EDITOR'S NOTE For more than thirty years thousands of art students crowded into George Bridgman's classes at the Art Students' League in New York to learn at first hand the method of drawing from life which was his personal contribution to art education and which in his own lifetime had become famous. Many of the best known names in contemporary painting and sculpture and commer- cial art were enrolled in those classes. Bridgman's vivid and articulate personality brought lively interest to the study of anatomy. His beautiful drawings of musculature and bone struc- ture have provided a truly new literature on the subject. These were anatomical drawings made not for the medica! student or the doctor but specifically for the artist. How the body moves, bends, how its parts coordi- nate, how the hands clutch, pull, or push, are among the countless bodily movements he illustrated and analyzed. Great artists have, in the past, illustrated the phases of anatomy that related to one or another portion of the human body. In the new "COMPLETE BRIDGMAN" it is clear that all of the constructive anatomy of the human figure is gathered into one volume. Bridgman invented a terminology which graphically describes the twist- ing and turning of the human body. The term "Wedging" likewise is his own; it describes how one group of muscles integrates with another. By sim- plifying forms and giving them increased definition, he makes bis particular method an easy one to remember. In a sense these drawings of the human