Transfer Papers, 
 
38 
 
 WINSOR Sc NEWTON, LONDON: 
 
 TURNBULL'S LONDON DRAWING BOARDS, 
 
 Foolscap 
 Demy 
 Medium 
 Royal 
 
 15 inches by 12 
 18 „ 14 
 20i „ 15^ 
 22 „ 17i 
 
 
 2 sheet. 
 
 3 sheet. 
 
 4 sheet. 
 
 6 sheet. 
 
 
 s. d. 
 
 s. d. 
 
 s. d. 
 
 s. d. 
 
 each. 
 
 0 4 
 
 0 6 
 
 0 9 
 
 1 0 
 
 >> 
 
 0 6 
 
 0 9 
 
 1 0 
 
 1 6 
 
 
 0 9 
 
 1 2 
 
 1 6 
 
 2 3 
 
 » 
 
 1 0 
 
 1 6 
 
 2 0 
 
 3 0 
 
 TUENBULL'S MOUNTING BOARDS. 
 
 Demy 
 
 Half Imperial 
 Eoyal 
 Imperial . 
 
 18 inches by 14 
 20i „ 14 
 22 „ I7i 
 28 „ 20^ 
 
 
 3 sheet. 
 
 4 sheet. 
 
 6 sheet. 
 
 
 s. d. 
 
 
 s. d. 
 
 each 
 
 0 5 
 
 0 6 
 
 0 8 
 
 
 0 6 
 
 0 8 
 
 0 10 
 
 
 0 7 
 
 0 9 
 
 1 0 
 
 
 1 0 
 
 1 3 
 
 1 9 
 
 SUPEEFINE MOUNTING BOARDS. 
 
 Half Imperial 
 Royal . 
 Imperial 
 
 Double Elephant . 
 
 21 J inches by 14 J each 
 23 „ 18i „ 
 28J „ 21i „ 
 38J „ 26 
 
 3 sheet, 
 
 4 sheet. 
 
 6 sheet. 
 
 s. d. 
 
 5. 
 
 s. d. 
 
 0 3 
 
 0 4 
 
 0 6 
 
 0 4 
 
 0 6 
 
 0 8 
 
 0 6 
 
 0 8 
 
 1 0 
 
 
 2 0 
 
 3 0 
 
 SUPERIOR PORTFOLIOS. 
 
 CLOTH SIDES, EOAN BACKS AND CORNEES, AND SILK STEINGS. 
 
 All sizes ; from 4to. Imperial to Double Elephant. 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 
 
 EXTRA THICK SOLID BLOCKS. 
 
 WITH OR WITHOUT COVERS. 
 
 EXTKA THICK SOLID BLOCK WITH HALF BOUND COVER. 
 
 MADE OF WHATMAN'S EXTRA THICK papers. 
 
 Each containing 32 Surfaces. 
 
 16mo. Imperial . . 7 inches by 5 each 
 
 „ Double Elephant 9 „ 6 „ 
 
 8vo. Imperial . .10 7 „ 
 
 6mo. Imperial . .14 „ 6| „ 
 
 8vo. Double Elephant 12 „ 9 „ 
 
 4to. Imperial . .14 10 „ 
 
 3mo. Imperial . .18 10 „ 
 
 4to. Double Elephant 18 „ 12 „ 
 
 Half Imperial . . 20 „ 14 „ 
 
 Solid Blocks 
 
 with 
 Half Bound 
 
 Covers. 
 
 4 
 
 6 
 
 6 
 
 0 
 
 7 
 
 0 
 
 10 
 
 6 
 
 12 
 
 0 
 
 14 
 
 0 
 
 21 
 
 0 
 
 24 
 
 0 
 
 28 
 
 0 
 
 Solid Blocks 
 without 
 Covers. 
 
 s. d. 
 
 3 
 4 
 5 
 7 
 9 
 10 
 15 
 18 
 21 
 
40 
 
 WINSOR Sc NEWTON, LONDON : 
 
 GRIFFIN ANTIQUARIAN SOLID BLOCKS 
 
 WITH OR WITHOUT COVERS. 
 
 MADE OT WINSOR & NEWTON'S GRIFFIN ANTIQUARIANi 
 
 A pure, choice. 
 
 32mo. 
 24mo. 
 16mo. 
 
 8vo. 
 16mo. 
 
 8vo. 
 
 4to. 
 
 8vo. 
 
