A text-book of anatomy / edited by Frederic Henry Gerrish.

Date:
1899
Catalogue details

Licence: Public Domain Mark

Credit: A text-book of anatomy / edited by Frederic Henry Gerrish. Source: Wellcome Collection.

    39/926 (page 35)
    words. Where the subject is very complex, a diagram is commonly more useful than the best pictorial representation, because it eliminates everything but the essence of the matter, and thus does not confuse the mind by too vast an array of facts. The student, however, should scrupulously avoid allowing himself to be content with a merely diagrammatic knowledge of any part of anatomy: he should use tlie schematic picture only as a prelude to the actual thing, as the ma]) which informs him where and how to find and learn about the unknown land and its contents. Although descriptions, diagrams, pictures, models, and casts have their dis- tinct value, each in its peculiar held, it must never be forgotten that after learn- ing all which they can teach it is of the greatest importance to have contact with the natural object. Dissection of the dead body supplements and rounds out the knowledge which has been previously gained, and its service is indispensable. It is not well to attempt dissection until one has learned by other means the prin- cipal facts about the part to be dissected, because without such antecedent knowledge material, which in most places is scarce and costly, will be wasted by unintelligent cutting. But after the student has qualified himself to appreciate the views which can be obtained only in the anatomical laboratory, he should embrace every opportunity to dissect, for thus only can he become a practical anatomist. When a human body cannot be procured for this work, the nianual dexterity which is so important an accomplishment for a surgeon may be culti- vated by the dissection of cats, dogs, and other animals, which are abundant and cheap; and this practice is a most desirable pre])aration for the study of human anatomy for other reasons than the mere skill in the use of some instruments which it bestows. Among the aids to the acquisition of anatomical knowledge, two which are but little appreciated deserve especial mention. The first of these is the recitation. In this exercise the student is obliged to describe the things which he has been studying. This is a severe but most wholesome test of his knowledge. By it his attention is attracted as in no other way to the defects of liis attainments. Some matters which he had flattered himself were perfectly understood are found to have been only partially learned, and in others he discovers that he has acquired mistaken notions. The ability to describe a thing clearly and fully to others is a convincing evidence of attain- ment, and the exercise of it is a capital method of fastening the truth in the mind. If possible, the student should associate with himself another of the same class, and no day should be allowed to pass without a serious, exacting quiz, the two alternating in the office of questioner. Valuable as are the quiz and recitation in correcting and iuc^reasing one's knowledge, they are almost equalled in these respects by drawing. Sight and touch give an excellent idea of the form of a bone, but the information gained by these means is greatly intensified by making a free-hand picture of it; and in the process one is almost sure to see features which were not previously appre- ciated, and to rectify some faulty opinions. The same is true of all other objects, and the student is earnestly advised to make a drawing of every one of his dis- sections. If the natural objects are not available, he should draw the casts and models which he has the privilege of studying, and, in default of better repre- sentations, even the pictures in his text-book. But the objection is at once raised that only a few peculiarly gifted persons are capable of drawing. It is not unconniion to hear men declare that they can- not learn to draw. This statement, however, is absurdly incorrect, for every such objector can already write, and writing is nothing but the drawing of certain arbitrary characters. One who makes a capital A can surely outline a tent; if he can make an S, he can draw a wriggling snake ; in forming an X he has pictured a St. Andrew's cross ; and thus every one who signs his name demon- strates his ability to draw. The talent is undoubtedly more marked in some persons than in others, but is possessed in some degree by all; and, however,