What is of consequence to know is, first, that it is a powerful flexor of the thigh ; secondly that, stretching from the pelvis to the fibula head, it performs the important office—with other muscles—of solidly joining up the three bony elements of pelvis, thigh, and lower leg. This is a principal fact in the mechanics of the human frame, though even whether the biceps be attached to the head of the fibula or, like the semi-tendinosus, its neighbour, it be attached to the tibia head really does not matter much to us. Here an anatomist will probably hold up his hands in horror. Let me point out that no amount of acquired anatomical knowledge will ever enable you to dispense with the model if you aim at anything beyond a stylization of Nature, I mean if your aim is in any way to produce a plausible portrait of Nature. If you are coming down to such detailed study as that which we see In the ' St. Jean5 of Rodin, in which—without verifying my statement —I am sure that the fact of the attaching of the biceps cruris to the fibula head is shown ; if you are coming down to such a degree of accurate transcription of Nature, you must resign yourself to long-drawn-out work from the living model. Then once you have mastered the shapes and general type of the natural forms, and have learnt how among them they weave the beautiful balance of the form, I will even go ^o far as to say that I am not at all sure if it is necessary to know that the slightly visible tendon starting up from the fibula head becomes the biceps cruris which in time divides and is fixed in the way just indicated. If you are an artist your intuitive sense of the need of balance of form will, aided by your trained powers of observation on the living model, probably enable you to draw or model that fragment of subcutaneous tendon in such a way as will satisfy the most rigorous anatomist, although your knowledge of the muscle may be insufficient to enable you to reply to an examination paper on anatomy.
Was this article helpful?