History and bibliography of anatomic illustration in its relation to anatomic science and the graphic arts  

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Schematic Etc, fbom a MS (Xo. 934) ix Constanhnqplf. (1560

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whifh none of the present illustrations go. Earlier drawings by Hobeisch of the ninth century and by Hammar of the eleventh century have not been preserved, as far as recent researches have gone. The assumfition might also be made that all these dravi-ings found their m(Klol<t in a late Alexandrian period which remained ati%'e in the tradttion.s of the Orient and Occident far into the fifteenth century, if nr>t longer, ai^'l

8o ANATOMIC ILLUSTRATION

which appear to have been not without influence even upon Leonardo and Yesalius. (See also, Sudhoff's Archiv, 1914-15, VIII, 1-21.)

The oldest printed illustration of the structure of the eye is found in the Margarita Pliilosophica by Gregor Reisch, published by Kaspar Schott at Strassburg, on April 17, 1504. The external view of the eye on the same page is a revised reproduction by Johannes Peyligk and Magnus Hundt. The Freiburg Carthusian monk, Sudhoff says, undoubt- edly got his drawing from tradition, as is the case with most of the other illustrations in his book.

With this earlv accessible model created in the various editions of the Margarita Pliilosophica, it found a place in other works, as for instance, Hicronymus Brunschwig's Distilierhuch. Very soon after- ward, it is found in many ophthalmic treatises with alterations and additions. Independent modifications, however, are first observed in a rather similar illustration which Walther Reifif uses in his Anatomi. However incomplete the illustration still is, there already appears a trace of some independent anatomic observation, some real study of nature. Reiff's picture of the eye had a long life and was reproduced by Anton Novarinus as late as i68r.

Individual conception does not come to the surface until the pub- lication of the Fahrica humani corporis by Andreas Vesalius in 1543. His drawing is not wholly true to nature, especially as regards the crystal- line lens. \'csalius could not free himself from the tradition that the crystalline lens had its seat in the center of the eye, a fact that he par- ticularly illustrates in several detailed drawings.

In some respects, it must be admitted that Leonardo da Vinci had already, through his own individual observations, come nearer the truth than all his i)redecess()rs and all his successors up to the time of \'esalius. He not only treats of the anatomy of the eye, but also con- siders it from the viewpoint of optics.

K: SCHEMATA OF THE MALE VISCERA IN BLOODLETTING ^L\N1KINS OF THE FIFTEENTH CENTURY^

rhe creation of the t\pe of bloodletting manikin {Adcrlassmann) arose from a decidedly anatomic and surgical need, and the picture therefore preserves its original purpose, or goes back to its fundamental

^ SudhoiT: op. rit., jo 48. Many other l)l(K)(lIellin^ manikins have been given in SudhofT's Btiini-^t zur Grschirhlc dtr i'hiruri^ir!tiMitl(l<ilt(rJjV\]r/Ai:,-[qiJi,()y~ii)y,r\a.ics XLII-LVTII, hut iIr' translator has refrained fr(tni using these, as being new copyrighted material, adding little to tlie main tendency of Professor Sudhoff "s earlier investigation.

SiiKUATit Kvi

» l't.kSHS MS ([(iyo A.ll.)

ILLUSTRATION OF THE PRE-VESALIAN PERIOD 8i

principle, when it passes later in its transition into zodiac-manikins^ with a schema of the male viscera. The early drawings of bloodletting mani- kins frequently showed the abdomen and thoracic cavities opened in order to render more strikingly and without words the best sites for venesection imder the signs of the zodiac, and their relation to the most important internal organs. These were indicated by lines running from the zodiacal signs at the side of the drawing. In this manner the blood- letting picture served not only its purpose of instruction in venesection but also, with only a slight deviation from its purpose, questions relating to the location of the male viscera. The bloodletting manikin also monopolized and satisfied for a long time, and up to the end of the fifteenth century, the anatomic needs of physicians and surgeons. In a similar manner originated later the wound manikin (Wundenmann) , whose body is mauled and pierced by stones, arrows, swords, and spears, the points of incision, or lesion, showing the sites for ligation of the differ- ent arteries, or for bloodletting.

Much earlier the bloodletting figure illustrated graphically with the schemata of the viscera, the planetary influence of the twelve sections of the zodiac upon the himian body (Tierkreiszeichenmann) , and the most favorable localities for applying treatment. At first, the names of the zodiacal diagrams were written at or on the corresponding parts of the body as convenient aids for the memory. Later, however, the zodiacal signs were actually printed or drawn upon the manikin, or aroimd the figure, with a separate line leading to the part of the body governed by the sign. Sudhoff regards the Etruscan donaria as the prototype of the zodiac-manikin, of which he gives a thirteenth-century specimen in colors in his Syphilis Album (191 2, pi. 3); another is foimd in a fifteenth-century Greek MS in Paris.

A figure which very exactly designates places for bloodletting, giving the complete customary names of the vessels to be opened, originated in 1432. It consists of a colored pen-drawing found in a Latin Munich MS (SS9S). A rather careless drawing of an early picture was engraved in 1491 and published in a popular little book with rhymed rules for hygienic living, viz., Heinrich Louffenberg's Versehung des Leibs,

The bloodletting figure of de Ketham constitutes a serious, scientific, and artistic piece of work that does not, in every single word, follow rigidly traditional lines but rather adopts the best from earlier authors. The figure was further developed and used for the first time in the ninth Venice edition (1507) of the ArticeUa, and in all the later ones. The first edition iq>peared in 1480 and the work ran through fifteen editions.

82 ANATOJUC ILLUSTRATION

In a pen-clrawiiig by Wolfenbuttel, representing the figure with the signs of the zodiac, the names of the signs are written across the body and the various regions separated by horizontal lines. More frequently the astrologic dependence is strikingly illustrated by the pictures of the signs drawn directly upon the corresponding parts of the body. In the Augsburg woodcut of the Verseliuiig des Lcibs, 1491, the twins ride the arms of the zodiac figure.

In the rather crudely drawn male figure with the signs of the zodiac in de Ketham, the signs arc drawn on the body, and little plates contain the most concise information as to what month each sign of the zodiac corresponds, and what part of the body h, governed by it.

In the fifteenth century it was customary to remove the pictures of the signs to a distance from the body of the illustrated manikin. This was done so that the artist could iUuslrate at the same time the more important internal organs and involuntarily, or intentionally, he came to make anatomic illustrations of the I'isccra in situ. Thus the bloodletting manikin became the early model for the anatomic picture.

Rarely were these signs dropped altogether and we meet ^-ith illus- trations showing visceral locations in a figure standing in the traditional position. Such a woodcut of some anatomic interest was printed at Haarlem in 1485 in a Low German translation of De proprielalibus rcritm of Bartholomaeus Anglicus. Standing in front of a walled garden is the figure of a man with the abdominal cavity opener! and a very diagram- malic representation of the viscera. Within the garden, the figure of Eve appears before the Lord, emerging from the sifle of the sleeping Adam. Although the alxlomen is not opened widely, it shows all the viscera which could have interested the phlcbotomist.

One of the early illustrations with the signs of the zodiac and dissected abdominal organs is found in the Basel edition of 1504 of Reisch's Mar^'irihi Pliilosopliica.

The dissected phlebotomy manikin with the zodiacal signs in Martinus Flach's edition of Mundinus' Anathomia. published at Strassburg in 1513, comes without question within the scope of the visceral schema whose model was the early bloodletting manikin.

The simultaneous occurrence on the same plate of the signs of the zodiac and the dius -jisccrum, brings out unmistakably the close connec- tion between the zodiac and the bloodletting regions. Thus the zodiac manikin was the indispensable complement of the bloodletting manikin.

A sketch of a kind of bloodletting figure by Leonardo da Vinci shows to what clarity his artistic mind had advanced as regards his conception

nXUSTRATIOX OF THE PREA"Ea\UAX PERIOD Sj;

of the localization of the drculaton* organs in the thoracic ami alxlvuninal cavities. The sketch is in the traditional posture and drawn u|x>n the surface of the skin is the top<^raphical anatomy of the circulatory ai^>aratiis with the liver, spleen, kidnej*s, and bladder, the **bKHHl-\Tssel tree/' as he himself had written alongside of the picture*

F: SCHEMATA OF THE FEMALE VISCERA L\ SITU

ABOUT 140(}-1543« 

In this series, Sudhoff bases his discussion on a drawing in the Lei|uig Codex 1 122 {circa 1400), from a gravida in Codex germ. Monacensis 507 (1485)/ and from two pictures in a Copenhagen series, here published.

It represents a nude female figure, without a suggestion of the external genitals, in a slightly squatting position, with the legs spread apart to show the vagina. The arms are raised and slightly bent at the elbows. The uterus is the crude bottle-shaped type of the twelfth and thirteenth and earlier centuries. The top of the head is covered with a headdress gathered in front with a ribbon, and with long tresses hanging down on both sides of the face. Drawn upon the thorax and abdomen of this undissected figure are the trachea and oesophagus, the heart inclosed by the lungs, the bottle-shaped stomach drawn in at the bottom, a lobelesH liver with gall bladder, intestinal convolutions, at the left and right far to the side the kidneys, and directly in the middle line of the abdomen the pregnant bottle-shaped uterus, opening directly into the vagina. All these configurations are schematic in character, excepting the five or six months' old fetus which is in a standing posture,in a foot presentation, with the legs slightly bent and the hands covering the eyes. Although worthless anatomically, it is of immeasural^lc value as a mi.ssing link for the oldest t>'pographic representation of the gravida, viz., the female situs viscerum picture in the edition of 1491 of the Fasciculus mcdicinar. by de Ketham. The conformity between this Leipzig drawing and de Ketham's woodcut is nearly perfect as regards the positiorj, headgear, and drawing of the viscera. Although there are slight difTcntnces in the other details enumerated in the MS drawing, nevertheless SudhofT rrasons that the artist for de Ketham's work, or his publishers the l)rotherH Gregorii, must have used a model similar to this one, as more of the pictures must have existed.

Another link in the series was found in a fugitive MS sheet, owned by Professor Gustav Klein, of Munich, probably about half a c entury latrr

' Sudboll: op. ciL, 79-^.

' Sudboff's Arckiv, Leipzig, 1907-8, I, pi. 4-

84 ANATOMIC ILLUSTRATION

than the Leipzig picture. This group of two MS drawings and de Ketham's woodcut is very instructive in every respect. The headdresses of the two MS pictures resemble each other more closely than that on the de Ketham woodcut, while, on the other hand, the viscera on the de Ketham picture and the Leipzig MS approach each other. On the whole, without going into more minute details, the documents pertaining to this particular branch of anatomy resemble one another so closely that a common model must have existed in antiquity and come down through the Middle Ages to the Renaissance.

In the first Italian edition (1493) of de Ketham's Fasciculus, pub- lished by the brothers Gregorii, we have the first autoptic representation of the female viscera in a woodcut engraving, including the portio vagi- 7ialis. In the Latin, Ketham of 1495, ^h^ vagina is split by a frontal section, showing the cervix with the abdominal cavity emptied, to demonstrate the impregnated uterus and adnexa, with the kidneys in situ.

SudholT brought to light, in 1907, an interesting connection between the printed copies of de Ketham and his MS sources, probably derived from earlier ]\ISS in French, German, and Italian. In a Latin MS {circa 1400 a.d.) in the Bibliothequc Nationale there was found a complete series of the Ketham pictures of 1491, and much of the text in the Fasciculus. The drawings and the text of the Paris MS are not assembled as in the de Ketham of 1491, but the text is identical in places and the printed figures are evidently copies of the MS sketches. Sudhoff believes that a Johannes de Ketham collected the text and drawings about a century before 149 1, and that, when printed for the first time in 1491, they bore his name. Of this, however, there is no definite information.

This drawing of the position of the female viscera, but without improvement, was used in 1525 in Ein gul artzney die hienoch sleety and again by ReitT in 1541.

Leonardo's great i)ictures of the female viscera have been preserved in a schematic outline drawing and in another of more finished character. SudholT infers that this finished drawing was designed for publication, and the outline drawing, as in modern custom, was to have been used for naming the various organs. This illustration again shows a notable ridelitv to nature in its hii^her form.

]Minds of great originality and inde}H'ndence were rare at this time, but in the woodcut in Vesalius' Fabrica pertaining to the anatomy of the female, an absolute personal observation of nature is likewise shown in every line. No other picture of Vesalius, however, approaches da Vinci's

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ILLUSTRATION OF THE PRE-VESALIAN PERIOD 85

ScxEKATA 01 THE Fehale Ktctrd in situ, FKOH Kethah's Fasciculus nudicinae, Vemicz, 1491 A-D- (afteb Wiecek)

ILLUSTRATION OF THE PRE-VESALIAN PERIOD 85

Schemata of the Female titeera in situ, rKox Kethak's Fmckutta mtdUinae, Venice, t4gi a.d. (aites Wieges)

ILLUSTRATION OF THE PRE-VESALIAN PERIOD 87

drawings so closely as this one, but no one ought seriously to believe that it was borrowed or plagiarized, as his own achievement was so tremendous and limitless.

" The practice of plagiarism was widespread during this period. Pub- lishers and authors engaged in it in a wholesale way; both sketches and text were commonly copied without credit being given. The ethics of the rights of intellectual property were unrecognized. Now and then a touch of original observation was added to the traditional figures, but they were not perfected. Dependence on authority was still the deep- seated method of the intellectual life, and the rise of independent observa- tion was slow. But, the better intellects were opposing it, and with all these limitations the light of the Renaissance was breaking. Dependence on authority was giving way, and, finally, thanks to the work^of his predecessors, Vesalius was able to establish a new method based on observation and reason. With the publication of his Fabrica in 1543, there was ushered in the era of good illustrations of anatomy. The pre- vailing mental habit of the time was now at least partly overcome, and the era of independent observation was started.*'*

'Locy (William A.): Anatomical Illustrations before Vesalius, Journal of Marpholcgy, XXn, 4 (December, 191 1).

MONDINO DE' LUZZI

Mondino de' Luzzi, Mondini, Mundinus, Mundinus de Lentiis, the son of a pharmacist (speziale) at Bologna, later anatomist and professor at Bologna, has been recognized as the founder of anatomy in the Middle Ages, since he wrote for his students, in 13 16, an anatomic compendium which remained famous until the beginning of the sixteenth century. In the introduction to the book, he says, proposui meis scholaribus in medicina quoddam opus componere, *^I have proposed to compose a work in medicine for my scholars. He himself dissected two female bodies in 1315, as discussed in the chapter de vasis spermatis. He is said to have died in 13 18.

[This compendium was without illustrations, at least nowhere does the text refer to any. It met a need universally felt just at that time and commended itself for its brevity, conciseness, and completeness, as well as for the fact that it taught for each separate organ the necessary anatomic technique, as, for example, in the first chapter: Situato itaque cor pore vel Iioyninc morluo per decollationem vel suspensionem supino^ etc., accordingly, laying out the body of a man dead by decapitation or hanging, etc,"

Regarding the texture of the tissues he says:

De parlibus auicm licet sint duplices consimiles videlicet et compositae, de sir.iplicibus non poiKim dislinctam anolhomiam, quia earum anolhomia non perfecte appareal in corpore deciso sed niagis liqucfacto in gurgililnis aquarum. Sed ponendo anolhomiam niembrorum organicorum de consimilibus loquar secundum quod consimile aliquod in aliquo membro organico doniinatur: ut de came in anolhomia coxae, tie ossibus in anolhomia dorsi et pedum et de anolhomia neruorum in anolhomia cerebri et niuhae.

"As regards the parts, even though they arc of two sorts, simple, of course, and composite, 1 will not set forth a separate anatomy of the simple ones, since the anatomy of these (loes not completely appear in the case of an ordinary cadaver, but in the ( ase of a body dissolved in an abundance of water. Hut in setting forth the anatomy of the on^anic members. I will speak also of the related parts according as eat h parliiular part is dominant in the particular organ under discussion. For example. I will sj)eak of 1 he llesh in the anatomy of the hip. of the bones in the anatomy of the back and feel, and of ihe anatomy of the nerves in the structure of the ccrcl)rum and back of the neck."

After a ijcncral introduction dcalin<jj with the ditTerences between the human and the animal body and their division, a description of the

88

MONDINO D£' LUZZI

89

different organs is given in the following order: (i) abdominal cavity {venttr inferior), abdominal muscles, peritoneum, omentum, digestive organs, urinary and sexual organs; (2) thoracic cavity (ttudius i>enier), the breasts, bones and muscles of the thorax, pleura and diaphragm, heart, lungs, organs of the throat and mouth; (3) head (venkr superior), skull, the brain and its cortex, eye, ear; (4) bones, spinal coliunn, extrem-

ities, the latter with the muscles. This division into Membra genitalia, naluralia, spirituatia, animaia, which continued in use up to the seven- teenth century, and the custom of the anatomic textbooks of that time of beginning the order with the abdominal cavity were due to the scarcity of cadavers, which necessitated care in spreading the dissection over several days {Lectionei). During the first lessons, the abdomen and the viscera were demonstrated, Mondino says, quia prima ilia membra Jtiida sunt el idea ut primitus abiiciantur ab eis incipiendum est. " Since, to begin with, these members are fetid, and on this account we should

go ANATOMIC ILLUSTRATION

make a start with them, in order that we may be able to throw them away as soon as possible"; in the second, the thorax and its organs (Membra spirUiuilia, lungs and heart); in the third, the head and its contents with the sense organs {Membra animata), and in the fourth, the extremities, muscles, and bones. Most of the older anatomic com- pendia, therefore, tinish up with osteology. The famous French surgeon Guy dc Chauliac, in the fourteenth century, gives the same account: Et ipsam (anatomiam) administravil 7nultoties magister mens Bertrucius in liunc modian, collocato corpore mortuo in banco (in other sections scamno) j'aciebal de ipso quatuor lectiones. In prima tractabantur membra nutritoria, quia citius putrent, **And my own teacher, Bertrucius, many times conducted an anatomy lesson in this fashion. Placing the dead body on a bench he would give four lectures about it. In the first, would be treated the digestive tract, because these parts rot more quickly," in secunda membra spiritiialia (respiratory system and heart), in Icrtia membra animata (brain and senses), in qiiarta extremitaks, a very expedient method (considering the economic use that had to be made of cadavers rarely obtainable), yet rashly derived in Joseph Ilyrtl's Antiquitates analomicae rariores, Vienna, 1835, 8°, page 45, and utterly misunderstood in Hurggraeye's Etudes sur Vesalc, Ghent, 1841, 8^, ])agc 12.

Kverywhere in this compendium the author's own anatomic activity with human and animal cadavers is in evidence. He himself speaks re[)catedly of this work, as for instance in the beginning:

Vo])is lO^nitioiR'iii p:irtium corporis hiimani quae ox anothomia insurgit proposui iradcrc. now hir obscruaiis stilum ahum sod magis secundum manualcm opcrationem vol)is tradam noliciam;

"I have made it my purpose to give to you that acquaintance with the parts of the human l)ody which arises from the study of anatomy. In this work I shall not strive for a lotly di( tion. but will rather ac(iuainl you with the results of a dissection."

And further on in cap. de ajiothomla matricis:

\.\ propter i^tas nuatuor causas mulier (juam anothomizaui anno preterite siili(c"i I •; 1 ^ anno rhristi de men>e ianuarij maiorem in duplo habebat matricem (juam ilia (juam anolhomi/aui eodem anno de mense marcij: potuil esse quinta causa: fjuam ibi ])onit Auiienna. siilicet cjuia i)rima erai menstruata: el in tempore menstrual ionis impin([uatur et ingrossalur matrix. Diuersihcatur etiam matrix \\\ ((uaniiiate ratione generis ((uoniam matrix i)kirium generatiui animalis maior est cjuam matrix unius generatiui. el i)roi)terea maior cenlies eral matrix porce, quam anotliomi/aui \,\\b quam nunquam viderim in femina humaiui; poluit tamen alia esse causa, (juod erat praegnans el in utero hal)ebal 13 porcellos et in ea monstravi anolhomiam fetus sine pregnant is, etc.

MONDINO DE' LUZZI 91

And for these foiir reasons the woman that I dissected last year, that is, in January in the year of our Lord 1315, had a uterus twice as large as the woman that I dissected in the same year in the month of March. There might have been a fifth reason, the one that Avicenna posits in this connection, i.e., because the first of these women had menstruated, and during the period of menstruation the uterus becomes engorged and is enlarged. Then, too, the uterus varies in size by reason of reproduc- tion, since the uterus of an animal that has borne several young is larger than the uterus of the mother of one, and for this reason the uterus of a sow that I dissected in the year 13 16 was a hundred times greater than I have ever seen in the female of the hiunan species. Still, there may also have been another reason, because the animal was pregnant and was carrying in her uterus thirteen little pigs, and in the case of this animal I demonstrated the anatomy of the gravid or pregnant female."

This in itself shows the year 13 16 as the date of the writing of the book and, at the same time, that Mundinus dissected, in 13 16, a pregnant sow and, in 13 15, two human female cadavers, the first one of which had menstruated.

The nomenclature is partly Arabic and partly Arabist: M track ^ abdominal muscles as a whole, 5i^/rac/r = peritoneum, J/m = oesophagus. Venae guidech = jugulsLV vein. Vena chilis (from xoiXirys) = inferior vena cava, Caib = OS calcis; other names are in Latin, but diflfer frequently from the nomenclature of the present, as, for instance, Pomum grana- /ttm = ensiform process, EpigloUus = ldiryuXy Secundina and Aranea — chorioid and hyaloid of the eye, Zirttt5 = omentum, Monoculus — cotcwjaXy Fortanarium = pyloniSy Os laude = occipital portion of the occipital bone, Os hasilare = body of the occipital bone with the sphenoid and the petrous portion of the temporal bone, Os adjuiorium = humerus, Os femoris = each innominate bone of the pelvis, Canna coxae = iemuTy Focilia = the two bones of the forearm and the leg, Rascelae = cdivpus and tarsus, 5pa/«/a = scapula, Fwrcw/a = sternum and clavicle, Pec/^n = metacarpus and metatarsus, Pars silvestris = extensor surface, Pars domestical flexor surface. Much attention has been given to zootomy, physiology, pathology, and operative surgery.

There are a great many different editions, some of them with illustra- tions, although the original text had none. It is hardly possible to enumerate all of them; only a few of the older and more authentic editions are therefore given.*

■ Besides the 31 editions cited by Choulant, the following Ibt contains 18 not given or unknown to him:

Lipsiae, 1493, 4**> Martin Landsberg, Panzer, I, 480, 63; Hain, 11637.

Lipsiae, 1505, 4**, Panzer, VII, 497, 17.

Venetiis, 1507, fol., Haller.

Papiae, 1507, J. de Paucisdrapis, Stockton-Hough, Bihliolheca Afedica.

Venetiis, 1508, 8^, italice, Haller.

[Fooimolt continued on page o^.]

92 ANATOMIC ILLUSTRATION

1. Pavia, 14^8 Jol., published by Antonio de Carchano, December 19. Title: AnoUwmia Mundini praestantissimorum doctorum almi siudii

Ticiensis (Ticinensis) cura diligentissime emendata: impressa Papiae per magistrum Antonium etc. regnante Johanne Galeaz illustrissimo Insubrmm diice sexto. (Panzer: AnnaL typogr.y II, 246, 8; Hain- Copinger 11634. Proctor 7051.)

2. Bologna, 1482, JoL, published by Johannes von Noerdlingen and Henrich von Haarlem, January 20.

Page I a (Signature a i) : Incipit anathomia / Mutidini. / () Uia dixit I Gal. etc. colophon page 19 b: II ec Anotliomia fuit emendata ab Exi I mio arlium: et medicine doctore. d. Magistro / Petro Andrea morsiano de Ymola in almo / studio Bononie cyrurgiam legente coadiuuanti / bus Mgro Jolianne Jacoho caraia de buxelo / Et mgro Anthonio Frascaria Januensi cy / rurgie stiidcntibus. Impressum per Johannem de / / noerd- lingen. Et Iicnriciim de harlcm socios. / A nno dni. M. cccc. Ixxxij. Mense Ja- I nuarij die. xx^ . Gothic type in 2 columns, with signatures, 45 lines, 19 pages, without illustrations. (Panzer: Ann.^ I, 214, 73; Hain

3. Padua, 14S4, 4°, published by Matthiius Cerdonis de Windisch- gratz.

Page I a: Incipit anotliomia Mundini. / (Q) Uia ut ait G, etc, colophon page 34 a: II ic modus imponitur anathomie Mundini: que non I paucis in locis emendata fuit per c.vccllcntissimum artis et / medicine doctorctn magistrum Ilyeronimum de Ma- / feis de Uerona impressaque per magistrum Matthcum ccrdo- / nis de Vuindicchgretz Padue: Anno dni 14S4. Ciothic type without signatures, catchwords, and pagination; illuminated initials, 34 lines, 34 pages. (Panzer: Ann.^ II, 375, 72; Hain, '^ 11626; Proctor; 6818.)

|/'"<;()/n<>/<' lonlinucd from Pii,Ke t^r.\

Argcntorati, 150Q, fol., Ilaller. Vunctiis, 151 2, 4"*, Il.icscr.

Bononiac, 15 14. 4°, Justinianum Ruhcricum, Panzer, VI, 327, 70. ' '• '-Id. fol.. Panzer, VIII, 280, 4.

MONDINO DE' LUZZI 93

4* s.l.eta.y ^. Leipzig y published by Martin Landsberg.

Page I a: Woodcut covering the page: on a chair a man is sitting with coat and high cap, in his left hand an open book, on the left side of the picture a rock and six linden trees, below, on a table, a dissected cadaver, beside its left foot lies a curved knife, to the right of the cadaver stands a yoimg man in a short garment, bare-headed and with long curls, grasping the intestines of the cadaver with both hands; to the left at the top of the picture the following is printed in type: Anothomia Mun I dint Emendata per / doctorem melerstat; page ib: 24 verses: Est opere pretium — bona cuncta serity below them Martinus meUersM medicus; page 2a: Incipit Anothomia Mundini / () Via ut ait. G. etc., concluded on page 39a; page 39b: Sequitur additio domini gentilis / de ftdgineo que est reprobatio ali / quorum dictorum Mundini in ano / thomia prescripta, concluded on page 40a with 4 verses: Hie labor expirat — in arte Vale. ; page 40b blank. Gothic type in projecting lines, signa- tures A * E, 34 lines, 40 imnumbered pages. This edition is also given thus: Lips. I4gj and 1303 in 4**, probably an impression by Martin Landsberg of Wiirzburg, who printed at Leipzig from 1490 to 151 2. Martin Pollich of Mellerstadt was professor at Leipzig until 1 502 ; from then on he was professor in Wittenberg where he brought about the foimding of the xmiversity. He died December 27, 1513. {Bibl. Rivin. 2319; Panzer: Ann., I, 480, 502; IV, 345, 342; Hain-Copinger 11633; Proctor 2994.)

5. Venice 1494, ^, published by Bemardinus (de Vitalibus), February 20. Gothic type.

Colophon: Venetiis per Bernardinum Venetum, expensis Hieronymi Duranti. Mcccc. 94. die 20. Febr. (according to Panzer: Ann., Ill, 362 (1850); Hain: 11638, neither saw it). Hieronymus de Durantis lived in Venice in 1493-94, Bemardinus de Vitalibus from 1494 to 1507.

6. Venice 1498, 4io, published by Johannes and Gregorius de Gregoriis, brothers.

Title: Anatomia Mundini emendata a Petro Morisono de Imola impressa per Joh. et Greg, de Gregoriis, according to Panzer: Ann., I, 214, 73; Hain 11639, both relying on Boemer: Noctes Guelphicae, page 177, who claims to have seen the edition in the Rathsbibliothek in Leipzig. Nevertheless, it is probably a new edition of number 2 (Bologna 1482) and the name Morisonus is only an error for Morsianus.^

The woodcuts are better than Hundt's (page 38) according to Boemer; they seem therefore to be anatomic prints. Haller: Bibl. anat., I, 146,

'This paragraph ends oiigiiial.

94 ANATOMIC ILLUSTRATION

says of this edition: cum malis figuris^ *'with poor figures/' In Morsianus' edition, which appeared in 1482, in Bologna, and which Hain (11635) himself had seen, there were no pictures. There were also none in the edition which was included in Ketham's Fasciculus ynedicinae Venet., 1495, although the publishers were also the Gregorii, known as active promoters of the woodcut in Italy.

7. Pavia, 1 512, 4°, pubhshed by Jacobus de Burgofranco.

With a woodcut illustration of the saints Cosmas and Damianus; cf. von Rumohr: Geschichtc und Theorie der Formschneidekunst, p. 57. Panzer: Ann., VII, 497, 17.

8. Strassburg, 151 3, 4°, published by ]\Iartin Flach.

Title: Mundinus / Dc omnibus humani corporis / interioribus mcm- bris I Anaihomia. On the back of the title-page: Joannes Adolphus Pliysicus Egrcgio Leonardo Apothecario, Medico expertissimo, apud Basilcam etc. Desideraverunt plerique medicinarum alumni, ut Mundinus ipse physicus preclarissimus, quern omnis studeniium vniuersitas, colit ac veneratur vt deunu tandem emendatus in lucem veniat etc. — Vale: Ex Argentina ipso die beatorum inartirum testium christi etc. Anno etc. MiUcsimo quingentesimo Tredecimo: These martyrs are neither named, nor represented; they are probably the saints and physicians Cosmas and Damianus of the al)ove-mentioned edition, after which this edition may have been printed. The text begins on page 2a: Incipit anatho mia Mundini, and conckides on i)age 38b. It is followed by the enumeration of the bones, muscles, and nerves. Page 40a: Imprcssit Argentine Martinus FlacJi I Anno domini. M. D. xiij. Gothic tyi)e with signatures A-K: 40 unnumbered pages. The editor Adclphus <^avc an Additio to some passages in the text. One of these (Sign. I'iiijb) is accom])anie(l by a small woodcut printed in the text with reversed letters, and representing the heart, particularly the Voitriculiis mcdius which was thought to ])e between the two halves of the heart, and the orifices of the coronary vessels. The cut does not belong to Mundinus^ text. A woodcut representing a man with dis- se( ted thora( ic and abdominal cavities and a narrowband over his geni- tals ti(Ml at his left hi[), is in some roi)ies of this edition on the title-page, in others below the colophon, and in others at both places. Surrounding the man  ;ire twelve medallions with the signs of the zodiac from which lines are drawn to the on^Mns of the bodv ruled bv them. There is no lettering either on or around the i)late. This illustration appeared also as a fugitive anatomic plate with German verses printed all around the plate. A reversed copy of the i)late appeared with the figures of the

MONDINO DE' LUZZI 95

signs of the zodiac changed and these words engraved on the plate by the side of each sign: Bos, Gut, Miitel, Panzer: Ann,, VI, 58, 273.

9. a [Geneva], 1519, 4"^ December 20.

Title: Anathomia Mundini. / En lector libellum Mundini quern de parti' I bus humani corporis inscripsit ab omni er / rore mendaque alienum: nee non cum an- / notationibus in margine positis et / locis vtilioribus Aris. Aui, Ga, ce / terorumque medicorum ubi quod / auctor dicit clarius locis / allegatis videre pote- / ris, Addita est nu- / perrime tabula an / notationum ac I particularum / totius li- / belli. Page ib: a woodcut, a reduced reproduction of the dissection from Ketham's Fasciculus medicinae, from the inferior plate with a few changes: the platform is decorated differently, the window to the right is without casements, to the left are only two persons, to the right only three, and everything is more crosshatched than on Ketham's plate. The text begins on page 2a, and concludes on page 23b : Explicit anathomia Mundini, / Impressum Geben, A nno domini, M, ccccc, et, xix, / die vero vigesima mensis decembris. Page 24 contains an index to the chapters, at the end: Finis tabule. Gothic type, sign, a-f, no catchword, 49 lines, 24 unnumbered pages. This print is mentioned nowhere and is in the possession of the Univer- sity Library in Leipzig. It is probably a reprint of Mundinus* text in Ketham with the addition of marginalia containing mostly quotations and indexes.

10. Marburg, 1541, 4°, published by Christian Egenolph.

Title: Anatomia Mundini, ad vetustissimorum, eorundemque aliquot manu scriptorum, codicum fidem collata, iustoque suo ordini restituta. Per Johannem Dryandrum Medicum professorem Marpurgensem, Mar- pur gi, in offic. Christiani Egenolphi. At the end of 1541; with 46 plates.

11. Pavia, 1550, 8?, published by Camillo Borio.

Contains a commentary by Matteo Corti (Curtius) consisting of four hundred pages. Cf . Giuseppe Cervetto : Di alouni illustri anatomici, Verona, 1842, 8°, page 7; Haller: Bibl, anat., I, 170.

Besides these, Mundinus' text appeared in the following: ay in Ketham^s Fasciculus medicinae, Venet, 1495, fol,, 15 Octob,; ibid, 1500, fol., ly Febr,; ibid, 1500, fol., 28 Mart.; ibid. 1513, fol,, JO Febr.; ibid. 1522, fol., ji Mart., after the revision which Petrus Andreas Morsianus of Imola prepared in Bologna for the edition of the students, Johann Jacob Cararia (Caraia) de Buxeto and Frascaria of Genoa. In the oldest edition of Ketham, Venet. 1491, fol., 26 Julii.

' Boemer: Noctes Guelphicae, p. 177.