 4to. 
 
 Half 
 
 and first class Drawing 
 Manufacture. 
 
 Faper of Whatman's 
 
 Each containing 16 Surfaces. 
 
 Imperial . 
 Imperial . . 7 
 Imperial . . 7 
 Imperial . . 10 
 Antiquarian . 12 
 . Double Elephant 12 
 Imperial . . 14 
 Antiquarian . 15 
 Double Elephant 18 
 Imperial . . 20 
 
 5 inches bj 3 J each 
 
 H 
 
 5 
 7 
 
 9 
 10 
 12 
 12 
 14 
 
 Solid Blocks 
 
 "oitli 
 Half Bound 
 
 Covers. 
 
 s. d. 
 
 3 6 
 
 4 
 
 5 
 
 12 
 15 
 18 
 24 
 30 
 36 
 
 SoHd Blocks 
 witliout 
 Covers. 
 
 2 
 3 
 4 
 7 
 10 
 12 
 15 
 21 
 25 
 30 
 
 BLOCKED SKETCH BOOKS. 
 
 These Sketch Books are made like Solid Blocks, but with one edge 
 stitched and bound, and three- edges pasted only. When these latter 
 are released by being cut round in the usual manner, the Book 
 becomes a " Sketch Book" instead of a "Block." 
 
 MADE OF WHATMAN'S THICK papers. 
 
 16mo. Royal 
 
 „ Imperial 
 
 8vo. Royal 
 
 „ Imperial 
 
 5 J inches by 4 J 
 7 „ 5 
 
 10 7 
 
 
 s. 
 
 d. 
 
 each 
 
 3 
 
 0 
 
 5J 
 
 3 
 
 6 
 
 f 3} 
 
 4 
 
 6 
 
 33 
 
 5 
 
 6 
 
 BlocJced SJcetch BooJcs made of Machine Tinted Papers are 
 about one fourth less in jprice than the above. 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 41 
 
 HALF BOUND SKETCH BOOKS. 
 
 LEATHER BACKS AND ELASTIC BANDS. 
 
 WINSOB 8- NEWTON 
 HALT BOUND SKETCH BOOK. 
 
 32mo. 
 
 Imperial . 
 
 24mo. 
 
 Imperial . 
 
 16mo. 
 
 Imperial . 
 
 8vo. 
 
 Royal 
 
 12mo. 
 
 Imperial 
 
 8vo. 
 
 Imperial . 
 
 4to. 
 
 Koyal 
 
 4to. 
 
 Imperial . 
 
 5 inclies by 3 J each 
 
 7 
 
 J5 
 
 H 
 
 5) 
 
 7 
 
 5> 
 
 5 
 
 33 
 
 9 
 
 J5 
 
 5} 
 
 33 
 
 10 
 
 5J 
 
 4i 
 
 33 
 
 10 
 
 5) 
 
 7 
 
 33 
 
 14 
 
 J? 
 
 9 
 
 33 
 
 l^ 
 
 35 
 
 10 
 
 33 
 
 Made of 
 Wliatman's 
 Papers. 
 
 s. d. 
 
 Made of 
 MacMne 
 Tinted 
 Crayon 
 Papers. 
 d. 
 
 1 6 
 
 1 6 
 
 2 0 
 
 2 0 
 
 2 6 
 
 2 6 
 
 3 6 
 
 3 0 
 
 4 0 
 
 3 6 
 
 4 6 
 
 4 0 
 
 6 0 
 
 4 6 
 
 8 0 
 
 6 6 
 
 SKETCHING FOLIOS, 
 
 WITH JAPANNED TIN FRAMES. 
 
 Half Bound, with Leather Flap, and FocTcet for containing 
 Loose Sketches or Reserve of Fa]per. 
 
 s. d. I s. d. 
 
 Svo. Imperial. . eacli 5 0 4to. Imperial . each 7 6 
 
 4to. Royal . . „ 6 0 ' 4to. Double Elephant „ 12 0 
 
 6mo. Imperial. . „ 6 6 Half Imperial . „ 15 0 
 
42 
 
 WINSOR 8c NEWTON, LONDON.- 
 
 ajPl;^ It 
 
 IB? 
 
 WINSOE & NEWTON'S 
 
 EXTRA CUMBERLAND LEAD 
 
 ARTISTS' DRAWING PENCILS. 
 
