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| follower of Leonardo da Vinci Study of Right Foot ca. 1490-1520 drawing Musée du Louvre |
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| Parmigianino Foreshortened Leg 1526-27 drawing (study for painting, The Vision of St Jerome) Musée du Louvre |
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| Charles Le Brun Legs in Motion ca. 1665 drawing (study for tapestry) Musée du Louvre |
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| Pierre Mignard Study of Foot before 1695 drawing Musée du Louvre |
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| Domenico Puligo Fragment of a Sheet of Anatomical Studies before 1527 drawing Musée du Louvre |
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| Bartolomeo Passarotti Studies of Arms before 1592 drawing Musée du Louvre |
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| François Lemoyne Hands holding an Infant ca. 1727 drawing (study for painting, Louis XV giving Peace to Europe) Musée du Louvre |
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| Pier Leone Ghezzi Studies of Hand and Arm before 1755 drawing Musée du Louvre |
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| Hyacinthe Rigaud Study of Hands 1730 drawing (study for painting, Portrait of Louis XV) Musée du Louvre |
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| Baccio Bandinelli Studies of Leg before 1560 drawing Musée du Louvre |
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| Jacopo Bertoia Study of Legs before 1574 drawing Musée du Louvre |
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| follower of Michelangelo Buonarroti Study of Legs 16th century drawing Musée du Louvre |
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| Palma il Giovane Study of Legs before 1628 drawing Musée du Louvre |
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| Nicolas-Bernard Lépicié Study of Legs ca. 1765 drawing Musée du Louvre |
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| Alessandro Allori Study of Pelvic and Leg Bones ca. 1565 drawing Musée du Louvre |
"But even for the anatomy of the body and limbs, the academy figure is very far from being an infallible guide. The display of muscular action in the human figure is but momentary, and cannot be retained and fixed for the imitation of the artist. The effect produced upon the surface of the body and limbs by the action of the muscles, the swelling and receding of the fleshy parts and that drawing of the sinews or tendons which accompanies exertion or change of posture, cannot be observed with sufficient accuracy unless the artist is able to class the muscles engaged in the operation and unless he have some other guide than the mere surface presents, which may enable him to recollect the varying form."
– Charles Bell, from Essays on the Anatomy of Expression in Painting (1806)