96 ANATOMIC ILLUSTRATION

IMundinus' text is missing, and with it the illustration of the dissection belonging to the text. No other illustrations, besides this one, accom- panied Mundinus' writings in Ketham's compilation. The edition Venel. i$2z has annotations by Alessandro AchiUini,

t)' in Jac. Berengarii de Carpi: Commcntaria super analomia Miin- diiii, Bonon. 1521, 4°, prid. non. Mart., distributed in chapters over a very extensive commentary, and as promised in the title: in pristinum ct verum nilorem rcdaclus. Twenty-one illustrations are here inserted by Berengarius to accompany Mundinus.

c)' translated into Italian in Fasciculo de mcdicina vulgarizato per Sehasiiafw ManiHo Romano, Venez. i4g3.Jol., 5 Febr., an ItaUan trans- lation of Ketham's compilation. Mundinus is completely translated, the text begins with sign. £ iii, and the dissection from the older and better plate, which was probably used here for the first time, is also inserted.]

' Botrner: Noctes Gutlphicac, p. 177. ' Ihid.

MARC ANTONIO BELLA TORRE

Marc' Antonio della Torre, Marcus Antonius Turrianus, of Verona, an anatomist, came from a distinguished Lombardian family alleged to have been of princely descent. His father, Girolano, taught medicine at a very early age at Padua, about 1442, then in Ferrara, and again in Padua after 1487, and died in the month of February, 1505. Of his four sons, Giulio chose jurisprudence. Marc' Antonio, medicine, Giambattista, astronomy, and Raimondo, belles lettres. All won fame in their respective callings.

Marc' Antonio was bom about 1473, ^^^ ^^^^ ^ doctorate degree in medicine and the liberal arts at Padua. About 1501, he lectured there on theoretical medicine, and was soon made professor in ordinary. His fame won him a call to Pavia to establish there a school of anatomy. There he directed attention to anatomic errors, especially of the newer anatomists such as Mundinus, Zerbi, and others, and from whose meager descriptions he probably called attention to the rich, although likewise erroneous, anatomy of Galen. At Pavia he also prepared a great anatomic work, the appearance of which, however, he did not live to see. In the fall of 1506, he was called to Riva di Trento, on Lake Garda, on accoimt of a malicious fever epidemic raging there, and soon after fell a victim to the disease. He died there September 22, 1506 (or 151 2), at the age of thh-ty-three, and was later solemnly interred in Verona beside his father in the church of San Fermo. His likeness can be foimd in the collections of Reussner and Freher, and also in the work by Cervetto mentioned below. It was copied from a painting by Venuti and lithographed by Guelmi.

None of his writings have been preserved. For his illustrations, he employed the famous painter Leonardo da Vinci, whose work we shall, therefore, mention in another chapter.

Jovius, Paulus: Elogtc virorum Uteris iUuslrium, Basil. 1577, fol.

Chiocco, Andrea: De coUegii Veronensis iUustribus medicis et phUosophis^ Verona, 1623, 4®, p. 20.

Cervetto, Giuseppe: Di alcuni iUusiri anatomici italiani del decimoquinto secolo indagini, Verona, 1842, 8^, pp. 46-66.

Moehsen: BildnissCf p. 75; MedaiUen-Samml. I, p. 129 (Rudolphi, Index numismatum, Berol. 1825, 8°, p. 120, declares the medal represented there to be spurious).

97

98 ANATOMIC ILLUSTRATION

Hunter. William; Two Introductory Lectures, London, 1784, 4°.

Blumcnbach: Inlrod. in /listor. mcd. litl., p. 117; also his Medicinisclie Bibliolhek, III, p. 141 and 728.

Marx, Karl Fricdrich Hcinrich: (fbtr Marc' Anionic dclla Torre und Leonardo da Vinci, die Bcgriindcr dcr bildlichcn Anatomie; Abhandl. d. K. GescUsehaft der Wis sense hajlen ei* Gotiingen. GGltingen, 1849, I\', 131-4S.

Fracastorius, Hieronjinus; Carmfti in obilum Aiilonii Tiirriani, in EJiisd. et M. Flaminii carmina, Venet., i75g, &°, p. 73.

LEONARDO DA VINCI

Leonardo da Vind, the painter, was bom in 1452, in the castle of Vinci in the valley of the Amo. For four years he was a pupil of Andrea Verocchio in Florence, and lived for a time in Rome, until he was called to Milan in 1487. Toward the end of 1499, he went to Florence where he stayed, excepting a short sojourn at Rome, imtil 151 5, when Frauds I called him to France. He died at St. Cloud in the year 1518. (Accord- ing to others he lived from 1443-1519.)

As an artist, he assisted the anatomist Marc' Antonio della Torre (see page 97) for an anatomic work which della Torre intended to publish, but was prevented from finishing by sudden death. Up to the present time these anatomic illustrations have not yet been found.

Of the thirteen volumes of drawings left by Leonardo da Vind, twelve came into the possession of the Ambrosian Library at Milan, through the gift of Count Galeazzo Arconato, but were taken to Paris in 1796 by the French, from whence only a part of them were returned to Milan.

The thirteenth volume came into the hands of King Charles I of England and now constitutes a part of the Royal Collection of Hand Drawings in England. Charles I kept this volume, together with sketches by Hans Holbein, in a separate closet, and thus this treasure remained hidden in Kensington Castle until the beginning of George Ill's reign, when Dalton brought it to light and published thirteen engravings from it. This volume of da Vinci's sketches is an imperial folio, bound in calfskin, with the inscription: Disegni di Leonardo da Vinci reslaurati da Pompeo Leoni, It contains 234 or 235 sheets with 779 sketches done in most varied ways, many with pen on common paper, some with black and red chalk on blue, brown, or red paper, or with metal-point on colored paper, and a few in India ink. Among them are portraits, caricatures, single figures, compositions, riding, fencing, and tournament scenes, horses and other animals, flowers, illustrations per- taining to optics and perspective, to rifle practice, hydraulics, and mechanics. Besides these, there are a large number of very exact drawings of anatomic subjects done with a fine pen and representing chiefly heads, the extremities with their muscles and vessels, the female genitals and the fetus, several of the viscera, and also studies of the

99

%4V>

,v>o^^

lOO ANATOMIC ILLUSTR.\TION

anatomy of the horse. Da Vinci's portrait is also among the drawings. The entire text is written from right to left (in mirror- writing) in a very fine hand. The language is Italian. Cf. Knox: Great Artists and Great Analomists, Land. iS^s, 8°, p. 136.

Another collection of such sketches (at first in the possession of Don Venanzio de Pagave. later in the hands of Giuseppe Boss!) was acquired by the Imperial and Royal Academy of the Fine Arts at Venice, through public purchase from the Abbate Celotti.

Giuseppe Vallardi also collected in his travels about 360 pages of similar sketches by da Vinci.

Vasari (Vile de' pittori, Rom., 1759. 4°, II, 8; Fircnze, 1568, 4"^, III, p. 7) gives exact and instructive information on the way these sketches were made:

Attesc di poi (Lionardo) ma con niaggioi cura alia nolomta degli uomini, ajutato e scamhicvolmentc ajulando in questo Messer llarcanioiiio dcUa Torre, ccceltente filosofo; che ailora leggeva in Pavia e strivcva (ii quesla materia e fH de' primi (come odo dire} che comiiicjo a iUuslrare con la dollrina di Galcno Ic cose di mcdicina, e a dar vera luce alia nolomia, sino a quel tempo involta in molle e grandissime lencbre d'ignoranza, ed in queslo si scr\'i maravigliosamenta dell' ingegno. opera e mano di I.iunardo, che ne fece un libro disegnalo dl matita rossa c tratteggiato di pcnna. ch'egli di sua mano scorlico, c rilrassc con grandissima diligenza, dov'egli fecc lutte Ic ossaTure, c a quelle congiunse poi con ordine lulli i ner\'i, e coperse di muscoli i primi appitati all' osso cd i secondi, che Icngono il fermo, e i lerzi, che muovono, e in qutlli a parte per parte di brulti caratteri sciisse lelterc. che sono fatte con la mano mancina a rovesrio, c chi non ha pralica a Icggcrc. non I'intende perche non si Icggono, ae non con  !o spccchio. Di qucste carte dcUa notomia degli uomini n'e gran parte nelle mani ili M. Francesco da Melzo, gcniiluomo Milanese, etc.

"He (Leonardo) aftenvatds gave his attention, and «'ith increased earnestness, to the anatomy of the human frame, a study wherein Messer Marcanlonio delia Torre, an eminent philosopher, and himself, did mutually assist and encourage each other. Messer Marcantonio was at ihal lime holding lectures in Pavia. and wrote on the same subject ; he was one of the first, as 1 have heard say, who began to apply the doctrines of Cialen to the elucidation of medical science, and to difTuse light over the science of anatomy, which, up to that lime, had been involved in the almost total darkness of ignorance. In this attempt Marcantonio was wonderfully aided by the genius and labour of Leonardo, who filled a book with drawings in red crayons, outlined with the pen, all copies made with ihu utmost care (from bodies) dissected by his own hand. In this book he set forth the entire structure, arrangement, and disposition of the bones. 10 which he afterward* adiled all the ner\Ts, in their due order, and next supplied the mtiscies, of which the first are affixed to the bones, the second give the power of cohesion or holding firmly, and the third impart (hat of molion. Of each separate part he wrote an explanation in rude characters, written backwards and with the left hand, so that whoever is not practiced in reading cannot understand them, since they are only to be read with a mirror. Of these

LEONARDO DA XTSCl loi

anafomiral drawings of the human form, a great part is now in the possession of Messer Francesco da Melzo, a Milanese gentleman, etc. '*'

This tends to show that there actually existed a reciprocal relation- ship between della Torre and da Vinci. The former assisted da Vinci in his anatomic studies (for artistic purposes), with anatomic instruction and prq>arations, while the latter aided della Torre's scientific researches. From what we have learned, it appears that all their efforts benefited file graphic arts, rather than anatomic science. We are, therefore, inclined to regard all these sketches, excepting one only, as studies carried on by the artist with the aid of the anatomist, rather than as drawings done for the benefit and in the interest of anatomic science. At any rate, the sketches done for della Torre's projected anatomic work have not yet come to light.

A great number of da Vinci's sketches, contained in the volumes that were formerly kept in Milan, and now in part held in Paris, were published in

Recueil de Testes de caracUres ei de charges dessinies par Leonard de Vinci Florentin ei gravies par M. le C. de C. {Comte de Caylus) A Paris^ cliez J. MarieUe, 1730, 4°.

This book contains nothing pertaining to anatomy, but merely caricatures of heads. The preface by Mariette, however, contains very valuable remarks on da Vinci. The second edition of the Recueil de Testes de caracteres was published (in Paris) in 1767, 4°, and here the title-page and the two last plates (chiaroscuro in the edition of 1730) are replaced by copies in the style of aquatint or of sketches by L. Bonnet, cf. Weigel's Kunsikatalog no, JQ402.

Carlo Giuseppe Gerli: Disegni da Leonardo da Vinci. Milano 1784, fol.; edition 2, con note illustrative da Gius, Vallardi^ Milano, 1830, fol. ; with original copperplates from the first edition.

In this second edition we find the following plates of human anatomy: plate 6, three figures representing the muscles of the neck, the shoulders, and the lower extremities; plate 14, the muscles of the breast, the neck, and the upper extremities; plate 8, the muscles of the lower extremities; plates 2 and 13, drawings pertaining to the theory of the proportions of the human body.

A number of drawings on seven plates, taken from the volume of da Vind's sketches in the possession of the King of England, were published in John Chamberlaine's Imitations of Original Designs by I^onardo

' (Tnmslation by E. H. and £. W. Biashfield and A. A. Hopkins' VasarVs Lives of , New York, 1907.)

I02 ANATOMIC ILLUSTRATION

da Vinci, London, 1796, foL, included in John Chamberlaine: Original Designs of the Most Celebrated Masters of the Bolognese, Roman, Florentine and Venetian Schools, London, 1812, fol.

Among these are six plates pertaining to osteology and myology for artists. The seventh plate represents a female and male body in sexual intercourse, both cut in a plane through the median line from front to back and from the shoulders down to the lower end of the abdominal cavity. On the same plate there are three more anatomic figures, one of which pictures the digestive organs, another the male genitals, and a third a male torso. To all of them is added a well-nigh undeci- pherable text in mirror-writing. This copperplate in Chamberlaine's Imitations, which probably could also be had separately, is certainly the same which was in the possession of Blumenbach at Gottingen where Fiorillo saw it. {Geschichte der zeichnenden Kilnste von ihrer Wieder- auflcbung his auf die neuestcn Zeiten, Gottingen, 1798, fig. 8, I, 311.) This same illustration is repeated in

Tabula anatomica Leonardi da Vinci siimmi quondam pictoris c hibliotheca Augustissimi Magnae Britanniae Hannoveraeque Regis de- promta, venerem obversam e legibus naturae hominibus solam convenire, ostendcns. Lunaeburgi, 1830, 4°, siimtib. Heroldi ct Wahlstabii, typis exscripseriint Fr. Vieweg ct filius. Brunswigae, four leaves and one lithographic plate.

This is probably taken from Chamberlainc's collection, since nothing is said about its being copied from the original sketch. Nor is there any further comment added, excepting two mutilated passages from Blumenbach 's Introdtictio in historiam medic inae literariam, and his Medicinische Bibliothck, The contours are nearly the same in both plates, but the crosshatching shows some difference. In the Luneburg plate the left foot of the female figure is complete, whereas it is missing in the Chamberlaine plate. The character of the writing on the plates seems to differ. The anatomy of the internal organs is pre-Vesalian and was not sketched from nature, but merely after descriptions.

The bones and muscles on the other six Chamberlaine plates are drawn with fidelity from nature, and are artistically true and beautiful. I'hou^h one must not exj^cct a hif^h degree of anatomic exactness, they are nevertheless l)etter and more exact than the Berengarian representa- tions in the same style. Chaml)erlaine reproduces the mirror-writing on all his anatomic plates, while it appears on only one of the Gerli plates. In Chamberlaine's collection the drawings and the engraving (by Francesco Bartolozzi) are better than those in Gerli's edition.

LEONARDO DA VINa

I04 ANATOMIC ILLUSTRA 1 iu.>

Da Vinci, in his treatise on the art of painting {Trattato delta pittura), refers to a book on human anatomy written by himself, which (chap. 22) contained sketches and in which (chaps. 212 and 223) he promises a volume on the movements of the body and its parts from the anatomic point of view. An extract of this book is said to have appeared under the title of

Fragment iVun traite stir les moiivemens du corps hiimain ct la maniere dc dcssincr Ics figures siiivant des regies geomctriques, which is supposed to have been published in nine folio sheets by E. Cooper, a dealer in engravings in London, at the beginning of the eighteenth century. See Fiorillo, loc. cit., I, 304.

[Etchings after original drawings by da \'inci have been found by Wenceslaus Hollar (b. Prague 1607, d. London 1677) in the collection of Count Arundel. Among them are illustrations of skulls and muscle- heads, also entire musclemen. Cf. Sotzmann in Dciiischcs Kunstblatt, 1S52, no. 2, page 17. The library of the \YMietian Academy possesses drawings of the human figure by da Vinci illustrating Vitruvius, includ- ing the Italian translation of this author made by da Vinci, allegedly from a better text of \'itruvius than is now in existence. Both the drawings and the text have recently been published by Joseph Bononi in London.

l^iere should also l)e mentioned here \'enturi's Essai sur les ouvrages pJiysico-maUiemaiiqucs dc L. da Vinci, avec des fragmens tires dc ses maniiscrits a p partes dc V Italic, Paris. 1797, 4°, A. F. Rio's Leonard de Vinci ct son ecolc, Paris, iS^j, S°. Weigel: no. 20q6i. A comparison of da \'inci with Butmarroti and Raphael is given in Knox: Great Artists etc., ])p. 133 IT.]

Besides the writings quoted in this article and the one on della Torre, see also the following:

Wisari: \'ilr dc' piltori, Rom. a. 1750. 4^, II. i ct scq.

Ko^'cTS, Chark's: ,1 Collection of Prints in Imitation of Drincings, London, 1778, I. I 11 .

OltKv, William ^'oiinR: The Itiilian School (>f Dcsii^n: Bcini^ a Scries of FdC- siniilcs i'f (hi\!^iu<il Dr.rLcini^s In' the Mi>st Eminent J\iintcrs and Sculptors of Italy, London. iSj^. f.. p. i 7 lY.

XOn (.alknl)cr^ fC\)nnt IIupo): Le(>n(irdo dii \'inci, Leipzig. I'Vicdrich Fleischer, iS^4, S  ; wiih Leonardo'^ likene>s and 4 lilhographs. amonp; them a drawing illustrat- ing the proportions of the hea<l and ehest.

Ri^ollol  : Ciiliilix^uc de l\nivre de Leoniird dii \'inci, Paris. 1^40, S°.

■—•?-»'): / uhuioscritti di Leonardo dii \'inci della rcalc bihlioteca di

•'•' 'til l\u)doro SiihachnikoiL transcritti e.

LEONARDO DA VINCI 105

amnoiati da Cicvanni Puimati, con traduzione in lingua francese. Preceduti da uno shtdio di Maikias Duval, folio, Paris, £. Rouveyre, 1898. Fogli B, Turin-Rome, 1901.

Quademi d^analomia, Fogli della Royal Library di Windsor. Pubblicaia da Ove C. £. Vangensien, A, Fonahn, H, Hopstock. Con traduzione inglese e tedesca, 6 vol. Christiania, J. Dybwad, 1911-16.

Notes el dessins, Feuillets inidits, reproduits d^aprh les originaux d la

BiblioMque du chdleau de Windsor, 12 vol. fol. Paris, E. Rouveyre, 1901. This contains facsimiles of the whole Windsor Codex but without transcription or trans- lation. With the Quademi edition completed, this edition is now obsolete, but not the DeWanaUmia fogli AeB.\

[Leonardo made over 750 separate anatomical sketches, an exhaust- ive accomit of which would be far beyond the scope of this book, indeed would fill a volume. They include not only the extensive studies of skeletal and muscular structures above indicated, but also drawings of the heart, the lungs, the nerves and blood vessels, the viscera and the brain, executed with wonderful fidelity to fact, and with marginal com- ments which make Leonardo the founder of iconographic and physio- logical anatomy. In scientific accuracy, these drawings eclipse those in Vesalius and are not approached in artistic beauty by anything before the time of Soemmerring and Scarpa. The correct curvature of the spine and the true position of th^ foetus in utero are delineated for the first time, as also the atrio-ventricular band of the right heart, which Sud- hoflf has named after Leonardo. Leonardo made cross-sections and casts of the ventricles of the brain, studied the antagonistic action of muscles by means of tape models, made orthogonal projections of the unrolled valvular structures of the heart and investigated the hydraulics of the blood-current. He was the founder of physiological anatomy. For a full account of the Quademi, see M. Holl: Arch, f. Anal., Leipzig, 1905, in; 177: 1910, lis; 3i9- i9i3» 225-94: 1914,37-68; 1915, 1-40. Also K. SudhofI: Arch. /. Gesch. d. Med., Leipzig, 1907, 1, 67; 317. Also A. C. Klebs: Bull. Med. Hisl. Soc. Chicago, 1916, 66-83; ^^^ Boston Med. and Surg. Journal, 1916, CLXXV, i; 45.]— F.H.G.

MICHELANGELO BUONARROTI

Michelangelo Buonarroti, painter, sculptor, and architect, whose family name originally was Canossa, was born in 1474, at Caprese, worked mainly in Florence and Rome, and died in the latter city on February 17, 1564. He occupied himself with anatomy more than many other artists, particularly while engaged in making a crucifix out of wood for the church of the cloister of San Spirito in Florence, and when living there was well supplied with cadavers for his study. For twelve years he pursued his anatomic studies while completing his artistic training, both in Florence and in Rome. Special mention should also be made of his acquaintance with the famous anatomist Matteo Realdo Colombo (Rcaldus Columbus), who died in Rome in 1559.

Among the works to be mentioned here are the following:

A sheet in Seroux d'Agincourt's Ilisloire de Vart par Ics monumens, etc., Paris, 181 1 ff., fol., tom. VI, pi. 177, representing the opening of a dead body. The body lies stretched out on a table from which the right arm hangs down, and in the middle of the lower part of the chest a candle is placed, the only source of light. At the head of the cadaver a man stands holding in his right hand a large compass pointing downward. At the foot, on the left side of the body, stands another man, pointing with his right index finger to the right tlank of the corj^se and holding in his left hand a large broad knife with its point turned upward. The whole {picture is sketched boldly and is rather gloomy and appalling to look at.

A sheet in the .same work, pi. 178, with five dilTerent studies of the human body, only one of which concerns us, viz.: a representation of the back and the gluteal region, and of the left side of the body and a ])art of the left u})per arm. The muscles of the back are removed so as to show the ribs and the intercostal muscles and the posterior wall of the a])(l()minal cavity down to the hip ])one. A hasty sketch.

A >hcet in iinj)erial folio, engraved by (iiovanni Fabri, a Holognese engra\cr. 'J1ie si.ujnature is, Dal disci^no on'i^inale di Michel Angela BiDuirotii, etc. It is dedicated to King Stanislaus August II of Poland by I'raiuesco All)eri;ali (\ip:icelli; l)elow, on the right-hand side, (/. Fahhri (. It rcj)rescnts a three-quarter view of a man standing. His head is in prolUe; of the right arm only the shoulder is drawn, the arm

MICHELANGELO BUONAKKOn

^'^^5^,

rt!>^

io8 ANATOMIC ILLUSTRATION

itself being left out. The right tibia and foot are incomplete toward the end. The skin is not dissected off, but the muscles stand out very clearly. The left hip joint is indicated with a star. On the right side of the picture is drawn a graduated scale for the whole tigurc, and a separate scale for the left arm. In the left-hand corner of the picture we see a smaller drawing illustrating the proportions of the human body, and drawings of a skull, the cervical vertebrae, the first rib, a clavicle, and the upper part of the shoulder blade. The proportions of the arm as compared with the median line of tiie body are marked off by means of three quadrants. A semicircle is drawn from the crown of the head to the sole of the foot, with the body height as the diameter. The names of the parts and the numbers arc written in Buonarroti's own script. The drawmg as well as the engraving is very beautiful and clear. It is a pen drawing. The sheet is very valuable and also very instruc- tive, since it gives exact information as to Buonarroti's conception of the proportions of the body. As Stanislaus August was king of Poland from 1705 to 1736, the sheet must have been engraved within that period.

A sheet in Vivant Denon's Moiiiniiciis des arts dii dcssiii chcz Irs peuples ianl auciens que motlcrtics. Paris. iSig. large fol., pi. 76 (described in the text on page 75), drawn by Dubois dc Beauchene after a pen draw- ing in the collection of Baron Denon. It represents a sitting male figure, with the muscles of the back, the left arm, and the left side beautifully and clearly worked out. On the same sheet is a torso, with head and one arm.

A copjicr engravin;.; wilh two standing male figures and the cor- responding skeletons is often included in this gr<^up of sheets; but it really has nothing to do with Buonarroti and is the work of the painter Rosso (Maltre Roux). (See article p. 113.)

There should also be mentioned what Moehsen (Bililiiissc. p. 79) has given us on Buonarroti and his anatomic drawings.

Condivi, -Xscanio; \'ilii di Mirhdiignoh Buomirroli, Roma, 15JJ, fol., Firenze, 1746.4°.

Va:-;iri: ViU dr plllim. Roma, 1750, 4°, T, HI, ifij, <l srq.

RAFFAELLO SANTI

Raphael Santi (Sanzio), the most perfect painter of modem times, also an architect, was bom in Urbino on March 28, 1483, on Good Friday; and died in Rome on April 6, 1520, on Good Friday. He was a pupil of his father, Giovanni Sanzio or Santi, and of Pietro Vanucchi, in Perugia, and later on was chiefly active in Rome and Florence.

On his anatomic studies Vasari writes:

Datosi dunque alio studiare gl' ignudi ed a riscontrare i muscoli delle notomie, c degli uomini morti e scorticati con quelli de* vivi, che per la coperta della pelle non appariscono terminati nel modo, che fanno levata la pelle, e veduto poi in che modo si facciano camosi e dolci ne' luoghi loro, e come nel girare delle vedute si facciano con grazia certi storcimenti, e parimente gli effeti del gonfiare ed abbassare ed alzare o un mcmbro o tutta la i>ersona, ed oltre cio Tincatenatura dell* ossa, de* nervi e delle vcnc, si fece cccellente in tutte le parti, che in un ottimo dipintore sono richieste. Ma conoscendo non di meno, che non poteva in questa parte arrivare alia perfezione di Michelagnolo, come uomo di grandissimo giudizio considerd, che la pittura non consiste solamente in fare uomini nudi, ma ch' ella ha il campo largo, etc.

"But he thenceforth devoted himself to the anatomical study of the nude figure, and to the investigations of the muscles in dead and excoriated bodies as well as in those of the living; for in the latter they are not so readily to be distinguished, because of the impediment presented by the covering of the skin, as in those from which the outer integuments have been removed; but thus examined, the master learnt from them in what manner they acquire fulness and softness by their unity each in its due proportion, and all in their respective places, and how by the due management of certain flexures, the j)erfection of grace may be imparted to various attitudes as seen in different aspects. Thus also he became aware of the effects produced by the infla- tion of parts, and by the elevation or depression of any given portion or separate member of the body or of the whole frame. The same researches also made him acquainted with the articulations of the bones, with the distribution of the nerves, the course of the veins, etc., by the study of all which he rendered himself excellent in every point required to perfect the painter who aspired to be of the best : knowing nevertheless, that in this respect he could never attain to the eminence of Michel- angelo; like a man of great judgment as he was, he considered that painting does not consist wholly in the delineation of the nude form, but has a much wider field.*' (Translation by E. H. and E. W. Blashfield and A. A. Hopkins: Vasari' s Lives of Painters y New York, 1907.)

Nevertheless, we find in the collections of his sketches a number of an- atomic studies either for known paintings or of a general nature, namely:

1. In the Academy of Graphic Arts in Venice, four pen drawings: (a) An anatomic study of a torso with thighs. Passavant II, 470, no. 30; (b) A wrinkled hand of an old person, seen from the palm, a

109

RAFFAELLO SANTI in

study from nature, p. 476, no. 87; (c) Three arms, a study drawn with the pen and shaded, p. 476, no. 89; (d) A man's chest, with the addition of one arm and a torso done by another hand, p. 476, no. 90.

2. In the collection of the Archduke Carl at Vienna. Studies from the body of a bearded man; beside him a youthful head turned in the same direction, and the upper part of a boy's body; two children's heads, one of which is crossed out — a hasty pen sketch, p. 521, no. 259.

3. In the collection of Wicar at Lille: (a) Anatomic studies in pen: One whole figure, two arms, and one foot, p. 610, no. 517; (b) Anatomic studies in pen, p. 612, no. 534.

4. In the collection of Sir Thomas Lawrence in London : (a) Anatomic studies: Two feet and one head, a pen sketch from Antaldo Antaldi's collection, p. 577, no. 418 ; (6) A group of women at a burial in the Palace of Borghese, 12 inches high, 8 inches wide, p. 557, no. 342.

This latter sheet, which is also in the collection of the Marquis Antaldi in Pesaro, and which is hastily sketched with a pen, contains the group of the fainting Mary supported by three women. Within Mary's body the whole skeleton is drawn with rapid pen strokes, out- lining the bones and their connections in good proportion. Considering the utter passiveness of Mary's body, more emphasis was placed upon mass than upon active motion. The sketch, therefore, emphasizes the skeleton and its passive position rather than muscle. Of the figure behind Mary only the head, the neck, the right shoulder, the right arm, the left knee, and the lower parts of both legs are outlined. At the neck and the shoulder the muscles are indicated, of the feet only the bones are very hastily suggested. On the same picture three women's heads are also sketched without any anatomy.

This sheet came from the collection of the Marquis Antaldo Antaldi of Pesaro into the possession of Sir Thomas Lawrence, president of the Royal Academy in London. After the latter's death, in 1830, in London, it was acquired by Woodburn Brothers, art dealers of London, who purchased Lawrence's entire collection for £20,000 sterling. Later this anatomic sheet, together with other sketches, passed into the possession of the Prince of Orange, afterward King of the Netherlands. It was auctioned at The Hague on August 12, 1850, after the King's death, and sold to Mr. Leembrugge of Amsterdam for 1230 florins.

An engraved copy of this drawing can be found on plate 8 of the following work:

Lawrence Gallery: A series of Facsimiles of original drawings^ by Rafaelle da UrbinOy selected from the matchless collection formed by

113 ANATOMIC ILLUSTRATION

Sir T/ioiinis Laurence, lair President of the Royal Academy, Loudon, published byS. and A. Woodburu, iS^i,fol., S leaves of kxl and 31 etchings.

All the excL'llcnt engravings are facsimiles of Raphael's own drawings. Lawrence died at London in 1830. See Weige!: Kunstkal^ilog, no. 15453.

The Academia di San Luca at Rome preserved a skull which was erroneously taken to be Raphael's. Of this several piaster casts were made and circulated. But in September. 1833, Raphael's grave in the Pantheon of Agrippa, which hitherto had not been opened, was visited. According to a report by Vasari. the grave was supposed to be underneath a statue of Maria del Sasso (Sanzio) erected by Lorenzo Lotti. The grave was found on September 14, 1833, covered by a low arch especially built for the grave. On the arch rested the statue. The skeleton and the prominent hirj-nx were well preserved. The skull had twenty-nine beautiful white teeth, and only the hack part of the head showed slight effects from water which had entered the grave. The height of the skeleton was seven palms and six inches, or nearly five feet, two inches, Parisian measure. J'laster casts were made of the skull, the right hand, and the larynx. They were then deposited with the other remains in a sarcophagus presented by Pope Gregory XVI. and reinterred in the place in which they were found, on October iS. 1S33. There are in existence drawings by A'incenzo Cammucini representing the skeleton, the grave, and the sarcophagus. They were lithographed by Giam- battista Borani and supplemented by a description of the foregoing incident.

I'ahSiivant, J. P.: Rafael i;m Vrbim uiid schi \'<ilrr Cioi'mini SniiH. Two parts with 14 illiisiniions. Leipzig. tSjij, fi" and fol.

Vttsiiri: Vitc dc' piltori. Rom. ij.so, 4°, II, SS ct zcq.

ROSSO DE' ROSSI

Rosso de' Rossi, II Rosso, Maltre Rotix (Rous), painter, was bora in Florence in 1496, took poison in 1541, and died at Fontainebleau. He was a pupil of Andrea del Sarto, worked in Florence and other Italian cities and went to France in 1530, where, with Frimaticcio and other artists at Fontainebleau, he was given commissions by King Francis I. He was on friendly terms with Benvenuto Cellini in Italy, but in France the two seem not to have gotten along well.

{Vita, Lips., 1833, 12°, I, 41. 48, 187; II, lag.)

Of his works, mention is made of a copper engraving, 8 inches, 9 lines high, and 12 inches, 3 lines long, which represents the upper layers of muscles of two standing male figures and their skeletons. The left- hand figure shows the front view, the right-hand figure a back view; weapons and vessels constitute the accessories in the picture. This sheet is one of Rosso's, judging from its drawing. It was, however, engraved by his student and assistant, Domenico del Barbiere, also known as Domenico Fiorentino, who was bom about 1506 in Florence and worked with Rosso at Fontainebleau. In the left inner comer of the plate we read: Domenico Fiorentino; Rosso is not mentioned. The drawing of this very rare and precious sheet, which is in the Cabinet of Etchings at Dresden, has been erroneously ascribed to Michelangelo Buonarroti, but it belongs to an anatomic sketchbook which Rosso intended to edit for Francis I, but which was never completed on account ' of his death.

Vasari: Vile de' pitlori, Rom. 1759. 4°, H, 293 el seq.

Monier,P.: Histoire dts arts, qui ont rapport audeaetn, Paris, i6q8, 8°, p. 308.

Bartsch: Peintre graveur, Vienne, 1818, 8°, XVI, 359.

Moehsen: BUdn. p. 78.

Weigel: KitnslkaiaJ. no. 30608.

ANATOMIC lLLUSTR.\nON

JOHANNES DE KETHAM

Johannes de Ketham, a German physician, living in Italy toward the end of the fifteenth century, edited a collection of current writings by medical men of his time for the use of practicing physicians, and gave it the title Fasciculus Medicinae, In this book we find the very first anatomic illustrations of any kind, and the first wood engravings. All the different editions of this work are of great importance because of the woodcuts they contain. The latter are in the peculiar manner of upper Italy, and especially that of Mantegna, but are of different values and are not the same in the various editions. The best-known editions are the following:

Venei,^ i4gi,foL, itnpr, per Johannem et Gregorium fratres de Forlivio, die 26. JuUi.