 These Drawing Pencils are manufactured 
 of the finest Cumberland Lead, warranted 
 pei-fectly free from grit. As they contain 
 double the quantity of Lead usually placed 
 in Pencils of this description, they give forth 
 a good volume of colour, and when in use 
 they work smoothly and evenly, and may be 
 handled with perfect freedom. 
 
 Hal iHU 
 
 HHHH. Extremely hard (for Engineer' 
 ing or Drawing on Wood) 
 
 HHH. Very hard (for Architectural 
 Drawing) 
 
 HH. Hard (for fine Outline Draw- 
 ing) 
 
 H. Moderately hard (for light 
 
 sketching) 
 FF. Very firm (for light shading) 
 
 F. Firm (for fine Drawing) 
 
 HB. Hard and Black (for free 
 
 sketching) 
 B. Black (for ordinary shading) 
 
 BB, Soft Black (for deep shading) 
 
 EHB. Extra Hard and Black (for] 
 very bold sketching) I 
 
 BBB. Very Black (for extra deepf 
 shading) J 
 
 BBBB. Extra Soft and Black (for fuH,! 
 
 rich, deep shading) | 
 
 ORDINARY CUMBERLAND LEAD 
 
 DRAWIi^a PENCILS. 
 
 Each 
 
 r 
 
 4 H to BB as above 
 EHB and BBB . 
 BBBB. 
 
 6d. 
 
 9d, 
 
 Is. 
 
 each 4}d, 
 „ 8d, 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 43 
 
 WINSOE & NEWTON'S 
 
 Ml 
 
 llSifl 
 
 IMPROVED POLISHED 
 
 DRAWING PENCILS. 
 
 These improved Drawing Pencils are 
 strongly recommended for their richness of 
 colour, variety of tint, evenness of texture, 
 and strength of Lead. They combine freedom 
 of handling with firmness of materiel (they 
 can be cut to the finest point without fear of 
 its being broken.) They are now in general 
 use with Artists and Professors of eminence, 
 on whose recommendation they have been 
 adopted by the Schools of Art, Colleges, and 
 large Drawing Academies. 
 
 Each 
 
 HHHH. 
 
 HHH. 
 
 HH. 
 
 H. 
 
 FF. 
 
 F. 
 
 HB. 
 
 B. 
 BB. 
 
 EHB. 
 BBB. 
 
 BBBB. 
 
 6 B. 
 
 Extremely hard (for Engineer' 
 ing or Drawing on Wood) 
 
 Very hard (for Architectural 
 Drawing) 
 
 Hard (for fine Outline DraW' 
 ing) 
 
 Moderately hard (for light 
 
 sketching) 
 Yery firm (for light shading) 
 Firm (for fine Drawing) 
 Hard and Black (for free 
 
 sketching) 
 Black (for ordinary shading) 
 Soft Black (for deep shading) 
 
 Extra Hard and Black (for 
 
 very bold sketching) 
 Yery Black (for extra deep 
 
 shading) 
 
 Extra Soft and Black (for 
 full, rich, deep shading) 
 
 Ditto with very broad Lead 
 
 } 2d. 
 
 Qd. 
 
 9d. 
 
 ACCOUNT BOOK, EEPORTER'S, COMPASS, 
 POCKET BOOK, PROGEAMME, COLOURED, 
 AND CHALK PENCILS. 
 
44 WINSOR & NEWTON, LONDON: 
 
 J. D. HARDING'S DRAWING PENCILS. 
 
 Hard, Medium, Soft, Extra Soft 
 Case of 6 complete . 
 
 each 
 
 0 6 
 3 0 
 
 J. D. HAEDING'S 
 
 PATENT LEAD TABLETS 
 
 Am) 
 
 . PATENT STUMPS. 
 
 WINSOR & NEWTON, SOLE MANUFACTURERS. 
 
 By means of these Tajblets, tlie dry, ineffective 
 drawing ordinarily produced, is exchanged for some- 
 tliing more akta to painting in Black Lead, and effects 
 
 can with them be obtained, which are not within the 
 compass of the Lead Pencil. 
 
 The Stump is constructed on a novel principle, 
 being a slightly curved handle vrifh an elastic foot of 
 whalebone covered with leather. This form admits 
 of the stump being used with great freedom, its ap- 
 plication ranging from a fine edge or line to the 
 broad and even sweep of the full surface of the 
 leather, the stump itself being free from the ridges 
 which cause inequality in the working of the ordinary 
 ones. 
 
