suggested the idea which he developed by practice and precept through
his entire life. It was, that "an harmonious organic development of the
body and of its powers and capabilities by exercises ought to constitute
an essential part in the general education of a people." Ling thought
not of merely imitating the gymnastics of the ancients, but he aimed at
their reformation and improvement. Wishing to put gymnastics in harmony
with Nature, he studied anatomy, physiology, and the natural sciences.
Of their value in directing rational exercise he says: "Anatomy, that
sacred genesis, which shows us the masterpiece of the Creator, and which
teaches us how little and how great man is, ought to form the constant
study of the gymnast. But we ought not to consider the organs of the
body as the lifeless forms of a mechanical mass, but as the living,
active instruments of the soul." And even this is not sufficient; "for
the gymnast, the ultimate aim of whose art is the _beau idéal_ of
humanity, must know what effects applied movements produce upon the
corporeal and psychical condition of man; a knowledge which can be
obtained only from the most careful and untiring examination."

It has been asserted, that, in pursuance of this plan, Ling invented a
separate movement or exercise for every muscle in the body. This is not
strictly true, for it is practically impossible. Few muscles act alone,
and such as do are developed symmetrically, and are antagonized by those
of the opposite side. Most movements are performed by groups of muscles.
The cripple, swinging on his crutches, develops the broad sheet of
muscular fibres which enfolds the back and loins, and approaches in
form the simian tribe, the business of whose life is climbing. The
sledge-hammer brings out the _biceps_ of the blacksmith, and striking
out from the shoulder the _triceps_ of the pugilist. The calves of the
ballet-dancer are noted for the abrupt line which marks the transition
from muscle to tendon; and other instances might be cited. As a general