This Latin edition is the first edition. It is of larger size than the later ones, and contains larger woodcuts, twelve and one-half inches to fourteen and one-half inches high, and eight to nine inches wide. Page la is blank; page ib bears the title Fasciculus Medicinae in red Gothic character; page 13b, the colophon: Finis fasciculi medicine Johannis de keiham. Reuisus per georgium de mon-kferrato Artium et medicine doc- torem, etc. Then follow pages 14 and 15 : Consilium Petri de Tausignano pro peste evitanda is the conclusion of page 15b. Page 16 is blank. Gothic type in two columns with signatures. Pages 14 and 15 are in smaller type and without signatures. The book contains the following illustrations: Page ib shows four small circles in the comers, with descriptions of the four temperaments. In the center there is a larger circle with twenty-one urine glasses intended for illumination. Two of the lower ones contain black urine, represented directly by means of the woodcut. In the center field there are eight smaller circles printed in red. The same type is used under each urine glass. Page 2b bears the title Tabula secunda De flobotomia and shows the bloodletting man (Aderlassmann), a large male figure, upon whose various parts are printed the names of the twelve signs of the zodiac. The places for venesection are marked with dots and lines running out into the margin. The margin contains printed explanations in little squares. The whole page is longer than the other pages and folded in at the bottom. Page 5a bears the title Secunda tabula jkubotomicy etc., and shows a large

"5

ii6 ANATOMIC ILLUSTRATION

male figure over which the pictures of the signs of the zodiac are distributed. At the bottom there is a landscape with trees, and at the left a landscape with a mountain. Around the figure are quadrangles containing explanations. This page is also folded in at the bottom. Page 5b, with the title Tabula tertia de muliere, illustrates the picture of a sitting woman wuth her thoracic and abdominal cavities cut open, of the size of the woodcuts mentioned above. In the abdominal cavity we sec the opened uterus with a cowering fetus. On the whole, this illustration is a crude picture of the thoracic and abdominal cavities, arbitrarily sketched, without any truth to nature. On the various parts of the figure are named the diseases these parts are liable to, some- times also the name of the part. Both sets of names are printed on the figure. Explanations are given in the margin. On this page, too, the lower margin is folded and printed on. Page 9a, w^ith the title Tabula quarta De Cyrurgia, shows a man. on whose various parts possible injuries are indicated, and the inflicting weapons, such as daggers, clubs, knives, arrows, etc., pictured. Diseases are also named, such as bubo, smallpox, warts, etc. The names of the internal parts of the thorax on the abdomen are printed on the figure itself. In the margin, exj^lana- tions are also printed. This figure is smaller than the others, and the sheet, therefore, is not folded. Page 12a bears the title Tabula quinta Dc anathomia, and shows 0 male figure, drawn a trifle better and covered more s|)aringly with names of diseases, most of which are printed on the side margins of the sheet. At the top we fmd four circles and within the circles printed lists of the psychic powers. This sheet also is not folded. (See llain: Re perl, bibliogr. g774; Wcigel: Kunstkatalog, no. 12257; Panzer, III, 295, 1354.)

Vcnct., i4gj. JoL, stampito per Zuane e Gregorio di Gregorii\ a di 5. Februario; Italian translation.

The format is shorter and narrower than the foregoing edition. The drawing and the engraving of the figures (ten and a half inches high, seven to seven and a half inches wide) are better. On page 52a we find the colophon: Qui jhiisce el Fasiiculo de medieina Vulgarizato per Sebas- liiiiio Miuiilio Ronuuio E siawpito, etc., /;/ I'eiiexia, and on page 46b, the index. The ])rinting throughout is round black type; Gothic characters occur only in the marginal exi)lanalions of the illustrations. The lines are coni])lete; a full ])age has forty-eight. There are forty-six pages, and signatures from a to /. Page la is a woodcul ; at the top is a library shelf, with eight books, on which the names of the authors appear in woodcut letters. Beneath it is engraved in large letters, Pcirus de

JOHANNES DE KETHAM 117

Monlagnana. In the center of the plate we observe a half-length portrait of a man; on his right side a window and a desk with one book; on his left side (the rig^t-hand side of the picture) a larger desk with an open volume of Pliny; in the centerfield there are bookcases; the middle one is open. In the lower part of the picture sits a sick man with a stick in his right hand and a woman with a rosary in her left hand. Both have baskets at their side. On the right we see a young man entering, with a stick in his right and a small basket in his left hand. Page lb is also a woodcut. At the top, three medallions, and below them two windows; in the window at the right a person looking out. At the bottom, six figures, one of which, at the right-hand margin, holds a urinal. All are beardless and wear headdresses. Before them stands a bare- headed boy, who also holds a urine flask. On page 2a, the circle with the twenty-one urine flasks and the inclosed smaller circles have Gothic printing inside. Everything is smaller than in the first edition. For page 4a the same plate is used that was used for page 12a of the former edition. This is the only plate that has been used unchanged in this translation. On page 8a, the woodcut of the man with the pictures of the signs of the zodiac is reduced, but better engraved. The landscape has been left out. The bloodletting manikin on page 8b has been redrawn and improved upon. Nothing is printed on top of the figure itself. The man on page 12b with the wounds has also been redrawn. On page 19 we should find '^Lafigura delta mairice trala dal natural ^^^ according to the index, but the sheet is missing in this copy. Page 20a, a person infected with the plague; a picture that was not in the first edition and belonged to the Tausignano, The woodcut covers the entire page. It represents the following scene: A sick person, covered up to his chest, but otherwise bare, lying in bed. At his right are three women. The middle one holds a dish, while at the left stands a physician holding a sponge in front of his mouth and feeling the pulse at the right wrist of the patient. At either side of the physician stand two young men with burning torches in their hands. The one at the physician's right carries, besides, a small basket. At the bottom, to the right, sits a cat. On page 26b, we find another picture which did not appear in the first edition. This illustration also covers the entire page. It represents the opening of a cadaver, appearing for the first time in this edition, and precedes the one in the Anaiomia Mundini. At the top a lecturer's chair; in the chair a youthful-looking, beardless man, with headdress, lecturing and raising his left hand above his right. On cither side of the chair we see a window, composed of a great number of small round

JOHANNES DE KETHAM 119

windowpanes. The window at the left is ajar; the window at the right is shut, but one of the casements is broken. Below the professor's chair lies a naked male cadaver. A dissector, whose dress is distin- guished by a row of buttons, is about to cut open the chest of the cadaver, using a long curved knife. Behind him stand seven persons whose heads reach to the upper edge of the chair. Three are disposed at the left side of the picture. The one in the middle is bareheaded. On the right side of the picture stand four persons, one of whom is also bare- headed. The person lowest in the picture and standing at the head of the body holds a small wand in his hand and appears to demonstrate or to guide the dissector. Below the table, over to the left side of the pic- ture, stands a small basket. All these woodcuts are without hatching, and, in particular, the plates on pages la, ib, 20a, and 26b are done in beautiful, clean, strong outlines, with lifelike expressions in the faces, the drawing and the engraving of great value. [The description of this edition, as pointed out, had been made after an incomplete copy where signatmre d, pages 19--25, were missing. It is therefore not certain on what page the two woodcuts, the plague victim and the dissection stood, but nevertheless their description has been accurately made after the originals which were in Choulant's copy. According to the signature this work should have fifty- two pages.] See Weigel: Kunstkatalogj no. 9974. Hain does not mention this edition; Copinger, II, 2433- 3449; Panzer, III, 331, 1617.

Venet.y i495jJoln impr. per Joannem et Gregorium de Gregoriisfratres, die 15. Octobris,

The Latin edition of this book is of the same width as the Italian edition, but shorter by four lines. The colophon on page 40b is as follows: Hec Anoihomia Juit emendata ab eximio at Hum: et medicine doctor e. d. magistro Petro Andrea Morsiano de Imola in almo studio Bononie cyrurgiam legente coadiuuantibus magistro Joanne Jacobo cararia de buxeto. Et magistro antonio Frascaria Januensi cyrurgie studentibus, Impressus Venetiis, etc. Gothic type, in two columns, with signatures but without pagination; 53 lines to the page; 40 leaves, 9 of which have woodcuts. Page ib: The woodcut which appeared in the Italian translation on page la has been used again; that is to say, the picture showing the bookshelf with the lecturer's chair below and the figures in the lower part. On page 2a we see the plate which is found on page ib, of the Italian translation, the picture of the uroscopist. Here, too, the same plate has been used. Page 2b: The circles "v^ath the urine glasses. Page 4a: The bloodletting manikin, the same plate as is

I20 ANATOMIC ILLUSTRATION

found on page 8b of the Italian translation. Page 8a, the zodiac- manikin, the plate of page 8b of the Italian translation. Page 8b, the figure of a sitting woman with her abdomen cut open; the uterus unopened and not pregnant. The vagina is cut open; the digestive organs have been removed, and only suggestions of the kidneys, ureters, and the vessels leading to the ovaries can be seen. This plate differs considerably from the illustration on page sb in the 149 1 edition, and is Hkely to have appeared in the Italian edition. The injuries on page 14a are taken from the same plate as appears on page 12b of the Italian translation. Page iSa has the figure on page 12a of the edition of 149 1, and on page 4a of the ItaHan translation; the same plate has been used again. Page 21a: The person infected with the plague, as on page 20a of the Italian translation. Here also the same plate has been used. Page 26b is the same as 26b of the Italian translation, representing the opening of a dead body. It is, however, a new plate poorly engraved. The draughtsman seems to have had the original plate before him, but allowed himself many variations. The window, at the left, has no case- ments, and permits a view upon a landscape; in the window at the right none of the casements are broken. The lecturer in the chair has a book in front of him and raises his right hand above his left. The scrotum of the corpse is not visible. On the table upon which the body Ues, one can see places where the table legs are inserted, which were not visible in the older plate. The dissector is bareheaded, his dress is not buttoned all the way up, but is open at the neck. The persons standing behind him all have their heads covered, with the exception of the head farthest to the riirht, which is covered in the older plate. Hie lowest figure standing close to the head of the cadaver has no small wand in his left hand and no right hand. The small basket is on the right side instead of the left side of the picture. The parquetry of the iloor is composed of a much greater number of fields than are a|)parent in the original ])icturc. The ex]M'ession on the faces of the figures is l)y far less beautiful. The techni(|ue of the drawing is cruder and i)oorer. The engraving is clumsy, as can be noticed, i)articularly, around the eyes and the mouths of the ])ersons.

It seems probable, tlien, that the original j)late had become useless or had heen lost before the arran,i!;ement and ])ublication of this edition. In tlie cop\' in the Pauliner Lil)rary at Lei])/ig all the plates are stenciled, but show l)eautiful values in the lleshtones and give evidence of a manner of colorini:; quite dilTerent frcmi what was then customarv in Germany. [Panzer, III, 3()8, 1901; IIain-C'oj)inger, 9775; Proctor, 4550.] Hain,

JOHANNES DE KETHAM 121

however, erroneously quotes Bureto for Buxeto in the concluding words. See also Weigel: Kunslkalalog, no. 3494. The plate representing the (q>eiung of the dead body, both in this and the following editions, was evidently done by a different draughtsman and wood engraver from the one who did the other plates with figures, although all may have belonged to the same school.

Vetiet., 1500, Jol., impr. per Joannem et Gregorium de Gregoriis fr aires, die 17. Februarii.

The size and shape of this Latin edition are the same as those of the former edition. The print is a trifle smaller and of Gothic character. The text is arranged in two columns, with signatures and catchwords, but without pagination. There are sixty-six lines to a page and thirty- two pages. Page 32a, concluding sentences: Impressum VenetUs, etc., followed by: Explicit Fasciculus medicine in quo contineniur: videlicet, etc. Index and printer's device (Druckerstock) , with the letters Z.G., standing here perhaps for Zuane Gregorio. The same plates as in the above-mentioned edition. Page la, bookshelf and chair; page ib, uroscopist; page 2a, urine glasses; page 3b, bloodletting manikin; page 6b, signs of the zodiac; page 7a, woman; page iia, injuries; page 14a, the male figure with four circles in the upper field; page i6b, the person infected with the plague. This plate, however, was shortened at the bottom so as to leave out the cat. In place of the upper part of the cat, which was left after the shortening, we see oak flooring, but the traces of the inserted wood blocks are quite evident. Page 20b : The opening of a dead body, taken from the plate of the last-mentioned edition; naturally is a poor representation. Through the shortening of the plate, the small basket has disappeared, and one can see traces of the inserted wood block in the lowest line of the oak flooring. See Hain-Copinger, 9777; Proctor, 4561.

Venet., 1500, fol,, impr. Per Joannem el Gregorium de Gregoriis fratres, die 28. Martio.

An absolutely new Latin edition, using the same woodcuts. Panzer, III, 469, 3584; Main, 9776; Proctor, 4562; Weigel: Kunstkatalog, no. 10941.

Vertet., 1513, fol., impr. per Gregorium de Gregoriis, die 10. Febr. Latin edition. Panzer, VIII, 410, 607.

122 ANATOMIC ILLUSTRATION

Veiift., 1322, JoL, impr. per Caesarem Arrk-abemim Vc mens. MarUi. Latin edition.

[See also Choulant's Handbitch der BUcherkiinde Jiir die< edition 2, Leipzig, 1841, 8°, pp. 402-5. Many statements ever, be corrected there by what has been given in this a that time Choulant could not avail himself of many editi later.] — -Haller, I, 152,

[In addition to those already given in this section on Mundinus, the following editions should be added:

Vciieliis, s.ii.jfol., per Joanncm d Gregorium de Cregariis Jriib

Panzer, III, 4Q3, 2767.

Piimpehna, i4Qj, G. de Brocar, Stocklon-IIough ; Spanish trani Burgos. 14QS, J. de Burgos, Stocklon-Hough; Spanish translat.U Vaieziii, i^oS,per Joanncm et Gregorium de Grrgoriis Jralrcs, t

Hough,

Medivliint, ijag, J. de Castdliono, italice, Stockton- Hough. Anttctrpiiie, /57J. /«/., Claits de Crave, Panzer, VI, 3, 17. SesUla, 1517, J. Cromhcrgcr, Slockton-Hough ; Spiinish IranslaL VeneUii, 15^2, foL. C. Arrivahene, italice; Italian translation. Veneaia. 16SS, Giov. .■!»(. Viditli. Hatiee, Siocktun- Hough.]

JOHANNES PEYLIGK

Johannes Peyligk (Pdlick) [the son of the burgomaster Bar- tholomaeos Peyligk of Zeiz, was bom in the latter city in 1474, and died September 8, 1522, in Leipzig where he had been professor of law and aldennan. He wrote a philosophic work in Aristotle*s scholastic style, of which Goly the following edition is known:

Leipzig, published by Mekkior Lottery 1499^ Aug^si 12 s foL

Title: Pkilasopkie Naturalis / Compendium: Libris phi / sicorum: De generaHone et carrupHone atque / de Anima Aresioielis correspondens: non sine ac / curata Lucidissimaque Textus eiusdem elu / cubrationey ex varijs beati Thome doctoris an / gelid EgidU quoque Rhomani doctis- simorum philosophie / inierpretum voluminibus aiienie congestum; below it four verses Ad leciorem. Page ib: Studiosis philosophie scholaribus Johannes Pey / ligk Csitzensis, Artium liber alium M agister S. D. / Cum vos condidissimos .... Valeie foeliciter. Page 97b: Ei tantum de membris animalibus. Et per consequens de anathomia to / tins corporis humani suarumque partium principalium, De alijs hie nof$ / expressis diligens scholaris phisicorum inter pretationem diligentius / inquirat. Impressum est opus istud in insigni oppido Liptzensi ope- / ra et solerHa Melchiar Lotter Anno salutifere incarnationis Mil / lesimo quadringen- tesimo nonogesimo nono pridie idus septembris. Gothic type with signature A-Q, 97 unnumbered leaves. Hain-Copinger, 12861; Panzer, I, 493, 205 ; Proctor, 3036 A.

The last chapter in this work is entitled : Compendiosa capitis physici declaration etc., and contains a brief anatomy of the entire human body with the divisions then customary: Membra naturalia, spiritualia, et animata. This chapter is accompanied by anatomic woodcuts of very crude workmanship, first on page 91b: a bust with the viscera of the three cavities, much poorer and less true to nature even than the later illustrations by Magnus Hundt (p. 125). Indeed, they are only diagram- matic representations after the Arabists. Then follow ten small wood- cuts printed in between the text, representing separate organs. This last chapter had been looked upon as a separate work by Peyligk and indeed even as an anatomy of the head, but Capitis physici does not mean "of the head of the body" but of the chai)ter on the nature (of the human body)," and contains the entire human anatomy. This chapter has, however, been printed several times se])arately:

Leipzig, 1516, foL, published by Wolfgang Slockel.

1 23

124 ANATOMIC ILLUSTRATION'

Compcndiosa Capitis phisici declaratio: / pTincipalium Immaiii corporis mcmbro- / rum jiguras liqmdo ostcndcns: phi / losophic alumiiis adnwdum / projutura.; below four verses: Qui sunt humani .... intueare nodo. On the back of the page: a large woodcut, representing the head and trunk with the anatomy of the three cavities, all defined by words which are cither engraved on the block or were later in tjpe; between the text following it are ten small woodcuts printed in. Page 8a: Lips, intprcssit Vuoljgangiis vtoitacensis, i^i6. Gothic tj-pe with sig- nature, without catchwords or pagination, 8 pages. — Similar earlier impressions arc: Lips. 1510, 1515, and a later one: Lips. 1518, JoL (Haller: Bihl. audi. I, 154. 156).

These illustrations of 1499, which Magnus Hundt had re-cngraved somewhat better for his own work and to which he added many others, had formerly been taken for the oldest anatomic representations. But Ketham fp. 115) had preceded them in Italy, and the skeleton in the larger llortus saniialis in Germany, since many of the editions of the Horliis must have been published before 1499. This skeleton shows more truth to nature, and Ketham more taste in tlie drawing, than in the illustrations by Pcyligk— SudhofT (Karl): Stud. z. Ccsch. d. Med., Part VIII(i909), ii3-2'i-]

MAGNUS HUNDT

Magnus Hundt, professor at Leipzig, was born in Magdeburg in 1449, and died in Meissen in 1519, when the university had been removed to that dty on account of the plague. He published :

AiUropologium de hominis dignilale, natura, el proprietatibus; .... Per Magnum Hundt, parthenopolitanum Ingenuarum artium Magistrum in gymnasio Liptzeii. — Colophon: Impressum el finitum est hoc Opus Liptzick per Baccalarium Wolfgangum Monacensem. Anno nostre salutis 1501, 4". Gothic type with the printer's mark of Wolfgang Stocklin; 120 leaves; Panzer,

vn, 138, 12.

The quires are marked with signatures from A to U. Each quire has six pages, with the exception of quires D and M, each of which has only four pages. Under U, page 6b, we find the concluding phrases, foliowed by another four pages marked with signature A con- taining the alphabetical index and list of errata. The latter concludes with these words: Et tantum de lima Si preter ea limata studiose et kumanissime lector inepta et a veritale aliena inveneris Operi eienim lortgo pkas est obrepere somnum tu ipse sis pius absque invidia el mordacitale corrector. Deolaus. Complete copies of this edition are rare. A complete copy must have lao pages; the last page is blank. The anatomic woodcuts are very crude, merely schematic, and the drawings are not done from nature. They sometimes cover the entire page, as, for instance, on the back of the

126 ANATOMIC ILLUSTRATION

title-page, a head which recurs on page G 6b; on page G 4b, an entire body with the names of the parts; on page I 4a, a hand with chiro- mantic markings; on page L 2a, the internal organs of the thorax, and the abdomen, Figura de situ viscerum. Other plates are inserted in the text.

Formerly these illustrations had been looked upon as the oldest of anatomic illustrations, but they are not. They are, however, the most complete representation of all the internal parts up to that time, as neither Ketham nor his predecessors had been able to produce them. They also give a clear idea of pre-Berengarian anatomy, and seem to be the aggregate of the views entertained in the fifteenth century as to the position and the shape of anatomic parts. Neither bones nor muscles are represented.

Platner, Johann Zacharias: Progr. de Magno Htindt, tahularum analomicarum, ut videtur^ auctorc. Lips. 1734, 4°, and in his: Opusc, II, 35-42; Hallcr, i, 153. Boerner: Nodes Guelph. pp. 167-77. Sudhoff, Karl: Stud. s. Gcsch. d. Med., Part VTII (1909), 1 15-21.

[MARGARITA PHILOSOPHICA

Of the great number of illustrations in the well-known encyclopedia of all sciences, the Margarita philosophica, edited by Gregor Reisch, {circa 146 7-1 5 2 5), prior of the Carthusian monastery in Freiburg and confessor of Emperor Maximilian I, a work frequently reprinted, often with supplements, certain diagrammatic anatomic representations, quite contrary to nature, should be mentioned, although they might not be found regularly in all editions. It was not ascertained by Choulant whether they occurred in the oldest edition of Heidelberg, 1496, 4°; in the intervening editions they are found as follows:

I . In Liber VII, a man with dissected thoracic and abdominal cavities and the viscera suggested in them; pictures of the twelve signs of the zodiac are drawn either directly on, or beside the figure, and accompanied l)y lelterini^ also engraved on wood; this woodcut occurs in the editions:

Friburi^i, per Joann. Schottum Argenijinenscm), ^5^3^ 4°y citra festum Margaret/jc iJuli).

S. /.; opera Joann. Schott Argentincnsis, IJ04, 4°, //, kalendas Apriles {March).

Basileae, industria Michaelis Furterij et Joannis Scoti, 150S, 4^, 14^ kalendas Martias (February).

MARGARITA PHILOSOPHICA 127

Basileoe, Mick. Furlerius impressit, 1517, f, die 5, Martii. All these editions printed from the same wood blocks.

a. In Liber IX a man with dissected thoradc and abdominal cavities; in the dissected neck one can see the trachea, in the thoracic cavity the right lung and the heart on the left side; in the abdominal cavity, on

ViscEKAL Anatohv fbom Reisch's "Marcabita Fuilosofhica," Johann Schott, 1503

a black background, liver, stomach, spleen, intestine, kidney, and bladder. The Latin names of the organs are engraved in small type either directly upon or beside them. At the top, beside the head, Corpus phisicum is engraved in capitals; this woodcut is found in the following editions:

Argentorati, per Joh. Criininger, 1504, 4°, in vigilia Matkiae (February 23) (according to a statement made by the Leipzig anatomist,

128 ANATOMIC ILLUSTRATION

Johann Christian Rosenmiiller in the Intelligenzhlatt der Leipziger Literahirzeitung, 1804, February, p. 122).

Argentorati, per J oh. GrUninger^ ^512^ 4°, pridie kalend. Junij {May).

Argentorati, per J oh. Criiningerj 151 5, 4°, nono kalend. Fehruarias {January),

The phites are struck off from the same block in all these editions. In the two following editions, the plates are made from another block, cut after the preceding one. The line around the margin and the black girdle about the hips are left out, and instead the male genitals are shown. The inscription Corpus pJiisicinn engraved on the above-mentioned plate is also omitted, but the names of the organs are the same and are cut on the block. These editions are the following which have already been mentioned :

Basil., indiistr. Mich. Furlerij el Joan. Scoti 150S, 4°;

Basil., Mich. Furlcrius impress., 1517, 4°.

3. In Lihcr X the figures of the eye on one plate: a) a front view of the eye with pupil, iris, conjunctiva, and eyelids; b) a cross-section of the eye representing diagrammatically the cornea and the aqueous humor in their order. Both figures of the eye are given with the Latin names of the various parts engraved in wood directly upon the figures. Each figure is separately inclosed in a square; the cross-sectioned eye looks to the right. These figures occur in the editions already quoted of:

Argentorati, per J oh. Griininger, 1504, 1512, 151 5, ^°, and also in the following which have been mentioned before:

Frihurgi, per Joan. Scott. Argen., ijoj, 4°.

S. /., opera Joan. Schott, 1504, 4°.

Basil., indiistr. Mich. Furterij et Jo. Scoti, 150S, 4°.

Basil., Mich. Furlcrius impress. 1517, 4°. In these four latter editions, however, the plate is struck off from another block, a reverse co])y of the preceding one, without the marginal Une, and with tlie cross-sectioned eye looking to the left.

4. In Lihcr X a ])rofile of a head with the cranial cavity dissected and suggestions of the coronal suture, occipital suture, and the cerebral convolutions. The three "cerebral cells," i.e., ventricles, are shown con- nected with each other bv narrower canals of which the one between the anterior and the middle cell is called ]'crmls. Written in the fore part of the anterior cell are the words Scnsns communis, in back of that at the toj), Fantdsla. and at the bottom, Imaginatlva; in the middle cell above, Cogilativa. and l)elo\v, Estimaliva: in the posterior cell one reads Memora- tiva. From the words Scnsus communis, lines run to the root of the

MARGARITA PHILOSOPHICA 129

nose, to the eye, to the ear, and to the tongue; on the root of the nose is written Olfactus, upon the tongue Custus. This head was missing, perhaps only in Choulant's copy of the edition s. /., op, Joan. Schotti, 1504. In all the other editions mentioned, the drawing of the head is found, without exception. In the two Basel editions (1508, 1517), and perhaps also in the Freiburg edition of 1503, the plate used is a different one, is less minutely crosshatched, but copied in reverse. The head, therefore, looks to the left in all editions. A reduced copy of this head may be foimd in Lodovico Dolce: Dialogo nel quale si ragiona del tnodo di accrescere e conservar la tnemoria, Venezia, 1562, 8°, 120 pages, on

pages.

The later edition of the Margarita pfnlosopkica Choulant did not see.

The figures of the Strassburg editions: the visceral manikin with the black girdle (Number 2), the two figures of the eyes (Number 3), and the head (Number 4) may also be found in the edition of Hieronymus Brunschwig (Braunschweig) : Liber de arte distillandi de compositis, das Buck der wahren Kunst zu destillieren Composita und Simplicia, pub- lished in Strassburg by Joh. Grieninger, 1512, foL, Book V, entitled Thesaurus pauperum oder Micarium on pp. 284, 295, 306.

The age of the edition may, to a certain extent, be concluded from Lib. Ill, tract. 2, cap. 6, de conclusione, where the date of a letter shows the year of the printing of the edition or perhaps the year immediately preceding it.

Ebert: Bibliogr. Lexik. no. i88g2. Serapeum, 1845, p. 367; 1846, p. 6j.]

LAURENTIUS PHRYESEN

Laurentius Phryesen, Frisen, Frisius, a Dutch physician of Cohnar, later city physician of Metz, wrote, among other books, a popular treatise on medicine which was published under the following title:

Spiegel der Arlzny desgeleichen vormals nie von keinent doctor in iiitsch ussgangen ist, niitzlich tind gut alien denen so der artzet radt begerent, auch den gestreijfelten leyen, welcJie sich undertvinden mit artzney umbzegon. In welc/iem du findest bericht alter Iiendel der artzney, gezogen uss den Jiirnemsten bUchern der alten, mit schonen bewerten stucken und kurtzwy{li)' gen reden, gemacht von Lauren tio Phryesen von Colmar, etc. Colophon: Getriickt und vollendet in der Kciserlichen stat Strassburg vofi Johannes Grieninger uf sant Gilgen tag, etc. 1518, Jol. small, 184 leaves with signatures, 2 Col; Panzer, I, 417, 907; also his Zusdtze to the Annalen der dltern deutschen Literatur, 1802, 149.

In this work we fmd, besides other woodcuts which frequently appeared in Grieninger prints, two anatomic woodcuts (See Fugitive Sheets, pp. 163-64) both in small folio and dated 151 7. The first plate (Sheet B) represents the body down to the knees, with the thoracic and abdominal cavities cut open, sLx smaller figures pertaining to the anatomy of the brain, and a picture of the tongue. The names of the parts are given mostly in German. Above the plate is the follow^ing title: Ein contra/act Anatomy der inncrcn glydcren des mcnschen dutch Wendell num hock von Brackenau, zu Strassburg dcclariert und eygentlich in bcyivcscn viler Schercr Wundartzt grihidlich durchsucht. On the plate itself is cut the words: Anatomia corporis Ilumani, ^5^7- The second plate rSheet A) represents a skeleton with the names of the bones given in Latin on the margin. At the top is engraved the year, 151 7; a title is not given. Wendelin Hock came from Brackenau in Wiirttemberg and practiced medicine in Strassburg.

[The second edition of Phryesen's Spiegel der Arznei, Straszburg, Grieninger. 1 51Q, small folio, is said to contain only a revised copy of this woodcut, without the verses; but in the title Hock is incorrectly called Hack (cf. Sotzmann, loc. cil., p. ig; also Panzer, I, 425, 936; Zusatzc, {). 161.]

Hlumenbiich attributes the woodcuts to a pupil of the elder Holbein, a certain Johann W'aechtelin, who lived in Basel, and is perhaps identical

LAURENTIUS PHRYESEN

131

with Johann Ulrich ( ? Pilgrim), or the so-called master with the pUgrim's staff, who is known to be the engraver of very rare woodcuts in chiaros- curo. (Bartsch: Peinire grav. VII, 449.) [One is almost led to think that be had before him the plate with the verses (Blumenbach: Intro-

ductio in kistor. medicmae lUkrariam, p. 114), but perhaps it was the cut described in connection with Grieninger's edition of 1529.] The plates by this man Waechtelin, or Vuechtelin, are on the whole very scarce, 83 he seems to have died quite young. He is known almost solely by a series of Passion figures: Passio Jesu Christi saluatoris mundi,

132 ANATOMIC ILLUSTRATION

vario Carminum genere F, Benedicti Chelidonij Musophili dociissime descripta. Cum figuris artificiosissimis Joannis Vuechtelin. Fol. These same woodcuts were used in Geiler von Kaisersperg's Postill ("Book of Homilies"), in four parts (folio), published at Strassburg by Schott, in 1522. If any woodcuts in Phryesen's book are to be credited to Waech- telin, it could only be the woodcut on the back of page 18 in the edition of 1518, representing an instructor seated and two persons standing before him, but not the anatomic plates themselves. One is more inclined to attribute them to Hans Baldung Grien (Griin), unless we assume that Waechtelin did the engraving after that master's drawings.

The anatomy itself is prc-Berengarian, and is much superior to any anatomic illustrations then known. The manner of representation is pecuhar, especially the anatomy of the brain, which has been treated in a wholly new and exceptional fashion. The drawing and the engraving are beautifully done, particularly in the non-anatomic parts. Of these illustrations of the brain, five, on newly cut wood blocks, as also the illustration of the tongue on page 70b, 86, were used in Johann Dryander's Dcr ^i^antzen Artzoici gemeiner Inhalt, Frankfurt on the Mayn, 1542, folio.

[In 1529 two other editions, A and B, of Phryescn's Spiegel dcr Arznci appeared in Strassljurg: the older one, published by Johann Grieninger, has a rc-engra\ ed viscera manikin, the later one, published by Balthassar Beck contains neither the skeleton nor the viscera manikin, but onlv the bloodletting manikin that still remains to be mentioned.

(/) The edition by Grieninger is entitled: Spiegel der Arlzny gemachet vud icidervmh mil ernst vherschen vnd gehesscrt diireli den Iwchgelerten Laurentium p/irieseii, etc., and contains the colophon Gctruckl vud vol- leudcl in der Keyserlichen Ldldiclien stall Slraszburg von Johanni Griiningcr auff M illicoih }iaih Lelure. Jn dem jar M^ . I), xxix. Small folio. It contains 6 unnumbered |)ages and 164 numbered ])ages, the first one of which l)ears the Number IX. There are, therefore, altogether 162 pages willi si<j;nalurcs in two columns. The viscera manikin is engraved on a plate seven inches, two lines high and five inches, two lines wide, above it in t}j)e: Kin coilrajacl Analonii der in}ier)i glider der / menseJien durch drji Jioi hgclerleji pJiisicu))! vnd medic i}ie doctor icetidelinuni Iiak von bra / JkOici zh Strasz. declariert in hyicesen viler ivnndartzi griaitlich durchsucht. L"p()U the plate is en.^raved: Ahteilung des lionf)tz vnd des Jiirns eellen. Roman numerals are used exerywhere. The tongue in the upper right- hand corner of the ])ieture is not numl)ere(l, but designated znng. To the right are the illustrations of the brain, II, \\\ \', to the left I, III, VI. On the cadaver are engraved the words Lung, Leber, der mag, bias; on

LAURENTIUS PHRYESEN 133

the side of the cadaver, to the left in the picture and very near the shotdder, spdssr&Ty to the right and close to the shoulder, but a little lower, lufftrar, to the left, diajragma^ below that, gall, to the right, liertz. The intestines turned out of the body constitute a much larger mass than on the original plate; engraved beside them is krosz, to the right of the spleen, miltZj and in the renal region on both sides^ nier, on the right side the word is slightly lower. The head is not bent back, as before, the hair is curly, the heart is vertical, the genitals are covered with a narrow piece of doth folded crosswise, and the femurs touch each other. It is evidently another woodcut than that edited by Schott. It • seems there- fore that Grieninger himself had a new wood-block cut, taking the old plate as a model but making several changes. The edition has, by the way, many other non-anatomic pictures which also appear on other plates by Grieninger. Toward the end of the book we read: Auch so wer mein meynung gewesetiy dir zu beschreiben den drUten theyl der praciic der arizney, so hab ich vernummen, wie disz erst neuwlich zu Strasz- burg geschehen ist, etc. ("I had also in mind to describe to you the third part of the practice of medicine, but I have learned that this has only recently been done in Strassburg etc.") This omitted third part is the Wundarzneiy and this passage, therefore, must refer to the second edition of Gerssdorff's Feldtbuch: Strassburg, 1528, 4^, which appeared only one year before.

b) Beck's Strassburg edition of Phryesen's Spiegel der Arznei, folio, was also published in 1529 with this note on the title-page: Gebesseri vndre widunib fleissig Ubersehen Durch Othonem Brunfels, and the follow- ing colophon: Ceirucki vnnd vollendet in der Keyserlichen vnnd Loblichen Stati Siraszburg von Balthassar Beck, vff den, xviij. tag des Augstmonats. In dem jar vnsers seligmachers Jhesu Christi, M. D. .xxix. The title has a broad woodcut frame with figures; page xi has the picture of the contrafacter Lasszman ("counterfeit bloodletting manikin *0> but other- wise there is neither the skeleton, nor the visceral manikin, nor any other picture in the book; 141 numbered pages. The drawing as well as the engraving is very poor. The anatomy is pre-Berengarian. The illustrations pertaining to the brain, the tongue, as well as the skeleton, are left out.

