From the collection of the Scottish National Gallery of Modern Art.
Heads, Bodies, Legs is a chain game for three, popular with children and adults (especially artists) that requires pencil and paper. The group is supposed to produce a drawing together without any player seeing what the others have created. The first player takes a sheet of paper and draws a head and neck as detailed or simple as desired. Player 1 folds down the paper so only a little of the drawing’s bottom can be seen. Player 2 draws a body from the waist up consulting only his or her imagination, then folds the paper to cover his work. The legs will be drawn by the last player. Once the drawing is completed, the three players unfold the sheet to see what the figure looks like—the sillier or stranger, the better. The drawing on the left was made by artists James Guthrie, Edward Arthur Walton, and Joseph Crawhall, who frequently played the game the summer of 1879.
Also known as Picture Consequences, Heads, Bodies, Legs is played at children’s birthday celebrations or family parties. This familiar game, which has no winners or losers, has been repackaged as a type of moveable book sometimes called a horizontal flap transformation. 
The illustrator designs a series of figures to be printed on pages of cardboard, which are divided horizontally into three sections—the head on the upper third, the body on the middle, the legs on the lower. The reader/player can make new figures by recombining any three sections into a different one. The pages are frequently comb-bound to facilitate the process of mismatching the heads, bodies, and legs into peculiar people with unlikely physiques and gender-bending clothes, as in this double-page spread from Walter Trier’s 8192 Crazy People in One Book (London: Atrium, {ca. 1949] Cotsen 1605). Mixing in characters famous in popular culture, caricatures, national, and racial stereotypes is also common. 
Text can added to the sections, as Helen Oxenbury did in 729 Puzzle People (London: Methuen/Walker Books, c. 1980, Cotsen 26110), which provides a nonsensical scenario for every figure in the same spirit as Exquisite Corpse, a game the Surrealists found delectable. This one on the left reads “All dressed up I waddle to build up my body.”
Before the twentieth century, what appear to be variant versions of Heads, Bodies, Legs turn up on the antiquarian market. Cotsen acquired a set ca. 1810 of 1 hat, 14 heads, 18 torsos, and 22 limbs drawn on heavy paper with watercolor washes, apparently drawn by one person. 
It may have been made to be played as a parlor game, similar to one of a supplement to an old Boy’s Own Paper around 1880. “Some Social Transformations” has nine figures on the sheet, each to be cut in thirds and the resulting strips mounted on card. All the strips were to be shuffled, then dealt to the group. Player one lays down a pair of legs, then player two a body, and player three the head.
The figures that can be created from this early nineteenth century set’s selections of heads, bodies, and legs are not anywhere as wacky as the modern ones because both sexes were required to cover the legs most of the time! The gentleman in the black breeches with red slashings is wearing Elizabethan fancy dress, but his companion’s clothing is a mystery to me. Below them is a figure assembled from man wearing in the turban, a torso of another declaiming from a book, and the skirt of a pigeon-toed girl. 
The same thing holds for Metamorphosesn fuer Kinder= Metamorphoses pour les enfans=Child’s metamorphosis=Metamorfosi per fanciullia, a set manufactured in Germany for distribution across Western Europe between 1815 and 1825 (Cotsen in process). although we have to concede the possibility that it could have been as titillating even shocking–for people then to see girls in trousers or boys in dresses as it is for us to see a chinless man in a frilly fairy’s tutu and saggy black tights with holes.
