Contents of Part Three: Anatomy, Force and Motion of Man
Index continued: why the painter must know anatomy, tendons and muscles, and the force of man
A continuation of the index to the Third Part, headed 'Third,' listing chapters [340]-[359]. The entries open by declaring how necessary it is for the painter to know anatomy, then treat the lengthening and shortening of muscles, where a tendon is found without a muscle, and the muscle between the sternum and the pubis. Further chapters concern the utmost turning a man can make to look behind himself, the preparation of force to strike a great blow, whether pulling or pushing is the greater power, and the simple and compound motions of man. Entry [347] is noted as omitted. No figures are drawn; the page is a handwritten list of chapter titles with folio references.
On this page
The painter's need of anatomy: muscles and tendons
The list opens by stating how necessary it is for the painter to know anatomy, then treats the lengthening and shortening of the muscles, where a tendon (cord) is found in man without a muscle, the eight pieces that arise in the midst of the tendons at various joints, and the muscle that lies between the sternum ('pomegranate') and the pubis.
The force of man: striking, pulling and pushing
A group of chapters treats the force of the body: the utmost a man can turn to look behind himself, how far one arm can be brought close to the other behind the back, and the preparation of force in the man who wishes to generate a great blow. It continues with the force composed by man beginning with the arms, and asks which is greater, the power of pulling or of pushing. Entry [347] is noted as omitted in this copy.
Bending limbs, flesh, and simple and compound motion
The closing entries treat the limbs that bend and the office the covering flesh performs in bending, turning the leg without the thigh, and the folds of the flesh. They end with the simple motion of man, the compound motion, movements appropriate to the actions of men, the movements of figures, and the greater or lesser degrees of the mental accidents (emotions).