Another edition of the Spiegel der Arznei, prepared jointly by Phryesen and Brunfels, was again published in Strassburg, by Balthazar Beck, 1532, 14. March, fol. The title has a very broad, woodcut frame with many figures, and within it: Spiegel der artzney, vor zeyten zu nutz vnnd trost den Leyen gemachtj durch Laurentium Friesen, aber oft nun

134 ANATOMIC ILLUSTRATION

gefelschety durch vnfliesz der Buchtrucker, yetzund durch denselbigen Laurentium, vnd M, Othonem Brunfelsz, widerumb gebessert vnnd in seynen ersten glantz gestellei. Hietnit sollen widerrufft, vndfalsch declariert sein alle exemplar disz Bucks, so vor disem truck vszgangen seind, MDXXXIL This edition has no picture except the title and contains 6 unnumbered and 142 numbered pages.

The anatomy of the visceral manikin is pre-Berengarian, but much better than in any of the anatomic illustrations that had become known up to that time. The presentation is original, and in particular, the anatomy of the brain, in the smaller figure that surrounds the cadaver, is new and unique. Five of these figures, re-engraved, however, appear in Johann Dryander: Der gantzen Artzenei gemeiner Inhalt, Frank/, am Meytiy b. Chr. Egenolf, 1542, fol., as also the illustration of the tongue, on pages 70b and 86.]

The representation of the skeleton in Phryesen's book reappeared in Hans von Gersdorff's, surnamed Schilhans' Feldtbuch der Wundartzney, Strassburg, 1535, foL; 1540, fol.

This picture, however, is merely a copy and does not bear the date of the year, 1517. The title of the page is printed above and reads: Ein Contrajacter Todter mil seinen bainen fugen und glidern und gewerben auss bewehl loblichcr gedechttnus herlzog Albrechis Bischojf zii Slrassburg durch maistcr Niclaus Byldhauwer zu Zabcren icarlich in stayn abgehawen un nach anzaig rechler gewysscr Analomey mil scin latinischen namen verificierl. Below are twenty-four lines of poetry:

Der Todt bin ich grausam vngestalt

Vnd dock des Ichcns auffcnthall. Wannich Jlaisch / adcrn Icblich trag /

Bchalt all glydcr vest on klag, etc.

In the edition of Schilhans' Feldtbuch, Strassburg, published by Johann Schott, in 1528, 4°, this skeleton is missing. Hans von Gersdorff was a citizen and surgeon of Strassburg.

A very poorly drawn and crudely engraved skeleton, with the trunk partly covered with skin, is also found in a few editions of the Ortus Stniilalis by Johannes Caub or Kaub (Joannes de Cuba), whose publica- tions ^o back as far as the last decade of the fifteenth centurv. We find it in the Latin edition, Orius saniiatls, S.l. 151 7, folio, on the back of page seven of quire J, and also in the German edition, Gctruckt zu Slrasz- burg von Johannes Gricnyngcrn vnd vollendcl vjT sant Gcrtrudten lag im iar ij2g, on page Aij. It is also found in an old Latin edition, without

LAURENTIUS PHRYESEN 135

place and year, 55 lines, on the back of page Kj. It can always be found at the beginning of the Tractaius de animalibus; that is, on the back of page one, where the explanations are printed around it. It is suffi- ciently known that the Hortus sanitaUs, i.e., "The Garden of Health," is not an anatomic work, but was written for medical men and students of natural history. (Haeser dtes two other editions: Marpurgi, 1537, 4®; Frankfort, 1557, fol.)

Bhunenbach: IfUrodudio in histor. medic. liUerariamy p. 114. Bakiiiiger: Neues Magatin, III, 135-40.

JACOPO BERENGARIO DA CARPI

Giacomo Berengario da Caq^i, Jacobus Berengarius CaqDensis, also called Caq)us, was born in the little town of Caq^i in Modena. The son of a surgeon, he received instruction in anatomy from his early years and became well versed in the subject, having been, by the way, a pupil of Aldus Manutius. He praises the latter's course in academic subjects, which he attended together with Albertus Pius, the magnate of Carpi. He took his doctor's degree in Bologna, taught surgery in Pavia and, from 1502 to 1527, in Bologna. Later he went to Ferrara and lived for some time in Rome, where he earned much money treating syphilitic patients. At his death in Ferrara in 1530, he was thus able to bequeath a considerable fortune to the duke.

He seems to have read a great deal, especially in Celsus, and was famous as a surgeon and as a physician. He is credited with the earliest use of mercury in the treatment of syphilis. Benvenuto Cellini says that Berengario da Carpi spent six months in Rome, and that his treatments consisted of salves and fumigations; but after his departure all his patients became worse, and the people threatened to kill him if he returned. He also says that the Pope sought to engage Berengario, but that Berengario refused to enter anyone's service. Cellini also attributes to Berengario great learning and a good knowledge of the art of drawing:

Capito a Roma un grand issima Ceruse io, il quale sido inandava Maestro Jacoma

da Carpi aveva queslo valente uonio molta intelligenza del disegno. . . .

era niolto lilleralo: maravigliosamenie par lava della niedicina, etc. (Benvenuto Cellini vita, I, cap. v, II, cap. vii, edit. Lips, l^^^. 12°, I, j). 45; II, p. 72.)

"There arri\'ed in Rome a surgeon of the highest renown, who was called Maestro

( iiacomo da (\irpi He was a greal connoisseur in the arts of design A

man of nuu h learning, who used to discourse wonderfully about medicine." (The Life of Bdiviuuti) Cellini, translaterl by John Addington Symonds.)

His jiassion for the gra|)hic arts is also demonstrated by the fact that he was once the ])ossessor of Ra]jhaers ])ainting of John the Baptist (now in tlie Tribune in Morcnce), which he acquired in return for services irivcn to (\irdinal Colojuia. (See Passavant: Rafael I, ^o^.)

Berengario devoted most of his time to anatomy, to which he seems to have had a s])ecial leaning, and he ])rides himself on having dissected several hundred bodies. He has been re|)roached with having dissected

JACX)PO BERENGARIO DA CARPI 137

liviiig bodies, but without justification. Wliat he calls Anaiomia vivorum is nothing but the so-called Anaiome fortuita, i.e., at operations and from injuries the surgeon gets to see the internal organs and their adneza.

(Tempore enim nostro non fit anatomia in vivis, nisi forte a medicis, ut mihi contingit inteidum in inddendo apostemata etc., ubi cognoscunt coUigantias membrorum, positiones et operationes et omnia requisita in anatomia. Carpi commcntcria^ fd. 4b.)

'Tor in our time anatomy is not practiced on the living, unless, perhaps, by physicians as sometimes falls to my lot in cutting an abscess, etc., when they acquaint themselves with the anatomic relations of the organs, positions and operations and all the things that are requi«te in anatomy."

Mundinus was his paragon in all matters of anatomy. After writing a very elaborate commentary on the latter's textbook, in 1 5 2 1 , he decided, in 1522, to write a similar compendium of his own. This decision gave rise to his two anatomic works:

Commentaria cum amplissimis additionibus super anatomiam Mundini una cum iexiu ejusdem in pristinum et verum nitorem redacto, and

Isagogae breves perlucidae ac uberrimae in anatomiam humani corporis , . , . ad suorum scholasticorum preces in lucem datae.

In a twofold relation Berengario became the founder of a new epoch in anatomy. Mundinus' work was a rather poor compendium, depend- ing in part on the imperfect anatomy of the Arabians which he attempted to improve upon through only a few dissections of his own. Further- more, it had already become obsolete, and many of its shortcomings had long ago been recognized. Berengario was an indefatigable observer and was, therefore, able to correct a great number of errors. He was the pioneer of independent research in the anatomy of separate parts of the body.

Mundinus never used any illustrations. The illustrations published later in his books had not been taken from nature, but from books and descriptions, and were generally nothing more than representations of traditional errors, at least as far as anatomy for physicians was con- cerned. Berengario was the author of the first illustrations made from nature. His innate feeling for the graphic arts seems to have aided him considerably in his first attempts.

The Commentaria contain (besides Mundinus' work, which Beren- gario copied by chapters) a veritable treasure of rare information and anatomic experiences. The latter frequently contradict the traditional views and are clearly proved in the text.

138 ANATOMIC ILLUSTRATION

The only and very rare edition is:

Banoniae 1521J 4°, per Hieronymum de BenedictiSy pridie Nonas Martiiy 528 leaves with Roman pagination.

The title is a woodcut. At the top the coat-of-arms of the house of Medici (the book was dedicated to the Cardinal Giulio de' Medici), between two columns the title Carpi commeniaria, etc., printed in red; at the lower shafts of the columns the printer's cipher Hye, Be. in small shields. The printer of the book may also have been the engraver. At the bottom of the plate is represented the opening of a cadaver. There are present, the lecturer sitting at the left, the bare-headed dissector, who seems to be removing the skin with a large knife, and three other persons who are covered. One of them is dressed in a long coat. Two coats-of-arms are at the base of the columns. The first sLx plates repre- sent the abdominal muscles, praiseworthy for their anatomical fidelity. The drawing, however, is stiff, and the layers of muscle fibers are only crudely hinted at by means of engraved lines. Plates 7 and 8 represent the veins of the upper extremities; plate 9, the veins of the lower extrem- ities, that is, only the veins that are usually opened in venesection; the drawing and the engraving arc poorly done. Plate 10 represents the figure of a sitting woman; behind her a bed curtain. Her abdominal cavity is cut open and shows the spermatic (utero-ovarian) vessels, the ovaries, the uterus, and the bladder with the ureters. The whole is more schematic than true to nature. Phite 11 likewise represents the figure of a woman sitting and holding a veil behind and over herself with her left hand. In the abdominal cavity we see the internal genitals in a schematic rei)rescntation. Plate 12 shows a woman standing and holding a veil behind and over herself; her abdominal cavity and preg- nant uterus are cut open. On a j)edestal beside her the ]ncture of the uterus with the cotyledon is re])eated on a larger scale. These three plates reveal a freer and more finished drawing. Plate 13, the spinal column, re])resented schematically. IMates 14 to 18 appear to have been intended chiefly for the gra])hic arts. They represent an emaciated man; a man with a rope in his hand; showing the superficial muscular layer of the front of the whole body; a man crucified; showing the sujKTUrial muscular layer of the whole frontal surface of the body; the same muscular layer seun sidcwise in a man ])ressing a board against his knees; finally the sui)erficial muscular layer of the back of a man holdini^ an ax in his left hand. All five plates are based on free and artistic drawing. IMates ig and 20 represent skeletons. One skeleton holds a skull in either hand. The drawing as well as the engraving are

JACOPO BERENGARIO DA CARPI 139

poor. Plate 21, the bones of the hand and foot. This plate shows a better and more correct drawing; the foot is especially commendable. It is surprising that no illustrations of any internal organs are given, with the exception of the above-mentioned pictures of the uterus. One is inclined to attribute the exclusive attention given to bones and muscles to the fact that the author was a surgeon and a lover of art. The men- tion of another edition' of the Commentary, Banon. 1552, 4^, or folio, seems to be based on an error, just as the mention of an English transla- tion* of the Commentary, London, 1664, 1 2^, is evidently due to a mistake.

The Isagogae is an anatomic compendium intended to take the place <rf Mundinus' Compendium, and is superior to the latter. It was dedi- cated to Albertus Pius, Comes Carporum, and was first published in the following edition:

Bononiae, 1522, 4**, impr. per Benedicium Hecioris, die 30, Decembr,, 72 leaves, with German pagination. (Panzer, VI, 333, 118.)

The title has only a border with flowers inclosed. The woodcuts are reproductions from the plates of the former edition. Plate 14, the emaciated man; plate 16, the crucified man; and plate 17, the muscle- manikin with the board on his knee, are missing. In plate 13, the spinal colunm, has been altered, and is a less schematic and more natural representation. On page 25a, a new plate has been added representing two uteri, one of them with the attached tubes and ovaries. The names of the parts are printed upon them. This illustration is hardly true to nature, but becomes significant in so far as the older view that the uterus ended in horns and cells has here been contested, and the cavity of the uterus has been represented without them. There has also been added the side view of a muscle manikin {Muskelmann, i.e., a full-length figure exhibiting its dissected muscles), with a long staff, upon which the figure leans with both hands. The drawing has been done boldly and freely, and has been but sparingly crosshatched. [In the copy from the Leipzig Pauliner Library which Choulant consulted, the three female figures were missing; but it seemed to him that they belonged to the edition, because, just at the place where they were supposed to be, two pages were also missing in his copy (pages 23 and 24, quire C), which would go to show that they had been removed from the copy. There is too little of the text missing to account for the pages which are lacking.

' Haeser refers to this edition.

• Both Haller and Haeser quote this edition under the title: Mixpoxocr/Krypo^Ia; or, A

description of the Body of man; being a practical Anatomy, London, 1664, 8^. Choulant's reasoning that thb was based on an error is quite right, as the work contains illustrations from Vcsalius with the text from Bauhin, Casserius, Paaw, and Laurentius.

I40 ANATOMIC ILLUSTRATION

The Isagoge edition of Bononiae, 1523 (15 July), contains the 3 schematic uteri on page 24, recto. The printer was Benedict Hectoris. (A copy is in the possession of Professor George Sumner Huntington, Coll. of P. & S. N.Y.)

Professor W. Vrolik of Amsterdam had in his possession a Strassburg edition of Berengario's Isagogae breves under the title: Isagogae breves el exactissimac in anatomiam Immani corporis per illustrem medicum Carpum, in inclyto Bononiensi gymnasio chirurgiae professorem; in its dedication we read, Joanni Locero medic, professori experiissimo. Argen- torati, quarto nonas Junii 1530. This edition contains the illustrations of the edition of 1522, but besides these a group of splanchnologic illustrations, viz., four of the heart, two of the brain, and myologic representations different from those in the previous edition. These arc probably the illustrations mentioned by Hallcr {Bibl. anal. I. 169). Since, however, this edition was not prepared by Berengario himself, and since such illustrations are not found in the edition of Venice 1535, it seems doul)tful whether they are his at all. The date of the edition is also uncertain since the date of the dedication cannot be accepted as decisive.' It is true, though, that mention is made of an edition Argen- lorali, a pud Uenr. Sybold, 1530, 8°. (Linden: Rcnov. p. 478.)

The 1522 edition was followed by those of VencL^ ^5^3^ 4°^ ^^d Argcntorati, 1533. 8°. (Panzer, \T, 123, 84Q.)

Hallcr saw both these editions and says that, in the first, the female figures were added for the first time, which is incorrect, after what has been said above. IV^rhaps he saw an incomplete copy of the edition of 1522 and did not examine it thoroughly. Haller also asserts that he found in the edition of 1523 other representations of the uterus and pic- tures of the brain and heart which have not even been found in the edition of i ^;s-

VcncL, i^3j, 4'^, inipr. per. Bcrnardinum dc Vitalibus Venclum, 63 leaves with (ierman pagination; the last leaf has the erroneous number 61. (Panzer, VUI, 542. 1781.)

The title-} )age represents at the bottom a dissection at which are present the lecturer, at the right, sitting behind a desk, with an open book before him, the dissector with his head covered, holding up a large knife, and eight other i)ersons. ( )ne of these standing on the level ground at the head of the cadaver, j^oints with a small stall to the place where the dissector is siii)]K)sed to l)egin to cut. The body is still unopened. At the feet of the body we see a servant l)ringing something into the room.

' J'iin/t r ( itcs an edition of 1530, S, sine loco, W, 150, 430,

JACOPO BERENGARIO DA CARPI

141

He is the onfy p^son without headdress. The other six are sitting or standing on a dais. At the left of the body, on the floor, we see a large water basin. Both drawing and engraving are excellent and superior to those of the other plates. This sheet belongs to the school of Man- tegna, or at least to a different school of art than the other plates, which are inferior, although also north-Italian sheets. They are, nevertheless, of equal interest. The anatomic plates are in number and content identical with those of the edition of 1 5 3 2 and represent the same subjects. Tli^ are, however, all re-engraved and altered and betray a considerably inferior workmanship. Haller is probably referring to this circumstance when he p<Hnts out this edition as minus nitida.

The reprint of the Isagogae attached to Alex. Benedicli anatomice Argentor. 1528, 8°, contains smaller and very poor woodcuts.

It has been asserted repeatedly, and as often denied, that the wood- cuts in both works of Berengarios da Carpi were done by his con- temporary, Hugo da Carpi, the wood engraver. In any case, this cannot be said of all the plates, and may perhaps be true only of plates 14 to 18 of the Commentarui, intended for artists. (Haller, I, 167.)

[Berengario's illustration of the abdominal muscles is recalled by the woodcut on page 245b in Petri Aponcnsis Conciliator dijjerentiarum, Venet- 1504, fot. 17. January, which is 0.163 meters high and 0.130 meters wide and belongs to Dijferentia cxcix (199): Quod bezel seu incisio super umbilico compelat in hydropisi. It represents two nude figures holding each other by their shoulders. At the abdomen the anatomy of the abdominal muscles is shown, less correctly and less

142 ANATOMIC ILLUSTRATION

accurately drawn and engraved than in Eerengario's illustration. It seems, however, that drawings of Bejeng«rio's figures were in the hands of several physicians before 1521, ^J^i'they were printed, and that these drawings were added in the a^gve-given editicip of the Conciliator. Pietro de Abano (b. 1250, d. i3i5)^id not himself Insert these illustra- tions in his work; they arc not tSjiJy missing in the edition Manluae, J4Y2, fol. (Hain, i), but there haS""iiot even been provided any space for them, nor is any reference macje to them in the text, two facts which arc true of all the other graphic illustrations of the work. They were also missing in tJie edition of \ enel. 1^48, Jol. which HaUer saw (Bibl. anal. I, 145). It was unknown to Choulant in which other editions than tliat of Vaiice i^Cf these representations occur.]

[ALBRECHT DURER

Albrecht Diirer was bom at Nuremberg, May 21, 1471, and died there April 6, 1528. Like Leonardo da Vind, he wrote treatises on mathematics, chemistry, hydraulics, anatomy, and other scientific sub- jects that one would imagine to have been beyond the range of an artist's knowledge. If not really the foimder of the German School, he perfected the art which had already existed in his coimtry. He was one of the first artists in Germany who practiced and taught the rules of perspec- tive, which he is said to have learned from Lucas von Leyden. His scientific works were written during the latter portion of his life and he lived to see only two of his 150 books printed.

His book on human proportions was prepared for the press after his death by his lifelong friend Willibald Pirkheimer, to whom Diirer had previously dedicated it, and it appeared in October, 1528.

Hjerin sind begriffen vier biicher / van menschlicher Proportion, durch Albrechten / Diirer von Niirenberg erfunden vnd be- / schriben, zu nutz alien denen, so zu di- / ser kunst lieb tragen, / M.D.XXVuj., below this title is Diirer 's monogram. At the end of the book, on page 129b (sign. Ziij). Gedrucki zu NUrenberg durch Jeronymum Formschneyder / auf verlegung Albrecht Diirer s verldssen witib imjar von / Chrisii geburt. 1528. am letzten tag Octobris,, followed by the Privilegium on page 130 (Ziiij) and on page 131: Elegia Bilibaldi Pirckeymheri / in obitum Alberti Diireri, printed in the Gothic type of the book; page 131b con- cludes it with a few epitaphs and these words: Obijt anient non sine magna amicorum desy- / derio. viij. idus Aprilis. Anno, M.D.XXviij, Aetatis vero suae, Ivij. / Bilibaldus Pirkeymherus / amico iniegerrimo, M,P,; on page 132: Corrigierung eilicher worie, etc. Page 132b is blank, fol. The first and very rare edition is printed in Gothic type with indentures and comprises 132 pages with signatures and many woodcuts in the text, some of them covering the entire page, without catchwords and pagination; Ebert: no. 6442; Weigel: no. 291, 9923.

Hjerinn sind begrifen vier / Biicher von menschlicher Propor- tion, durch Albrechten / Diirer von Niirenberg {so) erfunden vnd besckri- / ben, zu nutz alien denen, so zu diser / kunst lieb tragen, / M.D.XXViij., below this the monogram and under that: Zu Arnhem, Bey Johan Janssen, Buchfiikrer daselbet. A nno M.CCCCCC.JJJ, Without colophon ,

143

144 ANATOMIC ILLUSTRATION

on page 130 (Ziiij) the Privilegium, on page 131a: Elegia etc., printed in Roman t^-pe, concluded on page 131b with: amico integerrimo, M.P.; page 132 is blank, the list of corrections, i.e., errata of the first edition, being omitted, fol. Is otherwise copied from the earlier edition, page by page, with signatures, but without catchwords and pagination. 'J'hc woodcuts are the same and appear to have been printed from the rather worn and, in some cases even warped blocks of the original edi- tion; only on the page with signature Qiiij b, the two upper heads are from other drawings. On the title of many copies the words: Zu Arnhem — M.CCCCCC.JJJ. are omitted, so that this edition might easily be confused with the original. But the difference in the impression as above described will help to distinguish them.

The work itself is divided, as its German title indicates, into four books. The first two books treat of the proper proportions of the human form and its separate members, according to a constructed scale. He first divides the body into seven parts, each having the same measure- ment as the head, and he next considers the same divided into eight parts, giving also a separate consideration to the proportions of children. The woman, he considers, ought to be an eighteenth part shorter than man. In his proportions of the female figure he follows, perhaps unwittingly, the celebrated standard of the \'enus de' Medici.

In his third book he changes these proportions according to mathe- matical rule, and gives examples of ludicrously fat and thin figures, in which some one proportion is frightfully exaggerated. In the fourth book he shows the human form in movement, and treats especially of foreshortenings.

It is to this book that Hogarth alludes in his Analysis of Beauty,

when he si)eaks of Diirer. Lamozzo, and others Iiaving "puzzled mankind

with a lieaj) of minute unnecessary divisions" in their instructions for

drawing the human form; and Lord J^acon. in his essay On Beauty/'

sa}s :

A man ran not tell whether Apcllcs or Al])ert Diirer were the more t rider: whereof the one would make a personage by «:eon"ietrical proportions, the other by taking the l)e>t ])arts out of divers face> to make one excellent. Sueli personages, 1 think, would {)lea<e nobody but ihe i)ainter that made them.

The first book Diirer saw through the press himself, as stated in the

}^rcface by Pirkheimcr,

That ahhough the pious and arli>tic Albretht Diirer had written these four books, yet thai he had only l)een able to revi>e and eorn-ct one of them; for before the other threi- tould be ready, death snatched him away. Doul>tless. if he had had time, he would have altered, augmented, or diminished many things; Init his friends consider it belter to gi\ e forth these three book> without his cc)rreetions, than to suppress them.

ALBRECHT DURER 145

In 1532-34 Joachim Camerarius prepared a Latin translation of the work, which was published at Nuremberg with the title:

Alberti Dureri clanssimi picto- / ris ei Geometrae de Symmetria / parHum in rectis formis / humanorutn corporum, / Libri in laiinum / conuersi; below this four Latin distichs and Durer's monogram. At the end of the book: Norimbergae excudebaiur opus aestate Anni A Chrisio. I seruaiare genito M.D,xxxij. In aedib. / viduae Durerianae,, one blank page. fol. First part, comprises books i and 2. — Clariss. Piciaris ei Geometrae / Alberti Dureri, de varietatefi- / gurarum etflexuris partium ac / gestib. imaginum, libri duo, qui / priorib, de symmetria quon- I dam editis, nunc primum / in latinum conuersi / accesserunt. / Anno M.D.XXXiiij, At the end: Finitum opus Anno a salutifero partu. 1534. p. Cal. Decern, / Impensis viduae Durerianae, per Hieronymum I Formschneyder Norinbergae; then one blank page. fol. Second part, comprising books 3 and 4, is concluded by Elegia Biblibaldi, etc., several Latin, and one Greek poem, and M. Beatis .... integerrimo, M.P., one page of errata and the colophon given above. These two volumes contain the complete translation of the original German edition, by Joachim Camerarius senior (b. 1500-d. 1574), the woodcuts are prints from the original blocks. Gothic type, with signatures, but without catchwords and pagination. (Ebert: no. 6443; Weigel: no. 292, 1861, 17780.) This work embodies the first application of anthropometry to aesthetics, and is technically interesting because it contains the first attempts to represent shades and shadows in wood engraving by means of crosshatching.

The short biographical sketch that Camerarius has given us in his preface to this edition is now perhaps of greater interest than all the rest of the book, but the number of editions and translations of this work that appeared in rapid succession during the sixteenth and seventeenth centuries showed that it must have supplied a want in its day, and must have been highly esteemed, not only by the Germans, but by students of other countries as well, as is evident from the following.

de symmetria, etc., iibri quator. Paris., apud Christianum

Wechel 1573. Camerarius' translation; an earlier copy of this transla- tion, Paris, 1535, fol., is mentioned by Ebert: no. 6443, note, but is doubted by Heller.

Les I qvatre livres / d^ Albert Direr, / Peinctre et Geometrien

Tres I excellent, De la Proportion / des parties et pourtraicts / des corps kumains / Tradvicts par Loys Meigret / Lionnois, de langue Latine en Franqoise. A Paris, / Chez Charles Perier / 1557. fol., 2 and 124 pages

146 ANATOMIC ILLUSTRATION

with newly engraved copies of the original figures, in original size; the translation is made from Camerarius, Ebert: no. 6444.

Les I qualre livres / d' Albert Diirer / Peinctre ei Geometrien

tres excellent, / De la proportion des parties et / pourtraicts des corps / humains. j Traduicts par Loys Meigret lion- / nois de langue Latine en Franqoise. Arnliem, / Chez Jean Jeansz, idij^foL, 2 and 124 pages, new title: Arn/icm, 1614J0I.; Ebert: no. 6444, note; Weigel: no. 294,4887.

Di I Alberto Durero / pittore e geometra / chiarissimo. / Delia

simmetria dci corpi liumani, / Libri Quattro. / Nuovamente tradotti dalla lingua Latina nella Italiana, / da M. Cio. Paolo Gallucci Salodiano. / Ei accresciuti del quinto libra, nel quale si tratta, con quai modi possano / i Pittore, e Sooltori mostrare la diversita delta natura de gli huominiy / e domie, e con qtiali le passioni, che sentono per li diuersi / accidentia che li occorrono. Hora di nuovo stampati. Opera a i pittori, e scoltori non solo I vtilo, ma necessaria, et ad ogn^ altro, che di tal materia desidera / acqnislarsi perfetto giudizio. / In Venetia, MDXCI. / Presso Domenico Nicolini. At the end on the front side of the page, the printer's mark with the colophon: In Venetia, MDXCI. / Appresso Domenico Nicolini. Jol. This translation has also been made from Camerarius; the wood- cuts are newly engraved copies of the original blocks; the added fifth book is written by Gallucci himself and is without illustrations; Ebert: no. 6445; Weigel: no. 1863.

Di Alberto, etc., In Venctia, presso Mainctti, ijQjf^fol. After

the preceding edition, Ebert: no. 6445; Weigel: no. 293.

■ Beschryvinghe van Albrecht Durer, Van de Menschelycke

Proportion. Begrcpen in vicr ondcrscheydcn Boecken, zeer nut ende pro- Jyiclyck voor allc Liejhcbbcrs descr Konste. In 7 Latyn ende Iloodguytsch^ tot Xucrcnbergh ghcdruct, tot kostc van sync nacgclat^n wcdnwe. In H Jaer ons Ilccren 152^. Ende nu in onse Ncdcrlantsche Sprake ovcrgheset, tot dicnstc dcr ghcncr die dc konstc bcminnen, ende de Latynsche ofte de Hoog- duytsclic sprake nict en vcrstacn. Tot ArnJicm 1622, Jol. A Dutch tninslation. made from the Nuremberg German or Latin edition with prints from newly cut blocks, Weigel: no. 11946. There is also an English translation of 1666. In Joseph Heller: Leben DUrers, II, l^irt 3, Lei])zig, 1831, 8°, a Portuguese translation, made from the Italian edition, is mentioned among a rather extensive literature of Diirer's work on proportions, pages 996-1013, with a description of the original manuscript in Dresden, on pages 998-1006.

Opera Alhcrti Durcri, das isl, allc Biicher des — Albrechten

Durcrs von Xurcnberg, so vicl dcrcn von j km sclbst in An. ij2j vnd 1528

ALBRECHT DtJRER 147

kuriz vof vnd gleich nach seinem todt in Truck geben. etc mil sein

selbsl sigenen gemack ten vnd geschnitUnen zugehorigen Figuren, van newem ouffgelegi vnd getruckL Zu Amhem, Bey Johan Jansen, BuchfUhrer daselbsL Anno MJXJJJJJ, fol. Contains the books on the measure- ments by means of the compass and ruler, on the human proportions and fortifications, in German, with woodcuts; cf. Haller: Bibl. anat. I, 171.

JOHANN EICHMANN

Johann Eichmann, called Dryander, died as professor in Marburg in 1560. He belongs entirely to the Mundinus-Berengarian School, as he had the latter's figures redrawn and copied. In his edition of Mun- dinus' works (1541) are sLx plates of the abdominal muscles; the two figures of the sitting woman; the uterus; the veins of the arm and the foot; the bones of the hand and foot; the muscle man with the rope; the plate showing the muscular layer of the back; and the plate of the crucified man. Most of them are inferior to Berengarius, wdth the excep- tion of the plate representing the veins of the arm and foot, which is better than the original. ]Many of the plates bear the dates of the years 1536 and 1537; occasionally also a monogram of the initials G and B intertwined, G and above it G V B, or V B, or G, with a compass before it. (See Brulliot: Diction, dcs monoi^rammes, II, 2834, 2839.) This makes it apparent that different wood engravers were engaged in the work. But, on the whole, one can recognize the school of Hans Brosamer. The latter used to work chielly for the publishing house of EgenollI in Frankfort.

Dryander is generally regarded as among the first anatomists who made illustrations after their own dissections. All pictures which he did not take from Berengarius, Phryesen, or, in j)art perhaps, from Vesalius' earliest [)ro(luctions. are illustrations drawn from his own dissections. Two of his works should be mentioned in our discussion:

Afidtoniia(\ li.c. corporis humLVii disscctionis pars prior y in qua singula quae ad Caput spcctant rcccnscntur membra, alquc singulae paries, singulis suis ad uiuum commodissime expressis jiguris, deliniantur. Omnia rccens nata. Per J oil. Dryandrum, Medicum el Matliematicum. Item Anatomia Forci, ex traditione CopJwnis, Injantis, ex Gabriele de Zerhis. Marpurgi, a pud I'lucliarium Ceruicornum, ijjy, m. Junio. 4°.

In this work there arc twenty j)hites. Hie first sixteen |)lates repre- sent twenty-one figures of the head and brain. The hist four plates, those of the chest and the hings, have been added as an appendix and as models for liis succeeding book. With the exception of the second |)hite. which occurs twice in this work, all the i)lates are reintroduced in the following edition, only that all nonessential ])arts anti the margins are mostly cut off from the wood block. In the edition of 1537 we

JOHANN EICHMANN 149

cannot find any illustrations after Berengarius. All the plates represent anatomic figures from his own dissections. They are crude, yet do not lack a certain fidelity to nature.

Anatomia Mundini, ad vetvstissitnorumy earundemque aliquot manu scriptorum, cadicum fidem collaia, iustoque sua ordini resHiuta, Per J oh. Dryandrum Medicum professorem Marpurgensem. A dieciae suni^ quarum- cunque partium corporis , ad uiuum expressae figurae, Adsuni ei scholia ^ etc., Marpurgif in officina Chris tiani Egenolphi; at the end of the book:

1541.

We find altogether forty-six larger and smaller plates, some of them

with several figures. To the illustrations taken from the previous work

eight entirely new plates are added, of the author's own, representing

the stomach, the alimentary canal, the liver, the spleen, the kidneys,

the genitals, and two skeletons, and eighteen plates representing the

abdominal muscles, bones, and veins of the arm and foot, muscles of the

front and the back of the body, and the figure of a crucified man. These

latter plates are copies of Berengarius' plates, but are slightly changed.

From this book several anatomic illustrations (prints from the same original wood blocks) were used in a later work by the same author.

Der gantzen Arizenei gemeiner InhalL Franckfuri am Meyn, bey Christian Egenolff, 1542, mense Martio, fol., no leaves (the same 1557).

Twenty-three of the leaves, some of them with several figures, are plates taken from the above-mentioned book. Two sheets are entirely new and represent (i) a figure, showing the vascular system, with heart and liver, and (2) a figure showing the cutaneous veins of the back Oeaves 7 and 8). On pages 70b and 86, we, furthermore, find five smaller figures representing the brain and the tongue. These figures are the same as those of Laurentius, Phryesen, Spiegel der Arizney, Strasburg, 1 5 18, fol., but are positively new engravings. A great many other figures are non-anatomic, and were probably all done by Hans Brosamer. Some of them can also be found in other works. (Haller, I, 174.)

[Panzer adds to those already given, Bononiae, 1523, 4°, VI, 333, 123; Coloniaej 1529, 8*^, \T, 408, S3ob; Haller cites Francofurti, 1547, fol., with Drj'ander, der ganzen Arzney gemeiner Inhalt.]

