Thirdly.--That in representing these appearances, she is more hindered than helped by the knowledge of things which do not externally appear; and therefore, that the study of anatomy generally, whether of plants, animals, or man, is an impediment to graphic art. Fourthly.--That especially in the treatment and conception of the human form, the habit of contemplating its anatomical structure is not only a hindrance, but a degradation; and farther yet, that even the study of the external form of the human body, more exposed than it may be healthily and decently in daily life, has been essentially destructive to every school of art in which it has been practised. 150. These four statements I undertake, in the course of our future study, gradually to confirm to you. In a single lecture I, of course, have time to do little more than clearly state and explain them. First, I tell you that art should take cognizance of all living things, and know them, so as to be able to name, that is to say, in the truest distinctive way, to describe them. The Creator daily brings, before the noblest of His creatures, every lower creature, that whatsoever Man calls it, may be the name thereof. Secondly.--In representing, nay, in thinking of, and caring for, these beasts, man has to think of them essentially with their skins on them, and with their souls in them. He is to know how they are spotted, wrinkled, furred, and feathered: and what the look of them is, in the eyes; and what grasp, or cling, or trot, or pat, in their paws and claws. He is to take every sort of view of them, in fact, except one,--the Butcher's view. He is never to think of them as bones and meat. Thirdly.--In the representation of their appearance, the knowledge of bones and meat, of joint and muscle, is more a hindrance than a help. Lastly.--With regard to the human form, such knowledge is a degradation as well as a hindrance; and even the study of the nude is injurious, beyond the limits of honour and decency in daily life. Those are my four positions. I will not detain you by dwelling on the first two--that we should know every sort of beast, and know it with its skin on it, and its soul within it. What you feel to be a paradox--perhaps you think an incredible and insolent paradox--is my telling you that you will be hindered from doing this by the study of anatomy. I address myself, therefore, only to the last two points. 151. Among your standard engravings, I have put that of the picture by Titian, in the Strozzi Palace, of a little Strozzi maiden feeding her dog. I am going to put in the Rudimentary Series, where you can always get at it (R. 125), this much more delightful, though not in all points standard, picture by Reynolds, of an infant daughter of George the Third's, with her Skye terrier.