 IP IBICES. 
 
 One, two, and three star, and extra hard 
 
 Tablets 
 
 Extra soft ditto 
 
 Holders (with propellers) 
 
 Stumps (two sizes, as described above) 
 
 Box with file and pad complete 
 
 Each. 
 s. d. 
 
 0 6 
 
 0 9 
 
 1 6 
 0 8 
 
 2 6 
 
 Complete Woiikixg Set, comprising two each one, two, and three star Tablets ; three 
 holders with propellers ; twostimips; box with file and pad ; and japanned box for 
 containing the foregoing. Price 125. 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 45 
 
 CRAYONS, &c. 
 Best Hard Pastel Crayons— Boxes containing 12, is. ; 18, is. ed. 
 
 24, 2^. ; 30, 2s. 6d. ; 36, 3^. ; 48, 4^. 
 Soft French Crayons— Boxes containing 26, Ss. 6d.', 42, 6s.; 
 
 56, 7*. ed.; 62, 105. 6d. 
 Conte Crayons —Square, per dozen, 6d. ; Eound, per dozen, 1^. ; 
 
 Round aiazed, per dozen, 1^. 6d.; in Polished Cedar, per 
 
 dozen, 2s. 
 
 Chaecoal, Italian Chalk, White Chalk, Eed Chalk, 
 LiTHO&EAPHic Chalk, STUMPiNa Chalk. 
 
 LEATHERWORK, &c. 
 Round Leather Pencil Cases, SmaU, dd. ? Middle, i^. ; Large, 
 
 Is. 6d. 
 
 Flat ditto, Lettered, Small, 2..; Middle, 2.. 6d.; Large, 3.. 
 
 Folding Morocco Pouch Cases, Small, 4^. ; Large, 5^. 
 Ditto, with Colour Box Pocket, Small, 7^. ; Large, 9^. 
 Best Leather Stumps, from 2d. to 9d. each. 
 Best White Paper ditto, 3^^. each. 
 
 Sketching Bags. 
 
 (Of light weighty hut strongly made; and complete with straps and 
 spring swivel fasteners.) 
 
 Designed to contain a Eox of Moist Water Colours, Water Bottle, 
 Block, Sketch Book, Brushes and small Sundries. ^ 
 
 £ s. d. 
 
 8vo. Imperial size, of waterproof russet brown or " Mail 
 
 Bag," canvas ....••••11^ 
 4to. Imperial ditto ditto ditto . 1 11 6 
 
 8vo. Imperial size, of enamelled black leather . . . 1 11 6 
 4to. Imperial ditto ditto . . .220 
 
46 
 
 WINSOR Sc NEWTON, LONDON: 
 
 CHINAWARE. 
 
 
 
 s. 
 
 d. 
 
 
 
 S. 
 
 d. 
 
 6 inch. Oval 
 
 or Oblong 
 
 
 
 3 Division Slant 
 
 . each 0 
 
 6 
 
 Palettes. 
 
 each 0 
 
 9 
 
 4 
 
 ditto 
 
 . „ 0 
 
 9 
 
 7 ditto 
 
 ditto 
 
 „ 0 
 
 11 
 
 5 
 
 ditto 
 
 . 1 
 
 0 
 
 8 ditto 
 
 ditto . 
 
 V 1 
 
 0 
 
 6 
 
 ditto 
 
 . 1 
 
 3 
 
 9 ditto 
 
 ditto 
 
 1 
 
 3 
 
 8 
 
 ditto 
 
 . 1 
 
 6 
 
 10 ditto 
 
 ditto 
 
 1 
 
 6 
 
 12 
 
 ditto 
 
 . 2 
 
 0 
 
 6 inch Square plain 
 
 flat Tiles . « 3, 0 9 
 
 8 ditto ditto . » 1 0 
 10 ditto ditto .,,16 
 
 3 Square divided flat 
 
 Tiles . . 0 „ 0 6 
 6 ditto ditto .,,10 
 
 9 ditto ditto .,,16 
 12 ditto ditto .,,20 
 
 No. 1 Nests of Cabinet 
 
 Saucers . . per 
 No. 2 ditto 
 No. 3 ditto 
 No. 1 ditto (in 
 
 morocco case) . 
 No. 2 ditto ditto 
 No. 3 ditto ditto 
 
 set 1 
 , 1 
 
 ^ inches by 2^ Tiles 
 
 (Bartholomew's) . ,,0 6 
 
 2 J inch Saucers (Wool- 
 wich) . . . ,, 0 IJ 
 
 Centre Slant 
 
 Box or 3 Slant Well 
 Slabs 
 
 5 Slant Well Slabs . 
 
 No. 1 Ink and Colour 
 Slabs 
 
 No. 4 ditto ditto . 
 No. 11 ditto ditto . 
 No. llh ditto ditto . 
 