GIOVANNI BATTISTA CANANO

Giovanni Battista Canano, Joannes Baptista Cananus. physician in ordinary to Pope Julius III, went, after the latter's death in 1555, to Ferrara as physician in chief (protovicdicus). He is said to have been still living in F'errara in 1578 at the age of sixty -three, which would fix the year of his birth at 1515. He began a book on the muscles of the human extremities and had a relative, the Ferrarcse physician, Antonio Mario Canano, aid him in his anatomic studies. The Ferrarese painter Girolamo da Carpi (Hieronj-mus Carpensis, b. ijoi.d. 1556 or 1569) made the drawings for the illustrations of the book. Canano calls this artist p'lctorem nostra aevo tion minus diligenlcm qiiam insipiem ("a painter of our time as painstaking as he is famous"). It is probable that the famous Agostino de' Musi [Augustinus de Musis, Agoslino Veneziano) engraved the drawings in copper. Neither Bartsch nor other writers on art mention these illustrations.

's^s^^r

This work wns never completed, however, although wc read in the preface \rr!iqtios sub cnhln'^ntphi prurlo jam posilos mox edituri) "pres- ently going to publish the remaining [books] which are already in press." Only the first book of the work consisting of twenty leaves with twenty- seven illustrations from cojiper engravings was published under the title:

MusddoTum liumuni corporis piduralu disscclio per Joannem Bap- iislani Cananum Fcrrariciiscm medicum. in Btirtbolomei .\igrisoli Fer- rariatsis palritii gniliiini, mine priinum in Iticcm cdita. s.l.e.a. 4°; at the end. Libri primi finis; 20 leaves, last page Liank; Sign. A-E.

The engravings, in long quadrangles, take up the left half of the page and represent the muscles and bones of the upper arm and forearm. On some of the plates, letters are engraved for explanations. The drawing is unusually exact for those days. The engraving and cross- hatching are very clean, yet the difference between bones and muscles

GIOVANNI BATTISTA CAN AND 151

has not been brought out dearly enough; also a few of the bellies of the

muscles {Muskdbducke) ajqpear unnatural. The paper is thin and

tran^Murent. As the book remained incomplete and probably never appeared in

the book market, and as only a few copies of the first volume were given

away by its author, the work has become ver>' rare, and only three or

ioar complete copies are known to exist. One of them was in the library

of Count Bute and seems to have come into Haller's possession. A

Seomd one, which Haller himself saw, belonged to Conrad Gesner, who

bad inscribed his name in the book with the remark that he had received

it from Agostino Musto of Ferrara in 1543, perhaps from the engraver

Agostino de' Musi. A third is in the Royal Library in Dresden. This

one has on its title-page the following words, written in characters of the

sixteenth century: Sum Andreae Aurijabrj Vratislavitns, Doctor, 1545,

VeneUis. From these indications, the book must have been printed

before 1543. Judged by the illustrations, it also belongs to the pre-

Vesalian period of anatomy. It is possible that the appearance of

VesaUus' Fabrica in 1543, which represented muscles in a particularly

beautiful manner and which was received with such general approval,

broke off the continuation of Canano's work. On the other hand, no

other anatomist but Galen is mentioned in Canano's book. It has been

asserted that another edition was published, Ferrariae, 1572, 4^ {Merck-

lin Linden, renav. p. 524), but nothing is said about it in Haller, I, 192.

[To the three copies that have so far been known of the rare work by

Canano; Musculorum corporis humani picturaUi disscctio should be

added a fourth copy which the Royal Library in Berlin purchased for

twenty ducats from the estate of the anatomist, Karl Asmund Rudolphi.

(Sotzmann: Deulsches Kunstblatt, 1852, p. 19.)]

Ebert, no. 3441.

Falkenstein, Karl: Beschreibung der Kdnigl. ofentl. Bibliothek zu Dresden, Dresden, 1839, 8*, p. 733.

CHARLES ESTIENNE

Charles Estienne (Etienne), Carolus Stephanus, was a descendant of the famous family of printers of the same name, and was for some time foreman in his brother's printing establishment. In 1542 he received the degree of doctor of medicine in Paris and died in 1564.

Dc dissectione partium corporis huma^ii libri treSy a Carolo Slephano, doctore Medico, ediii. Vna cum figuris, el incisionum declaraiionibuSy a Stephano Riuerio Chirurgo compositis. Parisiis. A pud Simanem Coli- naeum. 1545, fol., 23, 375 pp.

This work was completed up to the middle of the third book as eariy as 1539, but the work remamed unfinished ob enatani controversiam (*' because of a dispute which has arisen"). In the French edition we read, a cause d'ung proces qui survint. The author complained of plagiar- isms that had been published, particularly in Germany. The prepa- rations for this work seem to have been made long before its first appearance, for several plates bear the dates 1530 (p. 154), 1531 (p. 155), 153- (PP- 150, 151)- The author speaks with praise of the assistance rendered him by the surgeon Etienne Riviere, who is named in the title, and who assisted him both in his dissection and in the drawing of the illustrations. The first plate on page 13 actually bears the monogram S.R. The other ]')lates either have no monogram or have that of the wood engraver, Francois Jollat, of Paris, who was well known between 1502 antl 1550. The Lorraine cross, or the cross of Jerusalem, is also usefl as a monogram, quite in accordance with the custom of many French wood engravers during a period of about one hundred and ten years. (Cf. Jules Renou\'ier: Dcs types e! des manlcrcs dcs maiires gravcurs, Parlic II , Alontpellier 185O, 4^, ]). 169.) It is said that P. Woeiriot is the author of several drawings, but this is impossible if the latter was born in 1532. One should perhaps much rather suggest Jean Cousin or  ?^Iaitre Koux (Rosso) or Jean Goujon, that is to say, masters of the Renaissance. I'he work of the wood engraver is particularly excellent. The (h'awings. on the other hand, are neither tasteful nor anatomically correct, the l)est re])resentations feeing, perha])s, the entire muscle- figures. The anatomy throughout is i)re-\\'salian and the figures of the abdominal viscera quite arbitrary and false. The figures of the tliorax. the l)rain, and tlie eye are better, 'i'he plates generally represent

CHARLES ESTIENNE

the whole body with a great many nonessential elaborations, so that the reodering of the actual anatomic portion is small and indistinct. The

bodies are often artistically drawn, but are placed just as often in queer and repulsive positions. The female figures, on the whole, excel the male figures. The earher plates of the latter are clumsier and perhaps

ANATOMIC ILLUSTRATION

3II0W older X'cnctian-Paduan examples; the latter plates, beginnir ■ith pa^e 3^^6 and up to page 287. approach the bold style of Buonarrot

rom page 161 on, such parLs of the entire figure as contain anatomi laterial for illustration are given on separate small woodcuts, supei iiposed and set in, and completely surrounded by the letters referrin

CHARLES ESTIENNE 155

to the legend, the borders of such insertions being more or less evident. This seems to show that either before or after the publication of the work, these lay figures served for other than anatomic purposes. The legend is printed on separate little plates and can therefore be removed. There are altogether sixty-two full-page plates, among them several repetitions; and besides these there are a great many engravings inserted in the text, particularly those pertaining to the study of the muscles and the eye. The text is more instructive than the illustrations, and is particu- larly significant from the viewpoint of the history of anatomic discoveries, since Estienne was himself a dissector, began his work long before the appearance of Vesalius' work, but did not finish it until after the latter's publication. There exists one copy of the work on parchment and with illuminated figures.

A French translation was published under the title: La dissection des parties du corps humain diuisee en trois liures, faictz par Charles Estienne docteur en Medecine: auec les figures el declaration des incisions, composees par Estienne de la Riuiere chirurgien, Paris, chez Simon de Colines, 1546, fol., 16+406 pp.

The illustrations are the same as in the Latin edition, with the excep- tion of the first five plates. These contain two side views of skeletons which we do not find in the Latin edition. The plate representing the back view of the skeleton with architecture is missing here, but occurs on page 352. In the Latin edition it is repeated on page 324. The French translation, therefore, has in all sixty-three wood engravings.

Haller, 1, 195. Ebert, no. 6960.

Weigel, no. 17773, with animadversions as to the different artistic tendencies of the illustrations.

FUGITIVE SHEETS (FLIEGENDE BLATTER) WITH

PRE-VESALIAN ANATOMY

Fugitive sheets (Jlicgende Blditer)^ with pre-Vesalian anatomy, repre- senting whole figures with the names of the parts or explanatory texts, were published either on a single broadside or on two sheets, each with printing on one side only. In this period several appeared. They were generally intended to disseminate popular information, or to give instruction to barbers and surgeons, and were probably to be hung up in their anterooms. Usually they show an already obsolete anatomy for the time in which they appeared, seldom a scientifically exact repre- sentation. They were, in the nature of things, predestined to be scat- tered and lost, and, on this account, are now all of them exceedingly rare.

In addition to the first six Vesalian plates mentioned in the article on Vesalius, of which there were a few reproductions, these include:

1'wo sheets: Osteotome, i, ossium corporis hiimcuii divisio ex Galeno praeclpuc collccta. Paris., apud Christianum Wechelum, 1536, fol.

This represents a front and back view of the erect skeleton in wood- cuts, with Latin explanations printed on the margin. In the copy before me, the figures are colored brown, on a yellow background. The drawing is better, and, as regards anatomy, more exact than that in Bcrengarius, Dryander, and Ryff. The woodcut is beautiful and dis- tinct, but the proportions of the skeleton are neither beautiful nor true. 'I'he skeletons themselves are not without anatomic errors and fall con- siderably short of Vesalian representation. These two sheets can also be found in some copies of the Greek edition of Galen Basil. 1538, fol. V.

Two sheets: Nicolai de Sahio viscerum viva, dclincatio, Venei., 1539, fol.

These represent a male and a female body in which the abdominal viscera are drawn on separate, mova])le layers, in a fashion suggestive of their sequence from front to back in the human body. The arrange- ment is similar to that which Vesalius adduces and illustrates in his Epitome. The anatomy is older, showing the liver with many lobes. The drawing is crude, dialler I, 170, })},^.)

Two sheets: Anatomia oder ahconterj'eyun^ eines mans leih, uie er

ijrdriidii^ i^estdlt ist eines W'eybs leih, uie sie inicendig gestalt isL

Gedruckt Cu X umber g durcli Hans Guldenmundt, s. a. fol.

FUGmX-E SHEETS WITH PREATSAUAN ANATOMY x$j

RqxesentatkHis of a man with a twig in his right hand and an a|>|^c in his left, and of a woman with a flower in h«r left hand, both nude and seated (evidently intended as Adam and £\t). The anterior wall of the trunk can be <q)ened and turned upward. Beneath it i^ shown the anatomy of the thoradc and abdominal cavities. The pictures of the internal parts cannot be turned aside or remoN'cd se|>arateJ>\ The anatomy is pre-Vesalian. In the female figure wx see the uterus e^ilarKeil and qpoded; in it a cowering fetus,' with its hands before its e>xs. In the female figure the names of the different organs are cngraxned on them, mostly in Latin, sometimes in German, as Nier (kidney), Phsklarm (colon), Masdarm (rectimi). On the male figure we find instead of the entire words only letters. Above each figure and on both siiles of it, we find a description in German of the several organs and sei>arate representations on small wood engravings. These representations and descriptions are the same on both sheets, with the exception of the sexual organs. On both sheets the principal figure and the side figures .are illuminated. The drawing and the engraving of the principal figure are rather good and done with crosshatching, probably by the wtHwl engraver, Peter Flotner, of Nuremberg, who died in 1546. We must not confound these two sheets with the following:

Ausslegung vnd besckreybung der Anatomiy oder warhajften ahcontft' fetung eines inwendigen carpers des Manns vnd Weyhcs, mil erklerung seiner innerlichen gelider, etc., 1539. Gedruckt zu N Umber g durch Hans Guldenmundty ^,

Twelve sheets with crude wood engravings between the text, rq)rc- senting individual organs of the thoracic and abdominal cavitien and conveying popular instruction in anatomy and remcdicH for vuriouH diseases. There are no entire figures among them. The wood blockn used are also not the same as those of the above-descrilx^d platcM, hut blocks by Hans Weygel, which we will mention further on. This l)<H)k was republished in Ulm in 1541, 4®. fHallcr, 1, 180.) (iuldenmundi wan a wood engraver and a printer in Nuremlxrrg and is sui)iK>Hi!d to have woriced between 1520 and 1546.

Two sheets with the monogram C. B. in copf>er, fol.

Illustrations of a man and a woman with the apple and thir {\<mt*r, both nude and in sitting postures. Copic*cl from the alxivc-miniljonftd woodcuts. Here, too, the picture of the front wall of the trunk can \Ht opened up, aUowing a view of exactly the same anat/^my with i\w, hutnit

■The fUlutory poatioo of the ftiut in uUro wai% fjr^l t.orrvMy y^wu m t)** M^ 'lf«w- mgs of Leaoarck) da ViocL

158 ANATOMIC ILLUSTRATION

names and the same letters as in the above-mentioned figures. The representation of the uterus with the cowering fetus is also entirely the same. I am unable to see from the copy before me whether text and illustrations surround the main figure, the edges of my copy being cut close to the margin of the plate. On the copperplate itself nothing else can be seen. Both sheets are colored. On the sheet showing the male figure the monogram C.B. is engraved on the left-hand side at the bottom. On the second sheet representing the female figure this mono- gram is missing. It may stand perhaps for Cornelius Bos (Bus, Bosch), a copper engraver and dealer in copjier engravings, who moved to Rome in 1540. These sheets were probably engraved in German;j' or the Netherlands before his departure.

Two sheets: Anothomid. oder abconlerJeUmtg eines Mans leyb, wie er inn'dvndig geslaUel isl. .... eities IVeyhs leyb. wie er innweitdig gcslallel isl. Gelriickt zu Sirassbitrgdurch Ileinric/iev Vogtherren. 1539, fol.

Representations of a man and a woman, nude, sitting figures, with some kind of garment thrown around their hips. The right hand is hidden behind the thigh, the left hand is King on the garment, but, like the right hand, holds nothing. The apple and the fiower are left out. The picture of the front wall of the trunk can be folded upward. Beneath it the anatomy of the internal organs is not merely drawn, but the dilTerenl pictures of the various organs can also be lifted up separately. The names of the organs are printed on the parts either in Latin or German. The uterus shows the crouching fetus with its hands placed on the si<les of its head without covering the eyes. The drawing is by far cruder, and the anat.omj' is even more obsolete, than on Guldenmundt's sheets. Moreover, we find, just as on the iatter's sheets, printed text with illustrations of the different organs above and on both sides of the principal figure. These, indeed, are the same illustrations as on the Guldenmundt sheets, but a tlilTerent wood engraving. Two wood engravers and art dealers in Strassburg had the name Heinrich \'ogther. The older one was a painter, copper etcher, and wood engraver, and is supposed to have been born in Augsburg, in 14QO. The younger one is said to have been born in i.sij. These sheets are probably by the older man. [A description of Vogther's plates, in which eight smaller anatomic woodcuts are printed, is contained in: Az'szlcgung viiiid be- schrcihubg dcr Aiuilliomi. odcr 'd'arhnjflcu iibconlrrjctung cyiics iiiu-cn- digeii carpers dcs matins vntid uvibcs, mill erkleriin^ seiner inner lichen, l^elider etc. Cclriickt zit Stntszhiirg durcli Ileinriclien Voglherren. Anno M.D. .VA.Vf'.V. .f, I S jiages Gothic type with signatures and catchword.)

FUGITIVE SHEETS WITH PRE-VESALIAN ANATOMY 159

There is supposed to have been a second edition of the above-described Anoihomiay Strassburg, 1544, fol., which Haller saw: Abconterfeytung eines Manns leib, wie er inwendig zu sehen ist, , , , , eines Weibs Ltib, etc. This edition was also published as two illuminated sheets. (Haller, I, 180.)

[Two sheets: Anatomia interiorum par Hum humani corporis ac earundem sUuSy figura, numerus, posUiOy hatid iniucunda cogniiu. — Anaiomiae peruHlis interiorum muliebris pariium cogniiio ac earundem . . . • cogniiio. Argentoratij apud Jacobum Jacundum, 1551, 1552, fol.

Representation of a man and a woman with the Latin text on the back with smaller illustrations of single organs within. The principal figures are identical with those published in 1539 by Vogther in Strass- burg. The plate with the male figure bears the date 1551, the female figure the later date. Both plates are illuminated.]

Two sheets: Anathomia oder abconterfeciung eines Mans leib, wie er inwendig gesialtet ist, .... eines Weibs leib, wie er inwendig gestaltei isL Gedruckt zu Niirnbergy durch Hans Weygel, Formschneyder, 1556, fol.

They are exact copies of the figures by Vogther, but different and, indeed, inferior woodcuts. The internal anatomy is also demonstrated in exactly the same way. The smaller woodcuts between the text that surrounds the main figure are the same drawings but re-engraved. Several of the wood blocks had been used before for Guldenmundt's book: Ausslegung und beschreybung der Anatomi, NUrnberg, 1539, 4**. Both sheets are illuminated. Hans Weygel of Amberg was a wood engraver and art dealer in Nuremberg and died there in 1590.

Two sheets: Anathomia, oder Abconirafeciung eines Mans Leib, wie er inwendig gesialtet ist, .... eines Weibs Leib, wie er inwendig gestaltei isl. Gedruckt zu Niirnbergy durch Malthes Ranch Brief maler, 1584, fol.

The woodcuts are taken from the same plate which Weygel had been using. The arrangement of the sheet is exactly the same. The smaller woodcuts in the surrounding text are also taken from the same blocks. The only sheet before me, the sheet of the female figure, is illuminated.

Two sheets: Anathomia oder Abconirafeciung eines Mans Leib, wie er inwendig gestaltei isl, .... eines Weibs Leib, wie er inwendig gesialtet ist. Gedruck zu Franckforl am Mayn, bey Conrad Corthoys. s. a. fol.

The drawing is the same as that of the above-mentioned sheets, i.e., it repeats Vogther's figure. The woodcut of the main figure is new and so are the smaller woodcuts in the text. All around the sheet runs a decorated border; within it is the German explanation with the smaller

i6o ANATOMIC ILLUSTRATION

woodcuts, on both sides of and above the main figure. The sheet before me, the sheet of the male figure, is illuminated.

[Two sheets: Anathomia, oder Abcontrajectung eines Manns Leib, wie er inwendig gestaltet isl .... eines Weibs Leib, wie, etc. Gedruki zu Niirnherg, bey Georg Lang, Formschneidery etc., 1588, fol.

These represent also Vogther's figures, with German text. The plate used, however, is another one by Hans Weygel. The sheet Choulant describes had a male figure and was illuminated. Georg Lang, Formschneider or wood-block cutter and illuminator in Nuremberg, is believed to have died in 1620. A comparison of the fugitive leaves mentioned on p. 155 and elsewhere in this chapter with the first six Vesalian plates will show, by the way, that there are no copies from those six plates on any of these sheets. The fugitive leaves are all representa- tions of an obsolete pre-V^esalian anatomy.]

Single sheet: Anatomic trcs-vtile, pour congnoistre Ics parties interieures de Vhomme ct de la Jemmc. Composee par Maistre Andre Vesali, auec ample declaration des veyncs principales et maniere de bicnc Signer {bien saiguer), etc. Paris, par Jean de Courmont, 1585, fol.

At the top, in the center of the sheet, we sec a large woodcut repre- senting a tiled bathroom. Above, a small window through which one can see a landscape. In the room a nude man sits on a wooden bench and at his left sits a nude woman. Both have a narrow garment fastened at their hips. The woman's garment covers the right forearm. The man is holding his left hand over a water basin. The woman has in her right hand a small tablet with a handle on which are inscribed the words: Noscc tc ipsum. Know thyself. The veins of the arms and the feet are drawn only on the male figure and are marked with letters, ^rhe part rei)resenting the anterior wall of the trunk can be turned upward and one sees then a pre-\'esalian anatomy of the internal parts of the thorax and al)domen, wliich again may l)e turned aside separately. On the foot-rest of the l)ench. to tlie left, we find a monogram R. S., and below it the dissectini^ knife. Above the mide figure these words are printed: hilcriontm corporis Jiumani piirlium viva dclincdtio: above the female ht^airc the followini; words: Peru li lis anatomes inlcriorum muliehris par- Hum coi^uilio. etc. ( )n both sides of the plate there are anatomic ex])lana- lions of the parts. Jk'low them the whole width of the plate is taken 11]) hy directions for venesection, and the names of the veins involved. The woodcut itself is illuminated in colors. TJie mention of \'esalius in the title is only a pretense, for tlie anatomy is not Vesalian, but more obsolete than should have been expected even at that time. A

FUGITIVE SHEETS WITH PRE-VESALIAN ANATOMY i6i

second edition of this print was published in Paris for Michel de Matho- niere, 1613, fol., using the same plate, but the picture is not colored in the copy before me. The printed text is the same and so is the title: AnaUnnie tres-vHle, etc., de bien Seigner, as is here corrected. The monogram is also on this plate. These prints belong to the Dutch school of art. The monogram should, therefore, not be interpreted as standing for Ra£faello Sdaminossi (Schiaminossi), who, by the way, was not bom till 1570 and, for this reason alone, could not have done the engraving. There exist, however, two prints done by him, viz.:

Two copperplates: Aderlassmann von vam und vom Riicken gesehetiy 14 inches, 10 lines high, 14 inches wide.

The first print represents the front view of the figure of a naked man, to the left of it the head of the same figure, and to the right the abdomen of a woman. The places for venesection are indicated. The second print represents the back view of a similar figure, with the monogram in the lower right-hand comer.

See Bartsch: PeinL grav. XVI, 211, and following pages: 128, 129; see also Nagler: KUnsierlexikan, XVI, 156.

Single sheet: Aderlassfigur.

This represents a patient prepared for a venesection. The figure is sitting at the left, with its arms on a table to the right. On the arms the veins are exposed. Cupping instruments, lancets, etc., are lying beside the figure. On the floor, also to the right, stands a decorated water basin and beside the basin we discern the mark of the famous Bolognese painter and copper etcher, Bartolommeo Passarotti (b. 1530- d. 1592). At the top we read ^^ Incidendarum Venarum Typus^ The height of the print is twelve inches; width, eight inches four lines, in old French measure. Bartsch did not describe this unusually rare and exceedingly clever etching in his work on this master {Peintre graveufy XVIII, i). The print may have been intended for a book. Moreover, it should be added that illustrations of the bloodletting manikin {Ader- lassfnann)y either as a skeleton or as a muscle-manikin, can be found in almost all editions of the French Books of Hours (Heures).

[Viscerum hoc est inieriorum corporis humani partium descripHo is the main title of an oblong folio sheet a little more than nineteen inches wide, consisting of several prints pasted together. The two central prints, each about twelve inches high and five inches wide, show on one a nude man seated, and on the other a nude woman seated. Each figure, from the sternum down to the pubes, is provided with six and seven flaps, resf)ectively, which are cut out and fastened one on top of

1 62 ANATOMIC ILLUSTRATION

the other in such a way that they may be folded aside to give a view of the position and the connections of the internal organs. They are marked with letters, with the exception of the uterus and the parts relative to the female, which are designated by numbers. Two prints of the same size are pasted to the right and left of this print; one at the left contains the explanation of the letters (among the names of organs Greek and even Arabic occur) while the other one presents the explana- tion of the numbers under the title: Dc utero et mulieribus vasts. Below at the right may be read Membra hominis positu, numeroque tabclla Jjgurai. Quid longis opus est, si brevis esse potes. and seventeen lines to the reader with Lectori S. underneath. To the left of the figure of the man there is a shield with the words, Antwerpiae, a pud Sylvestrum Parisium, Typograplium, and between the legs of the woman a similar shield with the words Sylvester Parisium, figurarum sculptor imprimebai Antwerpiae. Both figures are well drawn and equally well engraved. Sylvestre de Paris was a form-cutter {Formschncidcr) and printed epistles in Antwerp during the first half of the sixteenth century. The descrip- tion of this sheet was given by Privy High Councilor of the Treasury Sotzmann of BcrHn.

Single sheet: Skeleton.

This represents a human skeleton on a folio woodcut with the words: Anatlwmia ossium corporis humani. At the right is stated that it was done after Ricardus Hcla, Nurinbcrge, i.4.g.j. This sheet is found appended to a work which formerly belonged to the well-known physi- cian, Hartmann Schedel. and is now in the possession of the ^lunich Hofbibliolhck (X'cnct. 25. Sei)t. 1492.). Letters of his are bound with the ])ook and are followed by the printed book catalogue of Joh. Regiomontanus: II cc opera ficnt in ofypido Xurembcrga German ie ductu Joannis de Montcrcglo (Kbert: no. 18768) on a printed sheet, which again is followed by a blank ]Ki<^e |)rece(ling the plate of the skeleton by llela; cf. H. F. Massmann: Die Zyloi^raplia in M unclien, Leipzig, 1S41, 6°, p. 34; Scrapeum, 1841. ]). 312.

T1C0 Sheets: Skeleton, A; Viscera-manikin, B.

These were pul)lishe(l by Johann Schott in Strassburg 151 7. foL, re])rescnting a skeleton and the viscera-manikin. (Weigel: Kunst- kalalofi, no. 18708c, 18777. 20083):

A. Front view of skeleton, head slightly turned to the right side of the l)ody, arms hanging down, on both sides and wherever there is space, Latin names of l)()nes have been engraved u]H)n the ])late, and in the upj)ermust left-hand corner of the picture the year, 151 7. At the top,

FUGITIVE SHEETS WITH PRE-VESALIAN ANATOMY 163

above the plate, is printed in t)rpe: Ein conirafacier Todi mil sein beinen fugen vnd glyderen / vnnd gemerben, vsz beuelh loblicher geddchiniisz herUsog Albrechis biscoff zu Straszburgy dutch meisier / Nicklaus bildhawerf zu Zabereb worlich in stein abgehawen, vnd noch anzaig rechter gemsszer Anatomy / mU sein UUinischen namen verificierL Below the plate printed in type, twenty-four verses of moral reflections upon death in two columns: Der Todi binn ich grausam ungstalt, Vnd dock des lebens vffenikaU • . . . Eer GoU, dein acht, die welt vernicht, Dein seel ewig, der leib verblicht, followed by Joh. Schott's printer's mark.

This is the original form of the sheet. It was designed as a fugitive anatomic sheet and not planned for any book, and could well pass for an anatomic and emblematic wall-picture. In this form, folded together obliquely in the middle, it was first inserted in the first edition of Hans von Gerssdorff : (called Schylhans) Feldtbuch der wundartzney, Straszburg, bei Johann Schott, 1517,' small folio. In another edition of this book which appeared later in a smaller size and also published by Johann Schott, Strassburgy 1528, 4**, this plate is also said to occur (Blumenbach: Besckreibung der Knochen^ preface, page 19), but it is missing in my copy and might frequently be missing on account of its being too large for the size of the edition. Many an owner of the book might have pre- ferred not to have the plate sewed in, but to use it separately. It is said to have been omitted altogether in the edition of Straszburg^ 1526, 4®, but to have been inserted in that of 1530.

The same woodcut, struck off from the same block and folded together obliquely in the same fashion, may be found in Laurentius Phryesen von Colmar: Spiegel der Artzny, Strassburgy i. Johannes Grieninger, 1518, small folio, but here it is without any printing, i.e., the title, the verses, and Schott's printer's mark are omitted. The second edition of this small folio is said to contain only an inferior, somewhat changed copy of the skeleton, also without printing (Sotzmann, Deutsches Kunstblatty 1852, no. 2, p. 19). Regarding Phryesen and his works see page 130.

B. Viscera-manikin, part of a male figure, from head to below the knees, with a wide piece of cloth thrown over the thighs, thoracic and abdominal cavities dissected; also seven accessory figures, the brain, cranial cavity, and tongue, with engraved German designations on the plate. At the top, above the head, is engraved: Anatomia corporis / kutnani / . 1517- Above the plate is printed: Ein contrafact Anatomy der inner en glyderen des menschen / durch den hochgelerten physicum vnd medicine doctorem Wendelinum hock von Brackenaw, zu Straszburg J

1 64 ANATOMIC ILLUSTRATION

declariert. vnd eygentlich in beysein viler Scherer vnd Wunddrizi grUndilich durchsucht. Below the plate forty-six verses are printed in three col- umns:

Ein spyegel binn ich gschickter artzt .... Erlernest vor statt, art, natur Eins yeden glyds. als mein figur (Mit gzeiignuss sag ich dir fiirwor) Hans wachtlin hat

recht bey eim hor Abcontrafayt kunstlich vnd wol Als dann klorlich anzoigt

Guido, Den lisz vereteiitscht im Feldthuch frey, Danckbar wurst sein sey wie im sey.

• • I am a mirror, skilful physician .... you may learn of the place, the kind, and

the nature of every organ. As my figure was correctly reproduced by Hans Wachtlin

(I tell you truly and have evidence of it) from a harlot, artistically and well As

clearly announced by Guido. Read his German version in the Feldtbuch, You will be thankful whatever it may be."

Below the verses: Gedruckt zii Strassburg / durch Joannem Schott, and his printer's mark.

This indicates the fact that the plate was either drawn or engraved by Hans Wachtlin (Vuechtlin) of Basel, also called the master with the crossed pilgrim's staves {maitre aux bourdons croises) and Ulrich Pilgrim on account of his monogram, and renowned for a series of passion figures, but on the whole known only for a few plates. (Bartsch: Peint. grav. VII, 449; Heller: Geschichlc der Ilolzsclwcidekiinsl, pp. 74, 432; Weigel: Kunstkatalog no. 191 15; Schneegans in Naumann's Archiv fur die zcicJincndcn Kiinslc, II, no. 2, pp. 148 IT.) In the drawing and engraving this plate excels, especially with regard to the non-anatomic parts, the skeleton .1 , which was evidently done by a less skilful hand. Further- more, one learns from the al)ove verses that Schott was then planning the j)ublication of GcrssdorlT's Feldthuch der Wundarznci and that, although primarily editing the drawing as an independent fugitive sheet, he intended to insert it later in this book, which was published by him in the same year (1517). Vov this l)ook begins with a German version of the anatomy gi\en in Guy de Chauliac's surgery, and Guy (Guido), mentioned in the forty-third verse (the third verse from the last), is the same Guv de Chauliac iCruido dc C/iauliaco) who, in the first half of the fourteenth century, was teacliing in Montpellier, and who, (:\vn hUcr, was still known among l-'rcnch surgeons as Lc Guidon, his real name being perha|)s just as much res])onsible for this pseudonym as Ins being sucli a reliable guide to the surgeons. This sheet announced itself as an inde])endent fugitive slieet. inasmucli as the appended ana- tomic nomenclature and the verses written below are self-explanatory from an anatomic an<l em])lematic ])oint of \iew. It also belonged formerlv as a fugitive sheet in Meuselbach's librarv and as such came to the Koval Librarv in Berlin (Sotzmann, lot. ciL). In the form here

FUGITIVE SHEETS WITH PRE-VESALIAN ANATOMY 165

described, it was inclosed (obliquely folded) in the above-mentioned edition of Gersdorff's Feldtbuch der Wundarznei, Strassburg, 1517, small folio. Besides being in the Feldtbuch, the print B was also contained in the previously mentioned edition by Grieninger of Phryesen's Spiegel der Artznei, Strassburg, 1518, small folio, struck off from the same block, but the verses, Schott's address, and his printer's mark are omitted. It seems that Grieninger borrowed the plate from Schott and although he removed the latter's address and mark, he did not put his own address in their stead. The title is the same, but slightly changed, the second line beginning with deUy and the third reading as follows: declariert vnd eygenilich in beywesen viler Scherer Wundarizi griindlich durchsucht. (See Phryesen, page 130.) The word vtid is here either acddently omitted, or the writer had in mind the French barbiers chirurgiens (ckirurgi a Umstrina).

As early as 151 7, Schott had another, smaller viscera-manikin, an entire figure to below the feet, engraved for GersdorflF's Feldtbuch der Wundarznei. This cut shows much poorer drawing and engraving, but nevertheless, the larger plate by Wachtlin {B) in Hock's anatomy might have served the artist as a model for the anatomic parts. The figure itself, however, is absolutely different. This smaller plate was planned to serve both the demonstration of the anatomy and to indicate the places for bloodletting, which are designated on the plate by engraved lines and letters. In the lower left-hand corner is engraved: Contra- facter Lasszmann, 1517. That this plate was especially engraved for Schott's first edition of GersdorflF's Feldtbuch of 1517 is evident, not only from the size of the plate which exactly fits this edition, but also from the last words of treatise i, chapter 12 of this edition of the Feldtbuch (page 13b):

Solich anatomy ist in der jorzal Christi. M. ccccc. xvij. in der loblichen statt Straszburg, in beyscin ettlecher der gelerten vnd bewerten physicis, doctoribus, chirurgicis vnd schereren noch art ersucht vnd durchgriindt, an eim erbetten todten man mit dem Strang gericht. Ktinstlich declariert durch den erfarnen vnd hoch- gelerten medicine doctorem wendelinum hock von Brachenaw, vnd alsbald abcon- trafact verzeyshnet mit aller gestalt, farben, vnd worer anzoige wie du es in nochgonder figuren findest.

"Such anatomy was examined in the usual manner and thoroughly investigated on the requested cadaver of a man who had been hanged in the year of our Lord, 151 7, in the esteemed city of Strassburg, in the presence of a number of learned and experi- enced physicians, surgeons, and practitioners. It was artistically explained by the experienced and scholarly doctor of medicine, Wendelinus Hock von Brackenaw, and immediately reproduced in drawing in ever>' shape and color, and true declaration, as you will find it in the following figures."

