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. 489. HOW IT IS NECESSARY TO A PAINTER THAT HE SHOULD KNOW THE INTRINSIC FORMS [STRUCTURE] OF MAN. The painter who is familiar with the nature of the sinews, muscles, and tendons, will know very well, in giving movement to a limb, how many and which sinews cause it; and which muscle, by swelling, causes the contraction of that sinew; and which sinews, expanded into the thinnest cartilage, surround and support the said muscle. Thus he will variously and constantly demonstrate the different muscles by means of the various attitudes of his figures, and will not do, as many who, in a variety of movements, still display the very same things [modelling] in the arms, back, breast and legs. And these things are not to be regarded as minor faults. How to acquire practice. 490. OF STUDY AND THE ORDER OF STUDY. I say that first you ought to learn the limbs and their mechanism, and having this knowledge, their actions should come next, according to the circumstances in which they occur in man. And thirdly to compose subjects, the studies for which should be taken from natural actions and made from time to time, as circumstances allow; and pay attention to them in the streets and _piazze_ and fields, and note them down with a brief indication of the forms; [Footnote 5: Lines 5-7 explained by the lower portion of the sketch No. 1 on Pl. XXXI.] thus for a head make an o, and for an arm a straight or a bent line, and the same for the legs and the body, [Footnote 7: Lines 5-7 explained by the lower portion of the sketch No. 1 on Pl. XXXI.] and when you return home work out these notes in a complete form. The Adversary says that to acquire practice and do a great deal of work it is better that the first period of study should be employed in drawing various compositions done on paper or on walls by divers masters, and that in this way practice is rapidly gained, and good methods; to which I reply that the method will be good, if it is based on works of good composition and by skilled masters. But since such masters are so rare that there are but few of them to be found, it is a surer way to go to natural objects, than to those which are imitated from nature with great deterioration, and so form bad methods; for he who can go to the fountain does not go to the water-jar.