 0 9 
 
 0 6 
 
 1 6 
 
 1 inch Round Tinting 
 Saucers . 
 
 IJ ditto ditto 
 
 2 ditto ditto 
 
 2 J ditto ditto 
 
 3 ditto ditto 
 
 4 ditto ditto 
 
 0 9 
 
 1 0 
 
 Eound Slant and Basin 
 (for Architects' Of- 
 fices, &c.) . . each 3 6 
 
 each 0 1 
 0 1 
 0 li 
 0 l| 
 0 2 
 0 2 
 
48 
 
 JVIXSOR X XEJVTOX, LOXDOX : 
 
 BEST LOXDOX AJADE 
 
 MATHEMATICAL INSTRUMENTS. 
 
 rOUE GUIXEA BOX. 
 
 ^rrs-EAS — 
 
 Drawing Pens— Ordinary (Xo. 1) 
 
 Irorv handle. Lift np nib CNo. 2) 
 nj^-j " -n ^^^^^^ I^orv Handle, lift np nib (To 3 
 IhTiders — Brass, Steel Joint (So. 4) 
 » Brass, Sector Joint ^Xo. 5) 
 
 « EXectrmn, ditto (So. 6) 
 
 >i Brass, Hair Points (^o. J) 
 
 Electrnm ditto (So. 8) 
 Compasses— Brass, Steel Joint; Half set (if o. 9) ' 
 M Ditto slip shanks: ditto (?fo. 10) '. 
 
 « Electrmn, Sector Joint, ^th bar: Half set "in Ca'^e 
 
 FniTersal Compasses, Brass, in case [So. 12 
 >apier Compasses, Electrmn, „ 13 " 
 
 Ditto, Complete set ditto u ' 
 
 Klkr Compasses, ditto ^ ' 
 
 Bltto with bars ditto T (^^o 16 ' 
 
 Proportional Compasses, ditto (So m ' 
 
 Tabular Compasses, with needles.. Zlectmm, in case (2f o k 
 Bows-Brass, Pen or PencH (So. 19) ' 
 
 Ditto, ditto round points (No. 20) 
 iilectrum, ditto ditto (No =>1) 
 
 ^ . donble jointed, needle points;in , 
 
 Sjprmg, Set of three, in case (No. 23) 
 Ditto, ditto ro hold needles (JN'o. C^: 
 
 (Xo. 
 
 11) 
 
 (No. 22) 
 
 Each. 
 *. rf. 
 
 3 6 
 
 4 6 
 
 5 6 
 2 6 
 
 4 6 
 
 6 6 
 
 7 6 
 10 6 
 
 5 6 
 7 6 
 
 31 6 
 7 6 
 18 0 
 31 6 
 31 6 
 42 0 
 4S 0 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 
 
 METALLIC SUNDRIES. 
 
 Fine Gold Shells, each, M., ed., 9d., and Is. 
 „ Saucers, „ 9c?., 2s., and 45. 
 
 „ Cakes, 5*. 6d. 
 
 Aluminium Shells, „ ^d. Saucers, Is. ; Cakes, Is. 
 
 Silver „ „ 3^?.; „ i^.; „ i^. 
 Fine Gold Ink, per Bottle, l^. 6d. 
 
 Gold Paint, Small Bottles, Is. 6d. ; Large ditto, 4^. 
 
 Bronze, Gold Paper, Gold Leaf. 
 
 Portcrayons— Brass, M. and 6d. ; Albata, 9d. each. 
 Drawing Pins, Qd., is., is. 6d., 2s., and 2s. 6d. per dozen. 
 
 VARIOUS SUNDRIES. 
 
 Burnishers, Small size, l^. 6d. ; Large, 2^. 6d. 
 
 Ivory Palette Knives, each, 9d., is. ed., 2s., and 2s. 6d. 
 
 Ivory Tracers, Small, 9d. ; Large, Is. 6d. 
 