1 66 ANATOMIC ILLUSTRATION

This figure is the illuminated bloodletting manikin, which, in accordance with its double purpose, is inserted between chapter 12, the last chapter of the anatomy and chapter 13 : von alien Adern so zu schlagen sind. It is repeated, by the way, without illumination on page 54b. Since Wacht- lin's plate B, and not this smaller copy, illustrated Hock^s anatomy, it seems that Schott decided later to insert this larger and better plate in the Fcldtbuch. In the edition of the Feldtbuch of Strassburg, 1528, 4°, we again find the bloodletting manikin, but the quoted passage is changed and evidently mentions all three plates (.4, the skeleton, B^ the viscera- manikin, and the bloodletting manikin). Here the last passage of the anatomy (page 16) is as follows:

\'nnd dicvvcil dcr aiigenschyn ein grosszcr behiliT ist findcst du in nachgonder, vnd zwo vorgondcn figuren eygentilich aller sychtlichen, jinnercn vnd vsszeren glydcrcn, beyncn, vnnd adcren gewisszliche anzoig, so zu Straszburg warlich con- trafact vnnd deiitlich vcrzcvchnet ist ab eim todten, vnnd darzu erbettenen mann mit dem Strang gericht. Anno Christi. M. D. XV'II.

"And since seeing is a great aid. yon will find in the following and the two pre- ceding figures tRie pictures of almost all the visible internal and external organs, bones, and blood vessels, as faithfully reproduced in Strassburg and distinctly drawn from a dead man, who had been hanged, and had been asked for for this purpose in the year of our Lord, 151 7,"

and is followed by the bloodletting manikin not illuminated. This figure then, is the following, the skeleton and the viscera-manikin, the plates A and B are the two preceding figures. It is, therefore, incor- rect to assume that all three plates are by Gersdorff, and it remains doubtful whether all the pictures contained in the Feldtbuch were drawn by Wiichtlin, as has been asserted.

Copperplate: Skeleton.

A copper engraving by Giovanni Battista Franco, called // Simolco, seventeen inches high, twelve inches wide, representing a profile view of a human skeleton down to the knees, looking to the left, and extending half-way into the border, showing at the top a skull and on the right side, bones of the extremities, (jiovanni Battista Franco was born at LMine in 1498 or 1 5 10 and died in 1561 or 1580. There is also another plate drawn by him. in the form of a frieze, representing on one plate various skulls etched by Xiccola Xelli. On the left at the bottom, we read: B. F. V. JX. XX. ex ij6j: which means: Baptista Franco Vdinensis inioiit Xiccola Xclli cxcudit. (Bartsch: Pciut. ^rav. X\T, pp. 141, 155.)

Fourteen copperplates: Muscle-manikin.

Fourteen copperplates in quarto, containing artistic anatomy and designed, drawn, and engraved by Giulio Bonasone, who lived at Bologna

FUGITIVE SHEETS WITH PRE-VESALIAN ANATOMY 167

from 1530 to 1580. Each plate represents a muscle-manikin, the last one (the 14th) representing a skeleton with its left side still covered with flesh. The representation of the muscles, on the whole, is good, that of the skeleton is poor. The positions are varying, always pic- turesque, and always lifelike. Some of the figures are holding in their hands a staff or a rope, others the flayed skin. The background of all the plates without exception is crosshatched with horizontal strokes, some of the plates, have a monogram containing the initials, JVB. Bartsch describes thirteen of these plates {PeinL grav. XV, 167, no. 329- 41), the fourteenth, marked No. 14, which remained unknown to him, is described by Rudolph Weigel {Kunstkatalog, no. 18708, letter O.); only I, 2, 4, 5, 9, 12, 14 had been seen by Choulant.

Eight copperplates: Skeletons and Muscle-manikins.

Eight (or ten) copperplates of anatomic contents (skeletons, muscle- manikins, and similar subjects) with the signature of Ph. Galle fecit et excudit; probably they were used later in Instructions et fondemens de bien pourtraire pour les peintres, etc. Antwerp, 1589, fol. by this artist and copper engraver (Weigel Kunstkatalogy no. 18708, letter N.). Galle was bom in 1537 and died in 1612.]

s Kei) Ciui.k M.mm. n^ Jan v\n; K.

VtsiLiAN Treatise

ANDREAS VESALIUS

Andreas Vesalius was bom in Brussels in 1513, or 1514, and came from a family of physicians of Wesel in the Duchy of Cleves; the family name, originally being Wittings, was changed later to Wesele or Wessale, after the name of this dty. He was educated at Louvain, studied medi- cine at Montpellier and Paris, and then returned to Louvain, where he began to teach anatomy. [Johann Guintherus Andemacensis and Jacob Sylvius (Johann Winther of Andemach and Jacques Dubois) are to be mentioned particularly as his teachers. Both became later his most ardent opponents.] About 1535 he was in France as army surgeon of Charles V, later going to Italy for his studies, where in 1537 he became professor of anatomy in Padua, teaching also in Bologna and Pisa. In 1543, he was called to the court of Charles V, and soon to his army at Geldem. Later he returned to Italy, visited Brussels and Basel after- ward, and spent some time in Madrid at the court of Philip II as his physician in ordinary. Later, he set out on a pilgrimage to Jerusalem, but while on the island of Cyprus he received a call to Padua to occupy the chair of Fallopius. On the way he was shipwrecked and died on the Isle of Zante, October 15, 1564. [In 1847, ^^ city of Brussels erected a bronze statue by Joseph Geefs to the memory of Vesalius.]

The chief task of his life was to revolutionize the teaching of the anatomy of the human body and to overthrow the then prevailing teachings of Galen, who had based his work only upon animal dissec- tion. Vesalius, in this way, became the founder of modern anatomy, and, as everywhere in this field, he was active also as a reformer of pic- torial anatomic representation. He supervised with the greatest care the artists who were working from his dissections and whom he had probably chosen with equal discrimination. Repeatedly he complains of the trouble they had caused him. His illustrations are executed most truthfully, with skill and taste, chiefly from dissections of strong youth- ful bodies, in free bold drawings, and are printed from clear and forceful wood engravings. The bones and muscles are reproduced most beauti- fully and with supreme power, and with greater anatomic exactitude than heretofore. The viscera, blood vessels, and nerves are less correctly interpreted, but then it is true that form was of less use here to the artist and that anatomic research was still too little developed.

169

I70 ANATOMIC ILLUSTRATION

As designer of the Vesalian illustrations both the famous painter Titian, Tiziano Vecelli, and Christoforo Coriolano have been named, nbut either possibility is, without even mentioning other conditions, highly improbable for chronological reasons. Titian was more than sixty years old at the time when Vesalius' first plates appeared, and was much sought after and renowned, while Coriolano was still living in 1600, and published his earliest work in 1568.

With more correctness, the Vesalian drawings have been ascribed to a pupil of Titian, Jan Stephan Kalkar (died 1546), whose paintings were often difncult to distinguish from those of his master. To justify this assumption we find on the Vesalian plates, published in 1538, su?nplibus Joannis Stephani Calcarensis. Moreover, Vesalius himself says in a dedicatory letter to this edition:

Illis tabellis alias adjunximus, quibus meum o-kcActov nuper in studiosorum gratiam constructum Joannes Stephanus, insignis nostri saeculi pictor, tribus partibus apposilissime expressit.

"To those pictures I have added others with which my skeleton, recently articu- lated for the gratification of the studious has been most appropriately illustrated in three parts by John Stephanus, a distinguished painter of our time."

Furthermore, Vesalius at the conclusion of the Epistola docens venam axillarem, etc. (p. 66), speaking of his future works, says:

Si corporum dabitur opportunilas et suam operam Joannes Stephanus, insignis nostrae aelatis pictor, non denegavcrit, etc.

"If John Stephanus, the distinguished painter of our age, shall be given the opportunity of studying bodies along his own lines, he shall not be found wanting,' '

that is to say, he names again the same artist. Further indications have not been found. Probal)ly the artist also engraved the pictures on wood, since the treatment throughout is ingenious and highly artistic.

[High Councilor of the Treasury Sotzmann, of Berlin, lately expressed the opinion that Giusci)pe Porta, alias Salviati, a native of Garfagnana in Modcna might have drawn ■ j)erhaps also cut) the woodcut title in Vesalius' two ])rincipal works, representing the dissection of a female cadaver before a large assembly; cf. Scrapeum, 1850, p. 69. Osiander, on the other hand, believes that Oporinus. himself, designed the sketch for the title and asserts that he found on the seventh myologic plate, at the bottom among the ])lants a '*!).." being the monogram of the woodcutter, but I have not been able to tin<l that. (Osiander: Lehrbuch dcr Fjithindiiuj^^skunst I, 113.)]

The dimensions of the height in the largest or principal plates by \'esalius are as follows:

ANDREAS VESALIUS 171

1. The first six plates of 1538 by Bernard Vitalis: Sixteen inches, ^three lines, in the old French measure, or four himdred and thirty-six «  xnHlimeters, new French measure. ^ \

2. In the books De corporis humani fabrica of 1543 and 1555 : Twelve inches, three to nine lines, old French measure, or three hundred and "twenty-nine to three himdred and forty-three millimeters.

3. In the Epitome of 1543, the measurements peculiar to this bool^ are: Tifteen inches, six lines to sixteen inches, three lines, in old French measure, or four himdred and fifteen to four himdred and thirty-six millimeters.

The two large folded sheets with illustrations of the nerves, veins, and arteries as they appear in the De corporis humani fabrica and the Epitome measure sixteen inches or four himdred and thirty-one milli- meters in height.

As to the figures which were published in Venice in 1538, there is no doubt that they were engraved in Italy, but it is equally certain of the illustrations which we find in the books De corporis humani fabrica, and the Epitome. These, too, were engraved in Italy, for Vesalius, in 1542, sent the woodplates for both works, through the Milanese mercantile house Danoni, from Padua to Basel to the printer Oporinus. Inclosed with this shipment was the manuscript of these works and proofsheets of all the illustrations, evidently carefully executed under the eyes of the artist. This proof was recommended to Oporinus as a model. All this becomes apparent from a letter dated VeneiiiSy nana Calendas Septembres (i.e., August, 1542), which Vesalius wrote from Padua to Oporinus in Basel, and which Oporinus printed as a preface to the two editions of the books De corporis humani fabrica of 1543 and 1555:

Joanni Oporino graecarum literarum apud Basilienses professori, amico charis- simo suo. Accipies brevi simul cum his Uteris per M ediolanenses mercatores Danonos tabulas ad meos d€ Humani corporis fabrica libros, et eorundem Epitomen soilptas . Utinam tarn integre ac tuto Basileam perferantur, atque sedulo cum sculptore et Nioolao Stopio, hie Bombergorum negociorum fidelissimo curatore, in humaniori- busque studiis apprime versato iuvene, eas composui: ne aliqua ex parte atterantur, afindve incommodum ipsis vectura inferat. Inter tabularum seriem exemplar frustatim reposuimus, simul cum impresso singularum figurarum typo, cui quo quaeque loco reponenda veniat asscripsi: ne forte illarum ordo ac dispositio tibi tuisve operis negocium facesseret, figuraeque non ordinatim imprimerentur, etc. .... Praedpuiun studium in tabularum impressione erit impendendiun, quod non vulgariter ac scholastice, velutque simplicibus duntaxat lineis sint expressae : nusquam picturae ratione (si ihterdiun locum quo res delineatae sufifuldrentur, excipias) neglecta. Et quanquam hie iudido valeas, nihilque non de tua industria et sedulitate mihi pc^licear, hoc unum percuperem, ut inter excudendum id exemplar quam

172 ANATOMIC lLLt'STR.\TION

proxime imitareris. quod a sculptore speciminis sui loco impressum, una cum ligneis tormis reclusum invenies. Ita enim nullus characier, quantumvis etiam in umbra recondilus, ocuiatum sedulumquc Icdorem laiilabil, et quod in hac pictura longe est artificiosissimum. niihique spectatu perquam iucundum, liiiuarum in quibusdatn parlibus crassiiies simul cum eleganii umbrarum obfuscalionc apparebit. Vcnim non, est, quod haec libi perscribam, quum in piapyri latviiale solidilateque, ac in primis in vcstrarum operarum diligeniia positum sit, ui singula, quale nunc miuimus exemplar, nosqiic hie aliquot impn-ssimus, c.t tua Officina omnibus propouantur, multisquc fiant communia. Dabo opcram. ut non multo post ad vos proficiscar et si non tolo impresMonis tempore, saltem aliquandiu Basileac commorcr. mecunique formulam decreti Senatus Vencti allaturus, quo cavetur, no quis tnbularum aliquam absque meo consensu imprimat, etc.

■'To John Oporinus, Professor of Greek literature at Basel, his very dear friend. You ivill receive in a short time together with this letter, through the merchants Danoni of Miian. the engraving (Sec Latin and also p. 360) to go with my books On llie Structure of the Hiitnaii Body and the Epitomf of these. I only wish they may reach Basel undamaged and in a eondilion of security commensurate in some degree to the pains I have been at in preparing ihem, a task in which I have l>eeu ably seconded by the engraver and by Nicholas Slopius, the trusted business agent of the Bomburgers in this town and a young man of no mean accomplishments along scholarly lines. 1 hope they will not be bruised in any ivay and that the journey may not cause Ihem any sort or kind of damage. In among the series of engravings I have distributed the teW by pages, together with proofs of each of the figures, adding directions lo show where each belongs in the linished work, as a safeguard to prevent the order and distribution of these from causing any trouble to you or

your workmen and the figures from being printed out of the proper order, etc

Particular pains must be used in printing the engravings, since these are not made in the common and ordinary manner and as it were in outline only; neglect nowhere the matter of the picture (even if you do occasionally omit the text on which the illustrations are based), .\nd ahhough in this respect you arc a most capable judge, and I have the most completi! confidence in your industry' ami pains. I should par- ticularly desire this one thing, thai in printing, you would lollow as nearly as possible the prinuil copy sent by ihp cngr.iver in plate of his own draft and enclosed with the woo'l lilivks. For this will insure that no character, however much in the back- grnuiid. "ill escape the keen-sighted ami alttniive reader, and that that feature which is most artistic about these pictures and to my eye exceedingly attractive, I mean the thickness of the lines, together with the nice shading, will be clearly apparent. But there is no need for me lo write you ut length alioul these matters, since it depends upon the smoothness and firmness of the paper, and particularly upon the c.irefulness of your workmen, that after the pattern of this copy which we now send you and which we have several limes printed here, each detail should be issued by your shop to the gener.il public an<l become common property. I will do my (>cst to make the trip lo your city before verj' long and to remain at Basel, if not during the whole lime that the work is in press, for some time at least, I will bring wlih me the test of the decree of ihe Senate of \enice forbidding anyone to prim any one of ihoe pUUes without my ion?en[, etc."

ANDREAS VESAUUS 173

This is the text as it appears in the edition of 1543, parts of which ai^>ear changed in the reprint of 1555 in which Stopius, who assisted the artist in folding and the packing of the plates, is not mentioned any more as the manager of a mercantile house, but is rather praised for his human- istic learning. It is certainly not a new letter, for it still bears the same date and, moreover, the Epitome was not printed again in 1555. The works of Vesalius belonging to this group are the following: Six plates large fol. Imprimebat B{ernardinus). VitaliSy VeneiuSy sumptibus Joannis Stephani Calcarensis. Proslani vero in qfficina D. Bernardi, A. 1538.

These are of the utmost scarcity, since as fugitive sheets {fiiegende BUUter) they were bound to get lost very soon. But that they were actually published becomes apparent from the fact that Vesalius, in a letter to Oporinus, prefixed to one of the books De corporis humani Jabrica (Basil. 1543), already complains of plagiarisms' committed in Augsburg, Cologne, Paris, Strassburg, Marburg, and Frankfort. Even as late as 1790, the physician, Antonio Fantuzzi, bequeathed a beautiful specimen to St. Mark's Library in Venice. These plates, the third of which bears the above-mentioned address, were dedicated to the imperial court physician, Nardsso Partenopeo Vertuneo, on the first of April, 1538; see also Morelli in his book, to be reviewed later, pp. 232 fl., and also Fiorillo, Geschichte der zeichnenden KUnste von ihrer Wiederauf- lebung, etc., II, 82. That there really existed six plates becomes evident from the letter mentioned; that the three skeletons in the book De corporis humani fabrica are identical with three of the six plates, appears to be proved by the passage quoted from the dedicatory letter {tribus pariibus). To judge from reprints to be mentioned later, these plates

^ Andreae Vtsalii Tabulae anatomicatj trcs, fol. Vanderhaeghen {Bibliolhecd helgica liU. V, 78) describes three plates which are, without title and place of publication, in the Gnnd-Ducal Library at Darmstadt. They are a reprint of plates i, 2, and 3 of the Tabulae anaiamicae, Venet. 1538.

On the basts of the following sentence which occurs in the preface, Ipsum aulrm corpus picturae suis lineamenlis ex eleganlissimo reddidimus langi tlegantius ("the Ixnly itself and also the contours are reproduced in the most attractive manner"). Roth (pp. 122-24) believes that we have here the first three plates of the Cologne reprint, which as yet have not been seen by anyone. The above-quoted sentence must also occur in the Cologne reprint, even according to Vesalius himself. Vanderhaeghen is of the opinion, however, that these plates, according to the letter written to Oporinus by Vesalius in the Fabrica of 1543, constitute the Paris reprint. It is a fact that the Paris reprint consisted] of three plates which represented the internal organs while the illustrations of the skeleton were missing, according to Vesalius, 00 account of the technical difficulties of the engraving. See De Feyfer, Janus, Amsterdam, XDC (1914), 44>-43-

174

ANATOMIC ILLUSTR.\TION

showed the skeleton from the front, from the back, and from the side, one plate illustrated the liver and the spleen with the portal vein, and the genitals of both sexes; another one showed the liver with the venae cavae and its tributaries; while still another illustrated the heart and the aorta with its branches. A piate on the nerves appears not to have been among them, but Vesalius had one designed in a hand drawing,

«*^

and this was published in Cologne in 1539 as a woodcut, but without his knowledge.'

• In 1874. ihc plates ntre rcprintecl in facsimile liy .Sir William Sterling Maxwell, with the titlp-page: TabiiUf analomi«ie sex. Vfnfliit. rumplihus Joaiinis Stepkatii Calcarensis, i5j8, titli'-papt, 61, 6 pi. elKph. fol. Lontion, priv.iluly printed fur Sir William Sterling Maswell. 1874.

The plates rotrespimii with the description given by Chiiulant. A copy wns presented to the Surgcim-tienerjl's Library by Sir Slerlinj; Maxwell and has been described by the late Dr. Kobert Tletther in the Tr. Call. fhys. Phil., igog, 340-41. From the fad that these

ANDREAS VESAUUS 1 75

\Tbe first nx Vesalian plates of the year 1558 had, on account of their great rarity, not been seen by Choulant at the time of his writing the chapter on Vesalius. Their description was based on conclusions drawn from comparisons of various reports. Later he saw the originals and satisfied himself that the description given above is in every way

perfectly correct. On the third plate representing a back view of the skeleton the following is printed on a small curved shield leaning against a felled tree trunk: Imprimebat Verutijs B. Vilalis Venetus sumptibus

idktM show the traditional five-lobed liver, and that the skeletons and visceral schemata therein art far inferior to those in the Fabriea. live years later, Sudhoff argues a sudden leap ia Veaalius' power of seeing things correctly, which may have been due to the fact that he had teen some of Leonardo's drawings meanwhile and profited by his study of them. This MMunption is based upon the existence of a set of four skeletal figures, possibly by Leonardo, In the Uffia, hand drawings which Sudhoff describes in the Mvnclien. med. Wocktnsckr,, LVn (1910), iito.

176 ANATOMIC ILLUSTRATION

Joannis Stephani Calcarensis. Prostrani vero in officina D, Bernardi^ A. J 538. On the lower margin of this third plate it stated that the plates are protected through Privilegium granted by the Pope, the Emperor, and the Commonwealth of Venice, against piracy. The first two plates and the last three have no such printed notice. All contain woodcut figures and are printed on one side only. In the copy before me, they are illuminated in colors, on a yellow background. Plate I shows on the right the frontal view of an erect skeleton with the right arm bent at the elbow joint so that the forearm points upward; the left arm hanging down; at the top is the title Humani corporis ossa parte (inter iori expressa; on the left of the plate explanations and Greek, Latin, Hebrew, and Arabic nomenclature are given. Plate 2 shows a side view of the skeleton, in the same position as the former; to the left is a similar cx]3lanation; at the top the title: Lateralis cKeXerop figurae designatio; on the lower margin of both these plates remarks are made about the number of bones in the entire body with the following distich: Adde quater den is bis centum senaque Jiahebis Quant sis multiplici conditus osse, semel. Plate 3 shows a back view of the same skeleton. The skeleton is on the left side of the plate, the explanation on the right side; the title is: '^^KtK^rov a lergo delinealunt/^ The feet of all three skele- tons are on grass-covered ground; the third plate has the above- mentioned tree trunk. On i)late 4, only the lower two-thirds are given to the illustration, the upper one-third is devoted to text. The principal figure represents the liver with Wve lobes and the oblong spleen w^ith the enlargement of the portal vein. T\vo smaller figures represent the genitals of l)oth sexes with the al)(lominal blood vessels and the spermatic vessels; with the male genitals are also given the liver (with two lobes), the kidnevs, and the urinarv bladder; with the female genitals, the bottom of the uterus, curved and not divided into horns, the tubes leavinii; at the sides. A third very small figure represents the (urinary) bladder with the ureters, the seminal vesicle, and the vas deferens on both sides. The explanation of the larger illustration is given to the left of this, the -mailer re{)resentations are without any explanation but have in place )f it as iias the larger ligure also) a title: Jccur Siun^uificaiiojiis officina, elc. i!cfirrtili()fiis or'^ana. etc. Abo\'e the illustrations is a long dedica- tion wjiieli is larL^a'K' made un of romplimentary ex|)ressions.

riate ^ re])resents. in a woodcut, taking u{) the full length of the i)late. ihe distribution of both \enae eavae in the body (i.e., the entire venous ^y^tem). including the fixe-lobed liver, and the right kidney. l-.x])lanalion> are on ])oth >i(les of the ])late. The title is on the upper

ANDREAS VESALIUS 177

margin: Venae cavae, iecarariaey etc., description qua sanguis omnium partium nutrimentum per universum corpus diffundiiur, — Plate 6 repre- sents in an equally large woodcut, with explanations at both sides of the plate, the distribution of the aorta in the body (i.e., the entire arterial system), b^des the undissected heart, and the two kidneys. Both internal carotids are shown above entering the Galenic rete mirabile from which the two chorioid plexuses of the lateral ventricles start forward. On the side (in the explanation) this is designated as: Plexus recticularis ad cerebri basim, Rete mirabile^ in quo vitalis spiritus ad animalem praeparatur, while in the books of the De corporis humani fabrica (1543, pages 310, 621, 642; 1555, pages 501, 771, 796) this net- work is asserted to occur only in animals and to be wholly lacking in the hmnan being. The title on the upper margin of the plate is as follows: Arteria magna, topTri, etc. ex sinistra cordis sinu oriens, et vitalem spiritum toti corpori deferens, naturalemque calorem per con- tractionem et dilatationem temperans. On the lower margin of the three last plates the number of principal branches of the portal vein is given as seven, those of the venae cavae as one hundred and sixty-eight, those of the aorta as one hundred and forty-seven.

It thus follows from an inspection of these six original plates that they are indeed nothing else but fugitive sheets, as was stated on page 173; that as assumed before on page 173, no neurologic plate is among them; that none of the illustrations have been inserted in De carp, hum. fabrica or in the Epitome; and that Vesalius, on the con- trary, corrected later much that was represented on them and chose for his drawings more beautiful and freer forms. It is also evident that the skeletons represented on these six plates are much more correct and more beautiful than those contained in WecheFs Osteotome, and that Meeker's reproductions are complete and fairly faithful copies. The artist of the three skeletons in Ryff's Anatomy evidently had those represented in Vesalius' six plates or in Meeker's reproductions before him and copied them poorly.]

Epistola docens venam axillarem dextri cubiti in dolore laterali sccandam; et melancholicum succum ex venae portae ramis ad sedem pcrtincntibus pur gari, Basil., in officina Roberti Winter, mense Aprili, 1539, 4**, 68 pp.'

' Idem^ A pud Caminum De Trinido Montisferrati. A ntw, 1 544, 8°, 66 pp. This a reprint of the preceding one. Hacscr (II, 36) gives Patav. 1544, 8**. It is de<H{:ate(i to NichoIaH Florcnati, physician to Charles V, and is dated, Patavij, ex aedihus filiorum Illustrissimi Camitis Gabridis ab Ortemhurj^. Calen. Januarij. Anno salutix Sf.D.XXXIX.

According to Roth (p. 95) this letter was written in 1536 at Lou vain, but was not pub- lished until 1539. It came about through a request of Nicholas Florenati whr) wanted to

1 78 ANATOMIC ILLUSTRATION

On page forty-one is a wood engraving illustrating crudely the veins of the breast. This has not been taken into the complete edition of the works of Vesalius, as prepared for publication by Boerhaave and Albinus.

De humani corporis Jabrica libri septem, Basil., ex vfficina Joannis Oporini, 1543, mense Junio, fol. max., 12 and 66 j pp. with 18 unnumbered leaves.^

On the title-page is a large woodcut: Vesalius standing beside a dissecting table upon which there lies a female body with the abdominal cavity opened; Vesalius' left hand with the forefinger raised, his right hand holding a pointer and resting upon the cadaver; at the head of the body a skeleton standing erect with a long staff in its right hand. Surrounding these is a large assembly of people of different classes. On the left, in the window, stands a nude man clinging to a column, while at the bottom, on the right, we see a living dog brought in. Above, upon the architecture and to the left, we find Johann Oporinus' mono- gram ^; in the center the three weasels (Vesalius' coat-of-arms) upon a shield the margin of which shows three buttons. At the bottom the picture is fmished with a curved and decorated shield, upon which the privilege iprivilegitim) is printed. The title-page is followed by the dedication to Charles V, dated Palavii, Calendis Augusti, 1542, and Vesalius' letter to Oporinus, dated Veneliis, nono Calendas Sepkmbres, from which I have already quoted a few passages; others I shall mention later. After that, at the end of the introductory remarks, a bust of Vesalius, showing Vesalius as he demonstrates the muscles of the arm of a female cadaver. On the edge of the table these words are engraved: Aji. Act., XXVIII. M.D.XLII. Ocyus, iucunde ci tiUo. Partly printed between the text, partly printed on separate pages, there now follow the proper wood engravings illustrating the anatomy. On page 237 (cor- rectly, page 2^^), we fmd all the instruments for dissecting brought together in one illustration. Among the anatomic figures there should be: three entire skeletons (pat^es 163-65), fourteen illustrations of the entire muscle-manikin (pages 170-208), two pictures of the veins and arteries (])at^es 268 and 205), and two larger folded sheets (pages 313, 353).

know \csaliu>" stand with rct^anl to nlilebotnmy in plcuritis, a burning question in those iia\s. ]if>i<lLS iliis he slates, ut the end. his relations to Jan van C'alcar. Both editions contain a wood en;;ra\ inj^, vouic ihordam jiulrioitcs. De t'eyfer, lof. cit., 448, 2.

' I)r humani 1 or ports fahrica, iii>.. VII, ad Cdrolum Qiautmu Impcratorcm, Lugduni, apud loiiu. Tonidt siitm. 1552. 10^; Part F. gSi and 74 [)p.; l*art II, S33 and 76 pp. A pocket edition of the i<ihriia. \>A^> in two parts, nuilihited here and there. The illustrations are omitted except on pages 150. 131. and 132 of Part I. De Feyfer, loc. cit., 454, 2.

ANDKEAS VESALIUS

i8o ANATOMIC ILLUSTRATION

On account of the date of the dedication, this edition is sometimes said to have been published in 1542, which, however, is incorrect. See also Weigel, no. 3513.

Suorum de huniani corporis fabrica librorum epitome. Colophon; Basil, ex officina Joannis Oporini, Anno 1543, mense Junio; large fol. 14 leaves.'

This work is very rare and is incomplete in most of the existing edi- tions, because it never was intended to be bound together, but rather for use in separate sheets, as appears from the concluding paragraph on sheet M. It should, therefore, also be included in the group of fugitive sheets (Jlicgende Bldtkr). The twelve first sheets bear the signature A-M and are printed on both sides. The two last sheets, following the concluding paragraph, are without signature and are printed on one side only. All the individual parts are intended to be cut out, and are to be pasted together into two whole figures. Elaborate directions for this procedure are given. These last two sheets, therefore, are most frequently given. The Epitome appeared in the same month and year, but probably after the principal work, as appears from the text of the dedication:

Quae quoad fieri licet succinct e ac minus operosc ca cxprimat, quae septem huius argument i libris (iit'fuse compk'xus sum. quomm haec Epitome semita quaedam aul appendix etiam iure habebitur. capita quae illis demonslrantur acervalim com- prehen<k-ns, etc.

"This, in so far as it may l)e done, is to express brielly and with kss elTort those matters which I liave discussed at k'ngth in the seven books of this treatise. The Epitome of these will l)e rightly regarded as a sort of short cut or appendix, including in a single cha{)ter those matters which are explained in the previous books."

In the larger work the Epitome is not mentioned. The title-page is made from the same plate as that in the edition of the principal work of 1543, and so are also X'esalius' ])icture on i)age 11 (G), the skeleton, j)aL!:e 17 iK), the nerves, jniize 21 (MK and the chief figure as well as several smalkT lii^^ures anionic the sheets without signature. On the other hand, we do not find in the ])rincipal work the five myologic j^lates (l)aL:es jj K), (i, Ik r. and llie nude figures of a man and a woman

I'h'.' I'tiiln'A iriL^ I'liiiioiH of tlir i]p'lo))u, 1^4;;, conlain tio illustrations:

/'/'-.■•..•^ j/>,7'/ Ar.dr'.ini i\ • >!■ !  

i »! . s','/'"' /'(\'/m'. /;/  :/'■.> BiHoiuia),, 151)0. S^, 142 pp.,

icdi>\iit- 1 '  » Pliiii^) II. >in<l l.ikrn irwn (icn\inu-. In ad'iilinii h.is, Jlxltrndnnn hiuniini

1

!>' W :l-n'>rr :^-ir . IvfyuK /..iriiiri.i,  !.tinn,in!. 'j'^J. ■>', loSpp., pr<>l)al)ly a reprint of the Icxt «)i' ihr i^oii'loii i-iiitinn '>i' 1-45;

(1 \\':t< iii'rr'^'ir, i»ip,)isi\ l>'iiilo!di Rii'n)!, lypus M . Cnori;^!] Mulliri, 1603, 8, 1 10 pp., .1 rcpriiU ni llu' .il)n\c. [)c I\->tL'r, h^r. cil., 45't. 7; 45;, g; 457^ 10.

ANDREAS VESALIUS i8i

(pages i8, 19, K, L), the latter especially well drawn and beautifully executed. These seven plates have been added in the Epitome. The dedication to Crown Prince Philip 0^^^^ King Philip II of Spain) is signed PaUmi idibus AugusH 1542, and this sometimes led to the incor- rect assumption that the Epitome appeared in 1542. [The Epitome is indeed mentioned in a passage of the principal work {De carp, hum.fabr. II. Vn.), that is in the dedication, where in both editions, we read:

quemadmodum in Epitome praestiti: quam veluti horum libronim semitam ac in illis demonstratorum indicem praeparavi,

as I have shown in the Epitome: which I have prepared as a short cut to these bcx^ and an index of the matters shown therein."

This also confirms the statement that the Epitome came out later than the principal work, and that at the publication of the latter he had the former only in preparation. The same facts are brought out in a letter which Vesalius wrote to Oporinus on August 24, 1542 (p. 171). The wood blocks for the principal work were shipped, together with those for the Epitome^ from Padua to Basel, which indicates that the latter had not yet been published. And here, too, the principal work is mentioned before the Epitome.] In the Epitome the myologic figures are presented rather according to their innermost positions, and on one side of the body different positions are shown than on the other side. The figures are set on shorter bases which do not occupy the whole width of the sheet. Weigel, no. 16375.

The text of the Epitome and a conmientary are contained in Andreae Vesalii Epitome anatomica, cui accessere notae ac commentaria P. PaaWy Lugd. Batav. 1616, 4**, 224 pp. The illustrations are missing, and in their place we find 13 small well-engraved copperplates.

[An edition similar to Paaw*s with commentary by Nicolaus Fontanus, but with the dedication and the myologic figures omitted and many inferior reprints from the principal work added, was published in Amstelod.y apud Joann. Jansanium 1642, fol. It seems, however, that the copperplates had already been used, particularly for a German work.']

De humani corporis fabrica libri septem, Basil., per Joannem Oporinum, Colophon: Basileae, ex officina Joannis Oporini. Anno 1555, mense Augusto, large fol., 12 and 824 pp. with 23 unnumbered leaves.

