OF PAINTING.

It is indispensable to a Painter who would be thoroughly familiar
with the limbs in all the positions and actions of which they are
capable, in the nude, to know the anatomy of the sinews, bones,
muscles and tendons so that, in their various movements and
exertions, he may know which nerve or muscle is the cause of each
movement and show those only as prominent and thickened, and not the
others all over [the limb], as many do who, to seem great
draughtsmen, draw their nude figures looking like wood, devoid of
grace; so that you would think you were looking at a sack of walnuts
rather than the human form, or a bundle of radishes rather than the
muscles of figures.