 Ivory Brush Bests, Qd., is., and 2s. 
 Prepared Ivories, from 8d. to 12^. 
 
 Water Glasses— Ordinary, 9d.i Large "Artist's," Is. ed. 
 
 Best Bottle and Patent Rubber, from sd. to 6d. per piece. 
 
 Ink and Pencil Eraser, 6d. ; Indian Rubber Pencils, 4d. 
 Sponge — Ordinary, from 3d. to 6d. ; Fine Cup, from 2^. to 3^. 6d. 
 Indian Glue— in Sticks, 2d. ; Liquid G-lue, 3d., 6d., and 1^. 
 Pens— Crow Quill, Is. per bundle ; Steel Lithographic, 2*. per card. 
 Emery Paper, 2d. per sheet ; Glass Paper, Id. per sheet. 
 Pencil Sticks, ^d. and 6d. per dozen. 
 
 N.B.— The following will be found in the after portion of the 
 Catalogue, viz., Drawing Boards (Page 94), Easels (Page 89), 
 Sketching Stools and Seats (Page 91), Sketching Tent (Page 92), 
 Sketching Umbrella (Page 92), Squares, Curves and Eules (Page 95), 
 Erasers and Knives (Page 84). 
 
WINSOR 8c NEWTON, LONDON > 
 
 PUBLICATIONS. 
 
 WINSOR & HEWTON'S 
 ONE SHILLIITG 
 HANDBOOKS ON THE EINE AETS. 
 
 WITH ILLUSTRATIONS, &c. 
 
 For List see outside Wrapper page. 
 
 WINSOE & NEWTON'S 
 2s. ed. BOUND 
 HANDBOOKS ON THE PINE AETS. 
 
 WITH IILTOTEATIOM, &o. 
 
 Sketching from Nature.-Comprisir.g the Art of sv.f v , 
 
 Nature, and Hints for StetcMng in Water C« jf f It^ 
 landscape Painting in Water Colour? r 
 
 Landscape Painting 1 Water ^P™"^g t^e Art of 
 
 Colour Painting ^"'^ ^ ^^''''^ Water 
 
 Artistic Xreaise on the H^an pfgu/ ^^^"^ ''^^""^S' ^ 
 3eptS?«~-^^^^^ on 
 
 ■ rd5::;7thrrs' ^^^■^^^^^ ^-ing 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 51 
 
 J. D. Harding's Works. 
 
 EDITED BY W. WALKEK. 
 
 S. d. 
 
 Lessons on Art— imperial 8vo. 
 
 Bound in Cloth, or Six Parts complete . . . . 15 0 
 Each Part separately . . . . . . .26 
 
 Lessons on Trees.— Imperial 4to. 
 
 Bound in Cloth, or Six Parts complete . . . . 15 0 
 Each Part separately 2 6 
 
 Elementary Art —Imperial 4to. 
 
 . Bound in Cloth 25 0 
 
 Early Drawing Book —Imperial 8vo. 
 
 Bound in Cloth ........ 10 6 
 
 Six Parts complete 9 0 
 
 Each Part . 16 
 
 Pencil Sketches by J. D. Harding. 
 
 Nine Autotype fac-similes mounted and in Imperial 
 
 Portfolio complete . . . • • • . 50 0 
 
 Lessons on Animals and Figures. 
 
 As appHed to Landscapes. By W. Walker. Imperial 8vo. 
 Bound in Cloth ..76 
 
 Field's Chromatography. Demy 8vo. 
 
 A Treatise on Colours. T. Salter's Edition. 
 
 Bound in Cloth 21 0 
 
 Mural or Monumental Decoration. By W. Cave Thomas. 
 
 Demy 8vo. Bound in Cloth 16 0 
 
 Barnard's Trees, imperial Folio, 22 by 15. 
 
 The Work, 30 Plates and letterpress complete , . 42 0 
 
 Half Bound, handsomely, in one Yol 52 6 
 
 Separate Parts of 10 Plates and letterpress . . . .14 0 
 
 The Art of Figure Drawing. By T. H. Maguire. 
 
 Impl. 4to. Bound in Cloth, with 30 full plate illustrations 42 0 
 
62 
 
 WINSOR & NEWTON, LONDON: 
 
 TURNER'S 'LIBER STUDIORUM.' 
 