The second edition of the principal work prepared for publication by Vesalius himself, slightly elaborated in the text and provided with a

• Idem. Amsielreodamif apud Henric- Laurent., 1633, 4°, a reprint of the edition of

x6i6.

i82 ANATOMIC ILLUSTRATION

few new smaller woodcuts, pages 17, 18, 79, 121, 196, 560, 588, and 674. The remaining plates are taken from the wood engravings used in the edition of 1543. Thus, we find Lib. II. musculor. tab. Ill on page 218 to have the same crack in the lower left-hand corner as in the former edition on page 178. On the other hand, the title-page is an absolutely new, woodcut. The designer had the original plate in mind, but has repeatedly taken liberties. The skeleton holds a scythe, the man at the left near the window is clothed, at the lower right-hand corner we see two animals brought in. Oporinus' monogram is missing and the coat-of-arms with the weasels shows on its margin ten buttons. The lower shield with the Privilege is a board intended for vivisections. Vesalius' face is turned more to the front, his right sleeve fits tightly, the genitals of the cadaver are covered by the parts of the bladder turned down and aside. Otherwise we find the same arrangement of the figures. The anatomic illustrations of the Epitome, which are missing in the edi- tion of the principal work of 1543, are not found here either. The impression of the woodcuts is often clearer and more beautiful than in the previous edition; some of the figures have been somewhat improved upon in the cutting and in the lettering. The presswork is more splendid; the fancy initials throughout arc larger and more beautiful and are also adorned with drawings different from those of the first edition. This second edition therefore has, especially for practical purposes, advan- tages over the first on account of additions in the text and in the illustra- tions and particularly on account of its more splendid makeup. At the end we find errata, alphabetical index, colophon and the printer's device. See Weigel, no. 4017. This second edition appeared later in smaller size:

Dc Jiumaiii corporis jabrica lihri scplcni, Vaietiis, apud Franciscum Frajiciscium Scucnscm el JoJianncm Cric}^/icr Cermanum, 1568, small fol. 12, 510 and 45 j)p.

The woodcut liile-pa.t^e and the bust of X'esalius are missing. The remainin<^ woodcuts are of smaller size, and arc executed most carefully thou.i^h less clearly, but \ery neatly, by Johann Criegher (Kriiger) of J\)mmcrn, who is mentioned on the title-})a^e. See Weigel, no. 6809.

'I'his edition was reprinted from the same j)lates and republished at

Vend., apud Joan, Anton, ct Jac. dc Franciscis. s.a. fol.; 8, 510 and

45 PP-

Under a ^sj)ecial title is inserted: Univcrsa antiquorum anatome

ex Rujo Ephcsio tribus tabcllis (tables, not figures) cxplicata per Fabium

Paulinum, Vcnct. 1604, f<^b

ANDREAS VES ALIUS 183

This copy of VesaJius' work corresponds page by page with the edition of 1568, but is actually a new edition.

Among the conq)lete editions of Vesalius' works which appeared with and without illustrations, the following is distinguished by its beauty and careful preparation:

Andreae Vesalii Opera omnia anatomica et chirurgica, cura Hermanni Baerhaave et Bernhardt Siegfried Albini, Tom. 7. II. Lugd, Baiav.y apud. Joann. du Vivii et Joann, et Hermann. Verbeek, 1725, large fol.

In this edition, the woodcuts of the principal work and of the Epitome are very beautifully copied and engraved on copper in the original size by Jan Wandelaer. The title-page in copper is engraved after the edition of 1543. Oporinus' monogram, however, is omitted and the architecttire is slightly changed.

The remaining wood engravings are copied entirely, with all the additions, from the edition of 1555. All the wood engravings of the Epitome are re-engraved, without exception. Vesalius' Epistola docens venam axillaremy etc., is omitted, also the Vesalian plates of 1538; on the other hand, it contains De radice chynae, Gabr. Fallopii observationes anatomicae (against Vesalius) and Vesalii anatomicarum G. Fallopii observationum examen (a rejoinder), and the posthumous Chirurgia magna in Vesalius' own handwriting which contains a number of small illus- trations.

[Besides this edition by Albinus, there should be mentioned still another special edition on osteology: Andreae Vesalii Tabulae ossium kumanorum. Denuo edidity earumque explicationem adauxit Eduardus Sandifort, Lugd. Batav.y ap. S. et J. Luchtmans, P. van der Fyk et D. Vijghj 1782, foL, with 3 and 30 pages of text and 27 copperplates by Jan Wanderlaer; cf. Weigel: Kunstkatalog. no. 18246]

The University of Louvain is in possession of a magnificent parch- ment copy,' alleged to be the dedication copy, of Vesalius* Anatomy y which contains colored figures, and among them some which consist of several parts arranged one above the other, and pasted together, so as to be turned over consecutively. (Ebert : Bibliogr. Lexikon, no. 23537 ; Biirggraeve: Etudes ^ p. 75.) These latter figures cannot be other than those of a male and a female body put together from the last two pages of the Epitome, and cut out according to Vesalius* own instruction.

'This copy was burnt when the University Library of Louvain was destroyed in August, 1914. The British Museum in London has a similar copy. Choulant's statement IS correct that it was the Suarum de kumani corporis fabrica lihrorum epUomt^ i543f &nd not the Tabulae anatomicaef Veneliis, 1538, as b sometimes stated.

1 84 ANATOMIC ILLUSTRATION

The original wood engravings of Vesalius' work were used for the illustrations in the following works:

Von des mensche^i corpersAnatoiney\einkurtzer aber vast niltzer Ausszug^ aiiss D. Andree Vesalij von Brussel bucheren^ von ihm selbs in Latein besc/iribcn, vnnd diirch D. Albanum Toruium verdolmeischt. Colophon: Gcdruckt zu Basel , bey Johann Herpst, genanni Oporino, g. August 1543. large fol., 19 leaves. Namely, title-page, Sign. A-P, P and 2 leaves without signature.

A very rare German edition of the Epitome, compiled by Alban (Zum Thor., or Thorer, of Winterthur) (b. 1489-d. February 23, 1550), professor of medicine at Basel, designed, as was the Latin Epitome y for use in separate sheets. It contains the woodcut title, representing the public dissection of 1543, Vcsalius' bust, besides eleven sheets of anatomic illustrations: The skeleton, the plate of the nerves, five myologic plates, the two nude figures and the two unsigned sheets, intended to be cut up; in addition to these illustrations, which the Latin edition of the Epitome contains, some smaller cuts from the larger work of Vesalius have been added to some of the plates or inserted in the text. These latter are not contained in the Latin edition. On the title-page below is also to be found a preface: Dcm ^uticiUigen laser. Diese kiirize anzeygung der Auatowcy, etc. Sheet A contains the German translation of Vesalius' dedication to Philip, Padua. August 13, 1542. and also a German dedica- tion to Christo{)h, duke of W'irtcnberg and Teck, signed Albanus zum Thor. Basel, Aui^^ust 5. 1543; Sheet G has on its back the first myologic plate: the skeleton and the two nude figures are on Sheets X and O. The illu>trations in this Cierman edition oi the Epitome, which is even rarer than the Latin, are equal in beauty. The copy spoken of in Weiizel's A';/;:>/Au/c>/(>l:. no. 14144. is now in the large private collection oi the King oi Saxon\'.

AihirC'ir I'cs^ilii Bruxclloisis -Zcni^licdcning Dcss Menschlichen Corners. Aw M.:'>:lcrc\ ii)id B:ld}hiucrku}i.^t i^ericJiL Die Figuren 10): Tili:): .^rzi-idDirt. Au:s^ur;. gcdruckt loid icrlc^t durcli Andreas M ciSi'hf}:' lur. \--o'\ io\.\  :'-  !ca\"e^.

< 'n tiu' tiiie-p.i^^' '.ve  :"in<l tlie five >kuil> from the principal book, at t];e er.<i  :l\e olVxx illu^tralinii- jiert. lining to the skull. i)e>ides these. three -/.t.!et«>n.-. .m^i i»»ur nni-rie-nianikins from the same book, also

»>ur i'lher  :r.u-cie-ir.ani!^in<. an*! the two nude figures from the

/•.".^.•;,^>;>-. A >econ.l c'iiiion l-y Ma-clienl)aur was published under a >iniiki". i'Ui ir.ore eki'^'orate title, in Au;<^iir-^. i~2\, folio, fourteen

The pbits are lAe sane; llae &x^ c«m|)JMi^  :$)^W|I^. Ww^vv^. ^^liv^ iitN>4 on the tide-inti^ bat at idne end of tdbe W>k; ^ tW 9i\^ v^l^ ^^^Mtv^ pertainiBg to ttie sknlL two are omitted. All tW iUt^tfi^tiikViVx iMv ^i^^^ maikcdhr duller lliaii in the Latin and GeimM^ Ofi$$iVA) i^k^liisM^VK* tt has been mcntiaDed before that Titian itid not draw tW i\^\^ii\>x S;^ W^el, no. 14145-

van Andreas Vesal^ sami eimr AmtmJ^9^g «to^ Wimfi^^km 4H^k^4h fungstekre im 7 JBdcAem, Imgolskkit^ M As AUimkiMm, \^$^\, i\^ ^ 4A and 328 1^.

The chief physician {ProUmediois) \ion WoUtor hml i^iHiwlrtnl, \sj\iHv ably from Maschenbaur'S legacy in AusHburg. ^W thi> urt^inci) w^khKuu from Vesalius' anatomic works. HowcN'er, the ri|{hth in\uv)0 \\\m^ was replaced by an inferior copy, showing the u))Jci'U revt>r«t)t) frtun WU to right; twelve smaller drawings, the blacks of whUh hml h^t^n Kuif, were re-engraved, and fairly well done by a Munich ttrtltil Uif the u«^t> of this edition. Vesalius' bust was not among tha tullm tdm ^lut Ui therefore, missing in this edition. Moreover, the work tunuiuti \\\ti older woodcut title of 1543 and all the woodcut:! of the edUiiHi of lU^ chief work of 1555; from the Epitome only the llluiitrtitltinti of ihct (wo nude figures are taken. The illustrationn are ratht^r dull, bttiog Mmd^ on paper altogether too coarse. Thin work WfiH prt^tmrc^d by l.c^vci^liog at Woltter's request; the edition a)m|>ritii?d fiftec^n humtrcttl liij^iif:). See Weigel, no. 4918.

It seems that soon after the publlaitlcm of Vr^aliui>' iif^i {ildtrb of 1538 several similar anatomic illu«tratiiin«  ^earlirr iiDltuiloiid i/f iIuk)^ I^tes) appeared with which VeiUiliuK wa«  littlt; bali^liril. i'.vm Ui i)u: first edition of his chief woiic of 1 543 he u/mpLain^ in a Lr( ij^f Ut ( ^iM^ina^f written probably in 1542. and which U ^latx^l Vnfutiin, n^n^i ( ultHiia^ Sepiembres, oi these iniitatiofii> which w^rr^r nmU: Ui Aug^t/Uf^; < oU^hjc^ Paris, StrasBburg, Mait/urg, and f ra/akfort :

KaxB quid pfincapuoa dt^creU ajAkd U0ii«4>(>U^. h Uj *jumih\jit nj^^ht uuim dexsttKimt 8at.c«  lyyofxti-phoi^ vibknut. 4LbuuUr iu um-^u AiM.i^^td^'k uOuiit m-uu uojjuofc ires Venetijs pnmum impc^fbttifc. «h pobtjuu^xiuui utuyt^fi j^cibsuju <ift:p<«).v«)^)u muo*^! bvftqfur intenm ihutib «&urui&ut^. «»t «,uuiuidvt^^'i:«  Au^ud<«v«  «-uui. it«i»x .vd N»u amm Vcnimuis — 8uUdu<:iii 4:pi»iuUi. tii^<iv Muit liiOvik <^*MtuauM i;^' j^u4'i»ii.iU> el— me cge^unie in seac iabula» liUuv w>w:tri« . quu«  </4u«muu pmnou^ '4V4«».u ^ hunt

jmhati. Hoc Auguslauv t>*Jidp'vVK^ k>i^» rucUuf iiit;i«*t khm^< iai'i- '.(vii ^AilviiMU. ntdena labui» mttnutri adtmivit i|uuti< Uttmn 'O'tvi; It^u^tv*- «;' p.<.'.uuvi(. .^akii <A#i rupesdnt «t ocrvonim (kUtM:tt!.ivi4«ttJ imt uui lcli<:tu^ aiuufuiiij acM.riit) <|UiUii

l86 ANATOMIC ILLUSTRATION

ego — uni atquc illcri amico, qui iH tanlispcr Hum ipse earn edcrem a me erpetebant, niditcr (Iclincaveram. I'arisiis Ires priores elcganter e\prcsserunt. nliis interim

propter stulplurae, uti coniicio, difficultatem omissis Argenlinensis ille—

de stiidiis pessime est meritus, quod labulas, quae nuntjuarti satis magnae studiosis proponi poLcrunt, tam foede contraxcrit el turpissime pictas ac praeter omncm rationem circumscriptas mm Augiisiani versionL- tanquam suas emiserit. Huius gloriae is invidere visus est, qui undecunque eitra dclcctum compilaiis ex aliorum libris imaginibus, Marpurgi et Francofordiae eius generis libros adhuc emitlere pergit, etc.

"For what effect the decrees of rulers have among the booksellers and among printers who are now thickly planted in every corner, one may obscr\-e to perfection in the case of my books of anatomy, which were printed for the lirst time at \'enice three years ago and afterward wretchedly giirbled in all quarters, and in the meantime equipped with more pretentious lilies. For at Augsburg, having purloined my letter to Narcissus \'ertunus, some unknown hack wroie a preface in German, claim- ing falsely that I have squeezed into six books all that Galen had diffusely treated in more than thirty books — -nol to mention the tiolching of the Venetian engravings ihere. .Another workman, far mure unskilled and ignorant than the engraver at Augsburg set his hand to these same engravings at Co logne^t hough his figures com- pletely spoiled the pictures (in my book} and included, besides, an outline of the nerves deplorably copied, which I had roughly sketched to one or two friends who requested me for it during the time pending publication by myscif. .\t Paris they printed the three first plates in exquisite fashion, omitting in the meantime the others, because

of the dilliculty of the engraving, as I conjecture The fellow at Sirassburg

played a scurvy trick on scholars in that he so shamefully cramped the engravings which could not have been too large for the best results to scholars, and issued them as his own, wretcherily reprmiuced. and reduced in size out of all reason, with the lest of the Augsburg version. His glory was begrudged him apparently by that other who, indiscriminately, looting from every quarter, pictures from the books of others, insists upon issuing books of this sort al Marburg and Frankfort," etc,

Dryander might be one of the latter and of the two last-named printing jilaces, the printing establishment of Egenolph is probably referred to; the Strassburg publisher is most likely Ryff ; the one from Augsburg perhaps Xecker; the one from Cologne, Macrolios or some other unnamed person; the I'aris copies, possibly by Wechel, are not known to me. It is certain that immediately after the publications of Vcsalius' lirst six plates and before the appearance of Vesalius' chief work and of the Epitome (that is to say, between 1538 and 1543), several imitations were pubHshed. To these belong the following:

Aegidius Miicrolios: Cerebrum aninuilis farultulis fans ct pr'nictfnum, sensitm volioiliirium per iiervos commiinicans ab sc el dorsali medulla enalos unk'erso corpori. s.l. et a. (Cologne, 1539), fol.

A sheet, printed on one side only, represents the brain in its natural size, the upper part is cut open horizontally in such a manner that the

ANDREAS VESALIUS 187

two lateral ventricles become visible; beneath the brain are the cranial nerves, also the tongue and a piece of the palate; among the nerves the vagus, with its branches in the thoracic and abdominal cavities. Every- thing is drawn in a bold and free manner, the nerves are unnaturally enlarged, some of the words and the letters are cut in wood, other words are printed; the entire woodcut in the copy before me is colored red. The Latin explanation is printed in italics on the left side; a German explanation is not given. On the right side we read:

Aegidius Macrolios Medidnae apud Agrippinam Coloniam professor Anatomices studiosis. Andreas Vesalius, quo nemo post Galenum in anatome diligentius et uerius versatus est, tabulis aliquot superiore Anno editis maximam commoditatem studiosis, quibus non datur c[vro^uis copia, creavit. Sed ut animus hominis docti ociosus esse nequit, ita singularis industria, ab eodem istam quoque tabulam, quae nervorum syzygiam septenariam, sensuum scilicet instrumenta et loca, ob oculos euidentissime ponit, elegantissime expressit. Eslto. nos dudum nacti, quanquam depictam tantummodo, uerum adeo concinne, ut arbitrer authorem in omnium manibus illam esse optauisse, typographis tradidimus ne soli nos, quod plerique per intiidiam fadunt, thesauro tali frueremur. Cur enim non thesaurum appellem quod ingeniosam naturae machinam exprimit et docet? Nee priores sex tabulae, quae uenarum, arteriarum et sceleti imagines dant, quicquam habent tam ingeniosum, quod cum prima ista (Sic enim nimcupare libet, quod prima hominis, et ueluti principia depingat) sit comparandum. Valete.

"Aegidius Macrolius, Professor of Medicine at Cologne, to students of anatomy. Andreas Vesalius, than whom none since Galen has been a more conscientious and genuine student of anatomy, by several books published last year, has conferred an inestimable benefit upon scholars (who were hampered by lack of material). But, just as the mind of the scholar cannot be idle, in the same way unparalleled industry on the part of the same man has reproduced with the greatest nicety a work which sets forth with the most absolute clearness the sevenfold syzygy of the nerves, that is to say, the instruments and seat of all the senses. We came possessed of this sometime ago, merely in sketch form, but so neatly done that I believe the author desired it to be in the hands of all, and we have accordingly handed it over to the printers that we may not, as many, actuated by envy do, gloat over such a treasure in private. For why should I not call that a treasure which reproduces and explains the ingenious machine of nature? And the six previous books, which give pictures of the veins, the arteries and the skeleton, contain nothing sufficiently ingenious to deserve comparison with this chef-d'oeuvre, (for I like to call it that since it repre- sents the chief and, as it were, the principal parts of man). Farewell."

This shows that the sheet must have been published in 1539, that the publisher, Macrolios, must have had only Vesalius' hand drawing or a copy of it in his possession, which he had engraved and reprinted with explanations, and, furthermore, that this plate was not among the first six Vesalian plates which presented only the systems of the veins and arteries and the skeleton. With such an assumption agrees what

i88 ANATOMIC ILLUSTRATION

Vesalius himself says of this Cologne imitation in the foregoing letter to Oporinus, i.e., that in Cologne they added to the other six plates a Nervorum delinealio, which he had rather hastily designed and had shown to a few friends. This again would indicate that the other six plates

must also have been copied (see also pLiKe iSg), and this figure of the brain added to them. The name "Macrolios" was not known to Vesalius; the latter seems not to have seen the very rare sheet above described, but merely a copy of it. But that the sheet by Macrolios is actually one of Vesalius" illustrations becomes irrefutable from the fact that, in the fourth book of the chief work, on page 319, of the edition of 1543, and

• ANDREAS VESALIUS 189

on page 512, of the edition of 1555, we find a figure which evidently is an elaborated and improved redrawing of Macrolios' figure. [The plate by Macrolios is mentioned nowhere, and the description and repro- duction were prepared from a copy, at that time in Choulant's posses- sion, of the imdoubtedly very rare originals.]

Jcbsi de Necker: Ein gar kUnstlich alien Leib- und Wunddrzten nUizUches Werk in 6 Figuren mil Innhalt aller Blui- Schlag- und Flecks- adem sanU den Gebeinen des ganzen Leibes. Augsburg, 1539, foL, 6 leaves.

The work of the Augsburg wood engraver, Jobst, or Jost de Necker, de Negker, Denecker, Dennecker, Donnecker, Dannecker, of Augsburg, is mentioned by Haller (I, 180), and according to its title dealt with veins, arteries, and nerves; it is by all means the truest and best copy of Vesalius' first six plates. Among those plates, however, there were no illustrations of the nerves. Since such are expressly mentioned on the title of Necker's book, Flechsadern, it may be that even here Macrolios' sheet was inclosed. This again would contradict the fact that only six figures are indicated and that Vesalius first mentions this sheet in connection with the Cologne copy. But perhaps his Augustanus is not Necker, but another person not named. It is also probable, and this is particularly plausible, that Macrolios' sheet was actually added as a seventh plate.

Ein gar kUnstlichSy alien Leyb vnd WundUrtzten, auch andrer kUnsten Liebhabern, hochniUzlichs Werk in seeks Figur gebracki^ mil jnhali aller blutscklag vnd Flackssadern, sampt den gebaynen des ganizen Leybs, etc. s.l. et a. (Cologne) fol., 6 leaves, each printed on one side only.

The first sheet contains the above title, then a preface in which is said:

Also hat Stephanus Intemplaeus in sechs Figur gebracht, was Galenus in sechs gantzen, subtilen, auch hochniitzlichen bUchern gehandlet hat, Und yetzund ist durch Andream Wessalium in sechs kUnstliche un nutzlich Figur mit herlichem verstand zusamen getragen, was durch den Galenum wol in dreissig, oder noch mer biichem lang und vil geschriben ist, welches kunstlich werck durch Andream Wes- salium Lateinisch beschriben, Darnach auss verlegen und anrichten des kiinstreichen Malers Joannis Stephani durch den Bemardum Vitalem ein Venediger mit fleyss in den Druck gebracht ist worden.

So has Stephanus Intemplaeus brought into six figures what Galen treated in six entire, clever, and most usefid books. And now has been brought together by Andreas Vesalius, in six artistic and useful figures, and with wonderful understanding, what Galen required thirty or more long and elaborate volumes to discuss; which work is explained in Latin by Andreas Vesalius and was prepared by the artistic painter Johannis Stephanus and carefully printed by the Venetian Bemardus Vitalis.

IQO ANATOMIC ILLUSTR.\TION

Below the preface a rather large engra\Tng, showing the liver and the spleen, with the portal vein and its branches, and also three smaller engravings, showing the genitals of the two sexes. The second sheet contains a large woodcut: The Hver and the two venae cavae, with their roots. The third sheet shows on an equally large woodcut, heart and kidneys, and tlie aorta with its branches. Three other sheets show the skeleton viewed from the front, the back, and the side. On all the sheets the ex]ilanations are given, on the right in German, on the left in Latin, the latter in italics. The engravings are ctTective, and those of the skele- tons arc particularly deserv^ing of praise. The anatomy, however, is still \'ery prc-\'esalian, the liver being shown with five or sLx lobes, the heart as situated directly in the center, the retc viirabile is reproduced after the manner of Galen; the uterus is now shown without horns. It is quite possible that Vesalius, in 1538, still drew in that manner, or that the copyist improved upon his manner according to a preconceived idea. The skeletons are colored gray, the landscape background on which they arc ])laced is illuminated in the copy that lies before me, just as the figures of the viscera show colored illuminations. According to the title, we should find in this work veins, arteries, a.nd " Fleclistiderti," The latter should be the nerves which, however, we would not find on the plates if Macrolios' sheet had not been inclosed as a seventh plate. With this, indeed, the indicated number of six plates does not cor- respond, yet Vesalius ex]iressly mentions that the Cologne reprint contains the plate of the nerves. Necker's name is not mentioned anj^vhere, which leads one to assume that this edition is only a copy of his work." The faulty title seems also to point toward this possi- bility. Of another edition of this work I have only one sheet, the skeleton seen from the front; the woodcut is not the same, yet the drawing is, even in the accessories; obviously, this plate was copied by a still better artist directly from Vesalius' engraving. It is on tJic whole freer and more artistic and in its details truer to nature. There is no illumination, and the plate might be older than the afore-mentioned edition. It is very probable that it belongs to the original work by Necker. Explana- tions are also given, on the right in German, on the left in Latin, the latter, however, not in italics, but in Roman letters; the Latin text is absolutely the same.

Des dilerfurlrejjlidtslen, hiicbskn vnnd aJcIiclislen gschoppjfs alter Crcdluren —Das ist. des menschcn — warliajl'tlge beschreibung oder Analomi

' Riilh (pp. 1J3-2J) consi'lors Ihi* erjiliun an .Vuiisliuri; copy after the .Augsburg playiarisra.

ANDREAS VESALIUS

192 ANATOMIC ILLUSTRATION

— cr.flmals inn Tculsche sprach lerfassel^Durch .1/. Gualtherum Uer- menium Ryjf, Argenlinum, Medicum. 1541. Colophon: Strassburg, bey Balihassar Beck, fol., 6 and 73 leaves; Gothic tjpe.

This contains, including repetitions, twenty-five anatomic plates in woodcuts; of these, about ten are taken from Dryander {anat. capit. 1537), but redrawn and enlarged; the other fifteen contain entire bodies; among them the skeleton from the front, from the back, and from the side, in very poor proportions and drawn with a rather inferior under- standing of anatomy. The above-mentioned three skeletons obviously served as models; sitting figures with open thoracic and abdominal cavities and a crude representation of the viscera, two muscle -manikins, two reproductions of the blood vessels of the whole body, one plate representing anatomic instruments, fifteen smaller figures from Eucharius Riislin, shelving the positions of the fetus, and finally a schematic repro- duction of the eye. One should not presume from the bad drawings that \'esalius' reproductions served as a basis for the anatomic plates; yet the abo\'e-quoted words of Vesalius seem to refer to this work. Other illustrations of this work arc based on Bercngarian reproductions. Ryff was not an anatomist, had no fixed habitation, made his livelihood through the compiling of medical treatises for the various branches of medical science without having much knowledge of it himself. Alto- gether, he was a shameless plagiarist."

From these earliest imitations of Vesalian figures we must dis- tinguish those later imitations which were published after the appearance of the chief work [i.e., after 1543). and which are, in some cases, actually announced as editions and reproductions of Vesalius' works. Among these are to be mentioned:

Compcndiosa toliiis atiatontia; dclineatio. acre cxarala: per Thomam Geminum, Lotidiiii, In ojUcina Joaiiui Hcrjordie. 1545, mcnse Oclobri, large fol., i copperplate title-page, 44 printed leaves and 40 anatomic copperplates; in all 85 unnumbered leaves.

The illustration of \'esalius' public dissection and his bust are missing; the copper title-page here siven is composed of a multitude of allegorical figures in separate panels, with the coat-of-arms of England in the center. From the Epitome only the two nude figures and the one sheet designed to be cut apart are taken. All the rest is from the chief work. The copper engravings are neatly and carefully executed but by no means equal the beauty of the \'esalian woodcuts nor the exactness of their

'lilrm, Auahmiii omnium larporh parthim drxfriptis, Paris. 154,1.

Idrtn, DtKri filion aiiulomiqiii: d louli:i les parlirs dit corps kuma!n, Paris. i;45, Haller, I, iSg. Actonling to Kulh, p. m, this editiun docB not exist.

ANDREAS VESALIUS 193

drawings. G^nini, of Leeds, who calls himself here Geminus Lysiensis^^ was himself an engraver, and also a printer; he probably made the title- page. It is supposed that the copper engravings in this work, done in the manner of Hogenberghe, were the first to appear in England, but nothing in the work points to this fact.' In the dedication to Henry VIII, Gemini merely calls this work: Hanc anatomen, primam meam foeturatn. The text contains only the description and therefore is rather abbre- viated. The work is of exceptional rarity; see Weigel, Kunstkalalog, no. 4920. But there are three editions. The first one of the year 1545, dedicated to Henry VIII; the second in English, translation by Nicholas Udall, dedicated to Edward VI in 1552, and the third one, dedicated to Elizabeth in 1559.

[The first edition of Thomas Geminus: Campendiosa ioiius anatomiae delinecUiOf Lond. 1545, foL, of which a description is here given, has the coat-of-arms of Henry VIII, probably arranged at his request and expense, and was dedicated to him. The second edition, with the English translation by Nicholas Udall, appeared in 1553 with a dedica- tion to Edward VI, printed by N. Hyll. The third edition of 1559 has, in place of the removed Royal Arms, the portrait of Queen Elizabeth (the earliest after her accession) , and is dedicated to her. This third edition^ is said to contain a large woodcut, with the monogram R. S.

■ Thomas Gemini, Gemlni6, or Geminus Thomas (fl. 1540-60), was evidently a foreigner living in England, probably an Italian. Nothing is known of his life or antecedents.

• Contrary to Choulant's statement this is one of the earliest books containing copper-

plate engravings produced in England, having apparently been preceded only by the plates to Reynald's Byrihc of Menkynde in 1540, which have sometimes been also attributed to Gemini. A peculiarity of this book is that each folio was printed separately; evidently the press was too small to print a whole sheet on it. (Lowndes, II, 873.) The plates are supposed to have been some of the first rotary press work done in England.

• This edition Gemini printed himself, having set up a press in Blackfriars. According

to Sayle, Gemini was assisted in the publishing of this book by Nicholas Udall and Richard Eden. The same plates as were used in the first and second editions are here used again, with the addition of the large folding woodcut, which is sometimes met with separately, and which was incorporated by Gemini in his own work. Choulant did not see this work per- sonally and his statement that the plate was only added, and perhaps only in one copy of the edition, is an error. W. M. Voynich, the London bookseller, in his ninth list of books pub- lished November, 1902, 962, *t3335, describes a remarkable copy of this third edition:

Gemini (Thomas) translated by N. Udall and others. Compendiosa/ totius Anatomie delinealio,/ aere/

gxarata: ptr TkomamGtminum./ Londini. 1559. Sign. BI, col. i: (R) Yea use At the end: C Imprinted

at London within the black fryars: by Thomas Gemini./ Anno SaltUis.i$$Q. Mense SepUmh. Folio. Gothic chaimcter with Italian passages. 511. incl. engraved title + 57 unnumb. 11+2 folding woorlcuts signed R.S., 376X361 mm. (one of them with moveable pieces), -f 1 folding copperplate engraving, 334X338 mm., -\- 30 foil-pace copperplate engravings; sign. (511., A*. B^ C-I*. K'); 62-64-68 lines. Woodcut initials.

This copy contains a duplicate of the large woodcut corporis humani partium.

.... delinalio and .... anatomes intcriorum mulieris partium .... (two titles to one block), arranged with additional woodcut moveable pieces, representing the anatomy of the thoracic and abdominal cavities. This woodcut b not in the British Museum copy but is otherwise identical with it, with which it has been compared.

194 ANATOMIC ILLUSTRATION

and the graver beneath it, and the title Interiorum corporis humani pariium viva delineatio. It represents the anatomy of the thoracic and abdominal cavities with moveable pieces. This plate was probably only added, and perhaps only in one copy of the edition, for Geminus' work docs not contain any other woodcuts. One might identify it with the fugitive plate published by Gourmont and Mathoniere in Paris: Anatomic Ires vlile, etc. par Maistrc Andre Vesali, since that plate has the same monogram and the same Latin title, with the English inscription: Knowc thy self. The block must have been cut in England and later have been brought to France where it was given a French title. But the plate with its obsolete anatomy can be attributed neither to Vesalius nor to Geminus; cf. John Jackson and William A. Chatto: Treatise on Wood-engraving, London, 1839, 8°, p. 503.]

The same plates were used again in:

Les portraicts anatomiques de toutes les parties du corps humain — par Jacques Grevin de Clermont en Beanuoisis, medecin a Paris, Paris, chez Andre WecJiel, 1569, large foL, 8 and 106 pp., 40 copperplates.

This work therefore contains the same number of illustrations as Gemini's book; the plates, however, have already suffered a great deal. An earlier Latin edition of these plates appeared in Paris [a pud Andream Weclielinn], 1564, foL, under the title: Anatomiae totiiis aeri inscripta delineation Grevin died in 1570. Weigel's Kunstkatalog no. 4921.

Anatomia DeudscJi. Ein hurtzer Auszug der heschreibung alter glider menschllcJis Leybs aus den hucliern des- Andr. Vesalij — sondcrlich "ivundiirtztcn Dcutsclier nation zu nutz ins deutsch gehrachl. Gedruckt zii Niirnherg hey Jul. Paul. Fahricio, mense Augusta 755^, large fol.

Gemini's forty co{)i)cr engravings are copied and are provided with German descriptions; below the dedication, Jacob Bauman signs him- self as the editor. The same work a])peared later under the follo\\dng title:

Anatomia Das ist Ein kurtzc klarc hcschrcyhung von der vsstheilung vnjid zcrsc/nicidunii alter 'glider dcs McnscJilicJicn Lyhs, uss den Biicheren dcss ^.\ndr. Vesalij^ -.cidcrumb von nuicrm durch — Jacob Buicmann W'undarlct zu Ziirycli in Truck vcrjcrligct. i^/iirich) 1575; large fol.

■ .; ) Copies (it* this cditinn. n»»t ^ccn by ( 'houhin! .  ;irc in the lil)raric'S of (iiittingen, Halle, I-{i)l<)^n;i, Mun(hfn. Stuit^arl. I )rc<(ltii Roxai Lil)rar\', liililinthcciuc Xationalc. Paris, and Hrolau. Anntlnr i-<iitioii with ( haimc<l (Jatc. is in the fnixcr^ity Library of (iottiiigcn and the R(»yal Lilirarx- at St<K khohn.

/') /jditiiir J'.irisiorutn a pud Andrann W'alidum, 15^5. I )c' Fcyfcr, loc. cit., 460, 18;

ANDREAS VESALIUS 195

This contains eighty printed pages and forty copper engravings taken from the plates of the former edition; some copies are colored; the editor is most likely the same Baimian, mentioned above.

Anaiomia — Andr. Vesalii — in qua iota kumani corporis fabrica icottibus elegatUissimis iuxta genuinam Auctoris delineationem aeri incisis lectori oh oculos ponitur etc. Amstelodatni, excudebat Joannes JanssoniuSy 1617, fol.

This contains the same forty plates, taken from the plates used in Bauman's work; to the German inscriptions Latin ones are added. The copper title-page has two skeletons as shield-bearers, below the dissection and anatomic demonstration.*

Besckreibung und Anzeigung Mannes und Weibes innerlicher Glieder in zwiflf Kupfer-Figuren verfasst und gezogen aus der Anatomie Andr. Vesalii. 1559, fol.

As appears from the title, this cannot contain Gremini's illustrations at all or, if any, only a part of them.^

{Rogers de Piles et) Franqois Tortebat: Abrigi d^ anatomie accommodi aux arts de peinture et de sculpture, Paris (1667), 1668, fol.