 I— Mountain and Marine Subjects. . 
 Ill pII f "'^'r'^ Historical Subjects. 
 in.-Pastoral and Elegant Pastoral Subjects. 
 
 howntidie: S;tfr,it"*°*^p« -u. 
 
 Subscriber's Copy of tL WoS. "rth/'brr"'^^;^ 
 
 « exc'eUentti^^for rStXt ^S^^ ^^^^ 
 Handsomely bound in Clotb in Tbree VoWs, 4to. In^periaJ size.' 
 
 Single Volumes . . \ £ s d 
 
 The Work complete in Three Volumes * ' ^^""^ 2 2 0 
 
 • I 5 5 0 
 
 CLAUDE'S 'LIBER VERITATIS.' 
 
 Exa4>Kf;4l£W-^ f^^^ cboicest 
 
 Turner's 'Liber Studiorum ' ^"^^l^ # ^ Companion Series to 
 Etchings by BiCHAED Eabmm Z- f^"'^ :^'^*°*yP« from the 
 the Series has been divide^LT thSVcS: " 1^^^^^^^ 
 
 I.—Marine Subjects. 
 II- — I^andscapes. 
 III.— Pastoral Subjects. 
 
 Handsomely bound in Cloth in Three Yolume, 4to. Imperial size. 
 
 Single Volumes . . I B s. a 
 
 The Work complete in three Volumes' I ' ' ^^""^ M 2 6 
 
AND LOCAL ARTISTS' COLOURMEN, &c. 53 
 
 SIR JOSHUA REYNOLDS. 
 
 A Selection from the Works of Sir Joshua Eeynolds, from 
 Proofs (by the most eminent Contemporary Engravers) in the British 
 Museum. Mounted on Half Imperial tinted boards. This Section 
 is invaluable to all who study Portraiture, and contains one hundred 
 and fifty Autotype Prints in three volumes complete. 
 
 Each Yolume (Half Imperial size) 
 3 Volumes complete 
 
 £ s. d. 
 6 6 0 
 15 15 0 
 
 AN ARCHITECT'S NOTE-BOOK 
 
 IN 
 
 SPAIN. 
 
 Principally Illustrating the Domestic Architecture of that Country, 
 
 BY M. DIGBY WYATT, M.A., E.S.A,, &c., &c. 
 
 A Series of one hundred admirable Sketches, which that accom- 
 plished Architect, Sir Digby Wyatt, made in Spain, in 1869, from 
 subjects as novel in character as they are important for the History 
 of Architecture in that country. Each Sketch is accompanied by 
 Critical Notices, in which Sir Digby explains the salient points of 
 interest which he observed in the subjects selected for illustration. 
 
 Post 4to,, with 100 Autotype Eeproductions of the | £ ^■ 
 Author's Sketches . | 2 12 6 
 
 BRUSH-NOTES IN HOLLAND. 
 
 BY ROBERT TAYLOR PRITCHETT, F.S.A. 
 
 A Series of Nineteen Sketches, One Yolume, half imperial, 
 handsomely bound, with Explanatory Text. 
 
 These Sketches are admirable examples of facile execution, and 
 are most faithfully rendered in Autotype. ' 
 
 £ s. d. 
 
 The Yolume complete | 5 5 0 
 
WINSOR 8c NEWTON, LONDON. 
 
 STUDIES 
 
 THE GREAT MASTERS. 
 
 In In.pl.) each containing Si. Studies, per Part 5, 0. 
 
 Tl.e Work, bound complete (containing 48 plltes) £1 I 
 
 Parts 1, 2, 3. studies of hands 
 
 Part 4. STTTDIES Q-B FEET. 
 
 After Drawings by Andrea del Sarto Tn^.i t .. 
 Michael Angelo. EafFacUe. ' 
 
 Part 5. STUDIES op chudeen akd xottths 
 
 Parte. STUDIES OP HEADS AND CHIZDEEir. 
 
 After Drawings by Andrea del Sarto, Bouchardon, Coypel, Zucchero. 
 Part 7. STTOiEs op infants and touths 
 After Drawings by Boulogne, Carlo Doici, Lebrun. Eaffaelle. 
 
 Parts. STt'WES OP HEADS, CHILDEEN, roUTHS. 
 
 After^D™g.by Boucber, Boucbardon, Correggio, Caracci, Lebrun, 
 
I 
 
UNIVERSITY OF ILLINOIS-URBANA 
 
 3 0112 066318921