This is the earliest work on anatomy intended for the use of artists. It contains twelve plates engraved by Tortebat ranging in size from fifteen Parisian inches, three lines, to sixteen inches, two lines, in height, and from seven inches, eight lines, to nine inches, three lines, in width. There are three skeletons, seven myologic plates (three from the principal work and four from the Epitome) y and the two nude figures. According to the Privilege and to a signature on the fourth plate, the work cannot

'An edition with Vesalius' portrait and the 40 plates from Bauman's Anaiomia^ was published under the title: Suorum de kumani cordis fabrica librorum epitome: opus perin- sigiUf nunc primum in Germania renata, hacque forma quam emendalissime editum^ anno 1600. fol., and on the last page Coloniae Agrippinae, typis Stephani Hemmerdeny anno 1601.

Another edition dedicated to Frederik-Hendrik, September 10, 1642 : De kumani corporis fabrica epitome; cum annotationibus Nicolai Fontani^ Amstelodamij apud loannem lans- somum, 1642, fol. The portrait of Vesalius and the 40 plates were taken from the foregoing edition but the cliche were retouched and a few of the inscriptions omitted. The title-page contains an anatomic lesson given by Vesalius before an audience of four persons. De Feyfer, op. cU., 463, 23; 464, 25.

'According to the title, this edition is the predecessor of Clement Baudin's edition published at Lyons in 1560:

a) Description et Demonstration des membres interieurs de Vkomme et de lafemme^ en douze * Tables f tiries au naturel^ selon la vraye Anatomie de Andri Wesal, Lyons, Clement Baudin, 1560, 4^. Contains twelve copperplate engravings with explanations, copied from the London edition of 1545; some reversed with abridged description after Vesalius.

h) Idem, Lyon, Clement Baudin, 1567. This edition corresponds completely with the preceding one. De Feyfer, loc. cit., 468, 38, 39.

196 ANATOMIC ILLUSTRATION

have appe&.red before 1668.' The edition, Paris, chez Jean MarieitCy 1733, fol., has only ten copper engravings. The two nude figures from the Epitome are missing. Contrasted with the Vesalian figures, the engravings in this edition are reversed. The same is true in all respects of a French edition with ten copper engravings made by Petit, after the methods of chalk engravings, drawn by P. F. Leclere, Paris, chez Jean.y without date, fol.; on the last plate is inscribed: An 7, which would mean 1798 or 1799.

[The Ahregc d^ anatomic mentioned here was written by Roger de Piles (b. Clamency, Nivcrnois, 1635-d. Paris, 1709) under the pseudonym Franqois Tortcbat, as he himself states in his Cours de peinture par principcs, Paris, 1708, 8°, page 153; (in German: Einleitiing in die Malerci nac/i Crundsdizen^ Leipzig, 1760, 8°, page 121); Haller: Bibl. anat. I, 184. With regard to the work itself on artistic anatomy see Robcrt-Dumesnil: Peintrc-graveur Franqais^ III, 221. and Weigel: KuHstkatalog no. 18258]

Reduced reprints of this work are likewise contained in the following book with twelve engravings:

Samuel Thcodor Gerickc: Kurtzc Vcrjassung der Anatomie, wie Sclhigc zu dcr Malcrcy ttnd Bildhaucrey erj'ordcrt wird — erstlich ans Lichi gcgebcn von Franc. Tortcbat — nun abcr in dicsc bequcmc Form gebracht. Berlin, b. Rudiger, 1706, fol.

The engraved copies by Lorcnz Bcger are eleven and one-half and thirteen and three-quarter inches in height. It is to be regretted that they are copied from Tortcbat and not directly from Vesalius. They are inferior both in drawing and engraving and are reversed throughout.

Xoloniia di Titiano. dvdicaia alV illustr. Sign. Franc. Ghisilieri, Senator c di Boloi^Jia. per Domenieo Bonaiera. Also published under the title: Liher iUiatomicus, Tiiianus invenit ct delincavit, Dominicus de Bonavera sculpsit. s.l. et a. fol.

Tliis work is witliout any text and must have been published soon after I )e Tiles" book, ^fhe en^ra\er and editor, Domenieo Maria J^)na\'era or Hoiiaxeri. was ])()rn in Bologna about i()4o, and was a l)U|)il of C'anuti. 'Hie ciL!:hteen illustrations are the well-known Vesalian |)hLtc.-> which, at that time, were still attril)Ute(i to Titian. Haller, II, 740.

i,i>ni. ]*.iri->. ,//r': ('/),!r;(S A u'oiw J <>)?!< rl. i;'-', witli nioi|ilu'<l text.

!*,iri-. '//<■: I^.irr(>: ^  !'i:  ;H'\ -^..i.

l*ir;it(<I f(|ii ions:

A>f'::>' (!!>!.!,>>}!;,■ ,!,i ()nit)i!f' 'i!fX 'ir(:. 'lu: J . />'. Ch' p\\ I*.iri>. \~(\o. fol., abridged reprint allcr rnrul».it uilh ru'\v|\- cn^rravt <l plali-s; thr tiKMirr- rnra>urc jr> rni.;

{'iiirlrs A>!!ii:n<' Ji)»i'><rl: Miih^i'l,- pam d pprrndrr Ir ils-^i>i, Paris, (hcz A. Ctilot, 1784; llu- lij;ur(.- nua^iiri'  : •; 1.111.

ANDREAS VESALIUS 197

Jacopo (Giacopo) Moro: Anatomia ridotta ad uso de^ piUori e scultori, Vinegia, 1679, fol.

This contains nineteen outline plates after Vesalius, edited by Giuseppe Montani, with explanations. Added is a guide for the study of fresco painting. See Cicognara: CataL, 1, 59.

Andr. Vesalii: Tabulae ossium kumanorum. Denuo edidit earutnque explicaUonem adauxU Eduardus Sandiforiy Lugd. Bai,, ap. Luchlmans, van der Eyk ei Vijgh, 1782, fol., 8 and 52 pp. and 24 copperplates.

These twenty-four copperplates were made from those which were employed for the Boerhaave-Albinus edition of Vesalius' work, as far as osteology is concerned. The order is changed, however. The text contains only the explanation of the plates.

[In the volimie of Anatomic Miscellanies , which belonged to the Viennese ophthalmologist and professor Joseph Barth, and which was in the possession of the publisher, are contained the following: The first six plates from Vesalius Epitome of 1530, three sheets which must be coimted among the fugitive leaves, a sheet from the Cologne reproductions of Vesalian plates, and a copper engraving representing two standing muscle-manikins, poor in anatomy and drawing, done in Italy about 1550 and based probably on a drawing by Bacdo Bandinelli: As this book did not come into Choulant's hands until after this chapter was written, what is deemed essential is presented here.]

Information concerning Vesalius' life and works, besides that in the preface to the Boerhaave-Albinus complete edition, is given in the fol- lowing:

Ad. Burggraeve: Siudes sur Andri Visale, pricidies d^une notice historique sur sa vie et ses icrits. Gand, ckez C. Annoot-Braeckman, 1841. large 8°, 33 and 439 pp.; with the bust picture of Vesalius after the well-known woodcut in copper by Ch. Onghena and a facsimile in Vesalius' handwriting on a large inserted sheet (a medical certificate) : a comprehensive and splendid work.

Notizia d^opere di disegno nella prima meta del secolo XVI. esistenti in Padova Cremona Milano Pavia Bergamo Crema e Venezia. Scritta da un Anonimo di quel tempo. Pubblicata e illustrata da D. Jacopo Morelli. Bassano, 1800, 8°, p. 232.

[Ad. Burggraeve* s £tudes sur Andri Vesale has nothing pertaining to the bibliography of Vesalius' works and illustrations, although it is highly valuable on account of its many abstracts from Vesalius' writings and a few biographic notes drawn from Spanish sources.]

1 98 ANATOMIC ILLUSTRATION

The beautiful painting by E. Hamman, of which A. Mouilleron and Schubert made a lithograph (Weigel, no. 17676), portrays Vesalius in his study.

[In addition to the plagiarists given by Choulant, the following authors used Vesalius' illustrations and writings for their own works:

John Bancster {Banister): The historie of tnariy sucked from the sappe of the most approued anathomistes in this present age^ compiled in most compendious fourme, and now published in English, for the utilitie of all godly chirurgians, within this rcalme, London, J. Daye, 1578, 4°, 112 ff. Contains poor illustrations, taken from Vesalius.

Johann van Beverwijck {Beverovicius)\ Ilcelkonste ofte derde deel van dc gcnceskonste, Amsterdam, Jan Jacobsz Schipper, 1660. Besides the illustrations from Vesalius, a muscle-manikin by Valverde, but reversed, and four plates from Harvey.

Johannes Bockelius: Anatome sive descriptio partium corporis humani ut ea in Academia Julia quae est Helstadii singulis annis publi<:e perlegi ac administrari solet, Helmstadii, 1585, 8°.

Idem. 1588, 8°. A compilation from Vesalius.

Bartholomacus Cahrolius: Ontlccdingh des jncnsclielijcken lichaems. Eerlijds in 7 latijn heschrcvcn. Nu vcrduytscht en met bijvoechselen a Is oock figurcn verryckt door Vipplscus) F{ortunatus) P{lemp), Amsterdam, 1633, fol.

Idem. 1648, fol. Illustrations from Vesalius and Paaw; Paaw's copperplates were used.

Jlclkiah Crooke: MIKP0K01^M0rPA4>IA, a description of the body of yuan, together with the controversies and figures thereto belonging, col- lected and translated out of the best authors of anatomy. London, \V. Jaggard, t6i6. fol. t,ooo i)p.; the illustrations are from Vesalius, while the text is from Bauhinus, Casserius, Paaw, and Laurentius.

Idem, London, 1031, fol., 1,012 pp., contains a portrait of Crooke.

James Douglas: Xine anatomical figures, representing the external parts, muscles, and bones of the Jiuman body. The outlines taken from the figures of I'csalius and Bidloo, under the directio)! of James Douglas, London, W. (i. Douglas. 1748, fol..

l'>om a remark in Douglas, Bibliograph. anatom. specimen, 1715, another ciliiion is su])])ose(i to have been pul)lished in 1715. According to Roth this work must be exceedingly rare. lie gives the date between the years 170O and 1723. It is not given in Haller. De Feyfer is of the o{)inion that no such edition exists.

ANDREAS VESALIUS 199

Willem Goeree: Naimmrlifk en sckitderhmsHg omheerp der mensch- kundCy Amsterdam^ 1683, 8^.

Idemy Amsterdam^ 1730, 8^; copp^ engravings after VesaKus^ Choulant Graph. f$UMmab.j 153.

Bernardino Montana: Libra de la anatkomia del hotnbrey nuevamenie campnesio por el doctor Bernardino Montana de Monserrate^ imprtso en Valladolid en casa de S. Martinez ano de 1551, foL; the three muscle- manikins, the arteries, veins, and nerves, two torsi with thoracic and abdominal organs, uterus, brain, and cranial ner\'es, the front views of the skeleton, are all takoi from Vesalius and d<Hie in poor woodcuts. Montafia, h>. CXXIXar-CXXXIVb.

Daniel Moeglingus: De kumano cor pore ^ Tubingae, 1591, fol.; com- pilation from Vesalius.

Giuseppe Montam: Anatomia ridoita air uso di pittori e scnltori, consecrata alT ill. ed exc. signore il signor Gio, Andrea Rociborsko, conte di Morstiny Venegia, G. T. Valvasense, 1679, fol.

Pranciscus Sanchez: Summa anatomical in qua breviter omnium corporis partium sittis, numeruSy substantiOy usus et figura cantinetury ex Galena et A. Vesalio collecta. Additae sunt etiam adnoiationeSy quibus Columbi et Pallopii repugnantia cum Galena et Vesalio conHnetur et inter se. Tolos, 1636, foL; very poor copies after Vesalius.

Haller, 1, 180.

Moehsen: Bildn., pp. 80, 149.

Roth (Moritz): Andreas Vesalius BruxtUensiSy 1892, Vm, 500 pp., 30 pi., 8^, Berlin, G. Reimer.]

BARTOLOMMEO EUSTACHI

Bartolommeo Eustachi, of Sanseverino in the province of Ancona, was actively interested in anatomy, even while physician to the Duke of Urbino. He, later, went to Rome with the Cardinal Guilio della Rovere and there became lecturer on anatomy at the Studio della Sapienza, a position which he resigned voluntarily on account of declin- ing age. The illness of the above-named cardinal summoned Eustachius to Fossombrone (Forum Sempronii) , but he died on the journey thither in August, 1574.

Plaving a great attachment for Galenic anatomy and defending it most vigorously against newer investigations, particularly those of Vesalian anatomy, Eustachius, more than any other anatomist of his time, enriched his science by exact investigations, which he extended to almost all parts of the human body. Moreover, he utilized animal dissections for pathological research and is said to have been the first anatomist to introduce postmortem examinations in Roman hospitals.

His illustrations are dry and hard and show little artistic treatment. As modes of anatomic representation, they are exact and instructive and all arc co])per engravings. Instead of printing letters on the figures, which he everywhere avoids, Eustachius introduced graduated margins (similar to the margins of maps) which made })ossible the finding of any parts and their names by means of a ruler. Some of the editions even furnished the ruler.

The illustrations were probably drawn by P^ustachius himself and his relative and assistant. Pier Matteo Pini of Urbino, and were engraved by Giuiio de' Musi of Rome. Of the hitter, however, only architectural ])rints arc known, a])art from these engravings; this may account for the lad that the eni^ravin^s are lifeless and stiff and not at all adequate representations of living parts. Dur authority is the ])reface to Gaetano Pctrioli's Discorso a}iatomico osia universal commoito ncllc tavole del B. Eustiirliio. Roma, 1742. fol., wliere we read, lulle le parti, die il corpo iimanl conipojii^oHo, in 4J rami i^raiidi dcscrissc per vuuio delT insigne Guilio de M usis Romano, etc. The ])lates themselves ])ossess no mark of the artist.

Onh* eight ])rints in octavo were ])ublishe(l during Eustachius' life- time. Seven of them ])ertain to the study of the kidneys, of the azygos

BARTOLOMMEO EUSTACHI 201

vein, and of the auditory organ. The eighth plate deals with the veins of the arms and the heart. The original can be found in

Bartholomaei Eustachii: Opuscula anatomica. VeneL, Vincent. LucUnus excudebat, 1564, 4^.

Poorer copies of the engravings may be seen in the following editions of these Opuscula. Lugd. Bat. 1707, 8®, and Delphis, 1726, 8®.

Eustachius died without issue and bequeathed to his relative, the above-mentioned Pini, thirty-eight copperplates which had been com- pleted as early as 1552 {de renibus praef, et cap. 16). They were not printed, however, because Eustachius, overtaken by death, had been unable to publish his work De dissensionibus ac controversiis anatomicis for which the prints had been intended. In the eighteenth century the papal phjrsidan Landsi foimd the plates with the heirs of Pini, the family Rossi (de Rubeis), and published them with his own commentaries in 1 7 14. Eustachius' own comments had not been found and have not yet been recovered. To these thirty-eight plates were added the eight plates in octavo mentioned before. One of the folio-plates found by Landsi was engraved on both sides, thus bringing the number of Eus- tachius' original engravings up to forty-seven. These forty-seven plates deal with almost all parts of the body and were particularly intended to correct disputed views of the anatomists of Eustachius* time. When Eustachius in his preface to the Opusc. anaL, says that he had prepared forty-six copper engravings for the above-named work, he either coimted in the eight octavo plates which appeared in the Opusc. or, less likely, eight of the larger plates were lost. The following editions are known:

Romae, 1^14, fol., ex officina Francisci Gonzagae^ 44 and 127 pp. and 47 copperplates.

This was edited by Giovanni Maria Landsi, under the title: Tabulae anaiamicae Bariholomaei Eustachii, quas e tenebris tandem vindicatas .... praefatiane, notisque illustravit ac publici juris fecit Jo. Maria Lancisius. Besides several letters of other anatomists, Eustachius' own eluddation accompanies the first eight plates, while another is given by Landsi for the thirty-nine other plates. The impressions are taken from the old original plates. A vignette on the title-page represents a dissection. The picture is drawn by Pier Leone Ghezzi and shows a skeleton standing upright on the right-hand side of the illustration. The dissector stands to the left of the cadaver, demonstrating with his right hand and leaning on the dissecting table with his left hand. The picture is not engraved by Ghezzi and bears only this subscription: Eques Petrus Leo Ghezzius Inu. et delin.

202 ANATOMIC ILLUSTRATION

Amsklaedamiy 1722^ foL, apud R, et G. Weistenios, 44 and 127 pp. and 4y copperplates.

The type is new. In the preface, Lancisi's dedication to the pope is omitted ; in its place is one to Boerhaave and Albinus and two criticisms by Lorenz Heister. The text agrees page for page with the former edition. The engravings of the illustrations are all copies. The vignette too is a copy but reversed.

Romae, 1728, foL, siimptib. Laur. et Thomae Pagliarini, ex typographia Rochi Bernabo. Ediiid Romana altera, 28 and 90 pp. and 47 (anat.) copperplates.

This edition contains impressions from the original plates, reprints of the prefaces, and the text of Lancisi's edition. Ghezzi's original vignette is placed on the title-page. There is added in this edition one page in the text containing comments on Eustachius and one folio coppeq:)late, representing a bust of Cardinal Annibale Albani, drawn by N. Ricciolini and engraved by C. Gregori.

Liigd. Bat. 1J44, }ol., apud Jo. Arnold. Langerak et Joh. et Hermann Verbeckj c typographia Dammeana, 28 and 280 pp. and 47 double copper- plates.

In this edition, each of Eustachius' plates is supplemented by a separate outline })latc of equal size on which the exi:)lanatory letters are engraved. The Eustachian plates in this edition, too, are newly engraved copies, different from those in the Amsterdam edition. The title is: Bernard i Siegfried Albini: Explicatio tabidarum anatomicariim Barth. Eustacliii. Acted it tabular um cditio nova. The ex])lanations of the plates are V)y All^inus. The text only was in the edition, Lugd. Bat. 1762, fol.,

Vcnct., i'/6g, fol., cum praefaiione ct noils Jo. Mar. Lancisii, ace. epistolae Morgagni. etc., with coi)perplates.

'J'his edition seems to he the Roman edition without any changes. There are very valuable |)archment copies still in existence. See Ebert no. 7 16 1. Another edition with co])per engravings and commentary is by And. ^[aximinus, Romac, lySj.fol.

Amsirrdiim. ijgS, fol., hi] Elicc, with engraved copies of Albinus' l^hilcs mikI Dutch text.

'IJic text is l)y Andr. Bonn, a ])r()lessor in Leyden. The plates are re-en,t;ra\ ed, "out do not comj)are with tliose in Albinus' edition, nor with those in the earHer Amster(him edition. Likewise the outline eni^Tavini^s by Albinus are omitted, as well as the graduated margins which Albinus had ])reserved. The ex])lanatory letters are placed directl}' on the engraved ilgures.

BARTOLOMMEO EUSTACHI 203

Amsterdam^ 1800, foL, bei Elwe und in Camm. bei Rikier in Wesel; accompanying text in 8^.

This is a translation of Bonn's edition, made by the Amsterdam phjrsidan J. C. Krauss imder Bonn's supervision. The eight octavo plates are arranged in groups of four on one page. The engravings are those given by Bonn, and said to have been newly revised and retouched.

The first editor of Eustachius' plates, Landsi, had probably hurried more in publishing the edition of 17 14 than he intended. He, himself, later disapproved of it and authorized the surgeon Gaetano Petrioli of Rome, a vain, conceited individual, to revise it. So, at least Petrioli tells us, after the death of Landsi (1720). Cardinal Caraffa made him a present of the original plates, which Landsi had used. Petrioli wrote a number of commentaries, polemic treatises as supplements to Eustachius' plates, which, however, were little valued, or respected by the anatomist. The first one of these was

Riflessioni anatomiche suite note di Lancisifatte sopra te tavote det cet. B. EustachiOj etc. Roma^ 1740, fol., netta stamperia de Giov. Zempet.

This contains a bust of Petrioli drawn by de Premier and engraved by Nolli. The forty-seven plates by Eustachius are sometimes, not always, added to this work. Therefore an edition of Eustachius' plates, Rom. 1740^ fol. J is mentioned which is nothing more than this edition of the Riflessioni, in which, we also find a copy of Landsi's commentary besides Petrioli's very elaborate and often critical commentary. The best part of it is a short biography of Eustachius by Bamardo Grentili, which is based upon very reliable sources. Ghezzi's vignette is on the title-page of the book. It is engraved by himself although revised, and therefore bears the following signature: Eques Petrus Leo Ghezzius Inu. del. et scut. [Regarding the vignette by Leo Ghezzi see Bartsch: Peint. grav. XXI, 308, no. 33.]

After he had published several similar works on Eustachius' plates, also a Corso anatomico or Universal commento on the subject, Petrioli published right folio plates which, he had always asserted, were the first eight plates which had been missing from Eustachius* collection, and in place of which the octavo plates (kidneys etc.) had been published. Petrioli's eight folio plates were products of his own invention. They are in folio and were drawn by Giovanni Pesd and engraved by Bald. Gabuggiani. They have no anatomic value but the main figures are well drawn and very carefully engraved. These eight folio plates are contained in

204 ANATOMIC ILLUSTRATION

Anatomicae tabulae octo, quinquaginta figuris ornatae, quae inter Eustachianas desiderantur , opera et studio Cajetani Petrioli. Rom. 1748, fol., ex typographia Joann. Zempel, and also in

Le otto tavole anatomiche con cinquanta figure in foglio delineate per compimento delV opera sublime et imperfetta del B. Eustachio, etc. Roma^ 1750. fol., 7iclla stamperia di Anton, de^ Rossi,

Both these works have Ghezzi's vignette re-engraved and revised. The engraving of the eight plates by Petrioli was begun in 1 740 and each contain one main figure (a whole body) and several accessory figures. Altogether there are on these plates, principal and accessory, only forty- nine figures, not fifty. Each plate is signed: Orig. di Gael. Petrioli. The thirty-nine Eustachian plates are often added to both these works of Petrioli.

In Jean Jacques Manget's T/ieatrum anatomicum, Geyicvae, 171 7, fol. we find reduced and partly incorrect copies of Eustachius' forty-seven plates.

The following passage from Roger's collection of prints (in the article

on Pier Leone Ghezzi, I, 173):

Our learned Ghezzi had besides a particular inclination to physics, anatomy and botany; in all which sciences he made great proficiency under the direction of the celebrated Giovanni Maria Lancisi, the Pope's chief physician. His knowledge in the parts of the human body he has shewn in the anatomical plates of Bartolommeus Eustachius, which were first published and illustrated by Lancisi, etc.,

led to the belief that Ghezzi (b. 1674-d. 1755) engraved the Eustachian plates in the Amsterdam edition. But the technique is quite different from that of Ghezzi. Roger evidently refers to the Lancisi edition of Eustachius' original j^lates, the figures of which it is chronologically impossil)le for (ihezzi to ha\'e engraved. There seems to have been some confusion with the foregoing vignette on the title-page of the Lancisi edition, which indeed was designed and drawn by Ghezzi, but not engraved In* him.

The Scotch physician George Martine ^(1. 1750) gave a good com- mentary to luistachius' ])lates which was published after his death under the title: (/. Martini in B. Knstaciiii labulas anatomicas com- mcntaria, Edinburgh, 7755, cS^. Its point of view is historical in the main.

Hallcr: I, 221^.

Kbcrt, no. 7160-62.

Wcigcl, no. S5()6.

Bartsch: Pcintr. i^^dv. (Ghezzi) XXI, 30S, Xo. 3.5.

JUAN VALVERDE DI HAMUSCO

Juan Valverde di Hamusco, a Spaniard from the kingdom of Leon, studied anatomy in Padua and Rome imder Realdo Colimibo and Bar- tolommeo Eustachi. He published a manual of anatomy in Spanish, without having done much dissecting. His book was translated into Italian and Latin and parts of it into Dutch. Although he himself sajrs that he merely copied Vesalian figures, we nevertheless find several figures which do not occur in Vesalius' works, e.g., a muscle-manikin holding his skin in his right hand and a dagger in his left; several repre- sentations of the abdominal muscles, of the omentum and the intestines; a standing pregnant woman with her abdomen cut open, and representa- tions of the principal veins and many others. Parts of the bodies are dressed in armor. The copies of Vesalian reproductions often show changes. The Spanish painter Caspar Becerra, bom in Baeza in 1520 and known as the maker of small anatomic plaster figures, has been mentioned as the artist who drew the illustrations. The Lorrainer Nicolas Beatrizet or Beautrizet, Niccolo Beatrici (bom at Thionville), is supposed to be the engraver, several plates bearing the monogram N.B, for example, the fourth and fifth myologic plates and the bust of the author. The editions of this work are as follows:

Ranuiy i^ydyfoLy impressa por Antonio Salamanca y Antonio Lafrerij\ En Roma. Text, 42 copperplates, and title-page engraving.

On the engraving of the title-page we read: Historia de la composicion del cuorpo kumano escrita por Joan de Valuerde de Hamusco, This is the first edition of the text and the copperplates. It is dedicated to the Cardinal Archbishop Juan de Toleto who seems to have been the patron of the work. The rich composition of the title-page is different from those of the later editions but is also engraved by Niccolo Beatrici. The engravings, it seems, were also sold without the text.

Roma J i$60yfol., per Anton. Salamanca et Anton. Lafrerj; colophon : Vinegia appresso Nicolo Bevilacqua TrentinOy 17 and i$4 leaves, including 42 copperplates.

This is an Italian translation made by Anton Tabo (not Sabo) and revised by the author. It is dedicated to King Philip of Spain. The title is: Anatomia del corpo humano compos ta per M. Giovan Valverde di Hamusco e da luy con multe figure di rame et eruditi discorsi in luce

205

2o6 ANATOMIC ILLUSTRATION

mandata. The title is a reversed copper engraving and a copy of the one which precedes the V^esalian plates, as published by Jansson {Amstel. 1617). The forty- two anatomic copper engravings in folio are included in the number of pages given above. There are a few small woodcuts on the margins of the text. The plates which are not Vesalian are as follows: Lib. II. Tab. i, L. III. Tab. 1-3, 6, L. VI. Tab. i. They are, owing to the accessories and the position of the cadaver, ugly and repulsive. The other plates are copied on a reduced scale and some- times with added alterations, from the plates in Vesalius' principal work De corporis hiimani fahrica. The engraving is done very carefully and precisely, yet without giving to the different parts such natural appear- ances and lifelike freshness as Vesalius was able to produce in his wood- cuts. [Another edition of Anton Tabo's ItaUan translation of Valverde was published Vinelia, 1586, fol., nella slant per ia de Giunti, under the title: La anatomia del corpo umano. Nuov. ristampata e amplicata. It contains four new myologic plates. As regards this edition and the painter Beatrici see Bartsch: Peint. grav. XV, pp. 242, 263.]

Antvcrpiae, ij66, JoL, ex officina Christophori Planlini^ ijj and 46 pp. including 42 copperplates.

This is a Latin translation of Valverde's explanations of his plates. The other parts of the text are left out. The title is: Vivae imagines partium corporis humani acreis formis expressae. Appended is the text of Vesalius' Epitome, without the illustration and with a special signature, and also the text from Grcvin's edition of Vesalian plates. Valverde's cop])erplates are all newly engraved, but less beautifully done. The same plates newly engraved with the same Latin text are again pub- lished in Antvcrp., ex officina Clirislophori Plantini, 1568, fol., and ibid, 1579, fol., 16. A'(//. .]/(;//, 175 pages of text with 42 engravings.' A Dutch translation of the ]:)ook appeared under the title: Anatomie, oft levoide hccldcn vd)idc dcclcu dcs menscliclickcn lichaems: Met de verclaringhe van dioi, in de Xcdcr-duytscJie spraccke. TWnticerpen, by Chrisloffel Plantijn, ij6S, fol., 6 and igy \)p. text ivllh 42 rni^ravini^s/

W^nrllis, i^Sq. fol., studio rt industria JiDitariun, J4 and J40 pp. including ^7 co{)pcr])latc.s; the coloi)hon hears the date 1588.

'i'his is a Latin translation of the complete text by Wilverde, as it ap})eared in the Italian edition, under the title: Afiatome

'AnntluT Latin edition is>iUMl l^y Plantin. but unknown lo Choulant, was that of 1572.

^ .1 r«  s<;/// III Viiluirdd Anatomic, Oflr .\fhrt!(li>!\;lii' van df Dtdcn dcs mtnschelyckcn l:(hd>'n!\, <n d,r>ilvcr Vt rkiiri)i\;h' \ l' Anisldndiun, i'orndis Danrkcrtz, 1647. A reprint of the edition of 1508,  !)>' Plantin, witli newly engra\ed plates.

JUAN VALVERDE DI HAMUSCO

2o8 ANATOMIC ILLUSTRATION

corporis liumani auctore Joanne Valverdo, Nunc primum a Mickaele

Columbo latinc reddiUi, el Additis nouis aliquot tahtilis exornata. Besides the title-page of the Italian edition, which is slightly elaborated in the Latin edition, there are given the forty-two original plates by Valverde and four myologic plates by an unknown artist and engraver. At the end of the prefaces is inserted oa a whole page a bust of Valverde with the monogram of Niccolo Beatrici. The four newly added engrav- ings represent four muscle-manikins in different positions, all beautifully and forcefully engraved. A second edition of this Latin translation I Veneiiis, 1607, fol., with new but revised engravings."

HaUer: 1,215.

Weigel,no.4Qig.(iS!i.

Stirling, William: Annals oj Ike arihts nf Spain. London,

1S4R, 8°, I, 2i3 c

(concern inecerra).

>  !Jem. Italian edilions, (a) Vindin. i(io6. fol., 154 pp., (b) Vi

iietiti, N, Pcziana,

13 and 151 pp.

^TILCHER COTTER

Voldier ddtcr. Coc&er Kotter. Koyter. bont at Gxwuiig^u iu VxU and cfied in 1576 or x6oql He vas a pttpfl ot FaIlio(4a^ kiWc bcc^iiMC city plq^akitti at Xmembutg and atterwacd a Ft^ndi an30>' su(^>a. Hvi wocks are imre and imiiortant for the devetopmental hislvMr>' oi iKe Kmuau fetus and the dbdd. ii» for sootomv. There shoukl be luemkMMxk:

De ossiims ei carHt^imibms C9rp9ris kmmami k^^mt^Hs Bkm*m.^ %i^^ Jok. RossimMy 1566, foL

This work is only a tabular compilatk>Q without iUustratiiMVi. In th«) copy examined by Choulant^ fiv-e copper engravings, nU., th^ sikclcUm of an ape and the four plates with skeletons of other animaU, whu h wo shall have occasion to mention farther on«  are acUleil to the text without being referred to in the work itself. The author in this cop)* i hIU hiiu^olf Coeiter.

Exlemarum et tntemarum principalium humapii torf^orh f^knlinm tabidae — autore Volchero Cotter Frisio Groeningensi, Morihrgsiff^ in officina Theodari Gerlaizeni, 1573, fol., 14 and i,u pp.

This book is composed of separate treatises, in which only u fow illim trations (copper engravings) occur. There are two liff-bi/.fil rui^raviiigM of the base of the skull viewed from the upper ami \\\c lowur hiirtiii irt* and two engravings of skeletons copied after Vesalius, hch^nf^inx lo Tabulae ossium hum. corp.; the skeleton and the skull of a ( liild, on \\\\vv. charts belonging to De foetus humani ei infantum usaibus; (he tiktltloii of an ape belonging to Analogia ossium simiae,

Lectiones Gabrielis Fallopii de partibus aimilarihus hunuini tor ports — a Volchero Cotter — collectae. His accessere divarsorum aninhtlium sceletarum explicatianes iconibus artifuiosis et f^enuini^ illuslrnlitf, Nuri bergae, in ojkina Theodarici Gerlachii, 1575, fol., .57 unnuiJjl>4i4-./l h iivi a This contains four plates of skeletons of irianHtutl^, anij>)ijl>ia Oiok iuid turtle), and birds.

All the illustrations are drawn by CaAUzt hiiii.*>4;lf a.^ indi* A\A\f\ \ry tin letters V. C. D. The engravings ar«: iw:al and anat>/iiii#all/ < x«4^ t The four plates last mentioned ebj>:<:ially. an. in-A-Ay and iiuiljiull/

[The Nuremburg edition of the hxi^nurum ^J int^.nr^irum pri^n^/ipaUum kumumi corporis tabulae had be^L pubiL^nc ty«fl«>r«  Us* S orvhrj y/u

2IO ANATOMIC ILLUSTRATION

in of. Thcodori Gerlatzeni 1572, and was given the quoted new title in 1573. The text is the same. The Tabulae de ossib, et cartilaginib., published in 1566, are here given again. In the Lectiones Gabrielis Fallopii, on tab. III. the figure of the monstrous fowl has the inscrip- tion: 15. G. P. D. 73 which stands for: Gcorg Palm, Doctor {med.) 1573. The Sccletorum explicationes are Goiter's own work. The illustrations of the animal skeletons are used again in Johann Andreas Schenck's German translation of Realdus Columbus' Anatomio, Frankfort, on the ]\Iayn, 1609, fol. Cf. Weigcl: Kunslkaialog, no. 18248, 49, 54.]

Goiter bequeathed an anatomic statuette to the city of Nuremburg, which was placed in the public library. Of this Professor Johann Jacobus Baier of xMtorf has said:

Felicissime rcpraescntavit in exili qiiidcm sed artificiossissima statua musculorum situm, venarum vias, ossium divortia, mcmbrorum vincula ita ad viventis naturam exprimcnte, ut artificem in ca omnem excussisse artem dixerint periti spectatores. (Adagia medicinalia, Franc, et Lips. 17 18, 4°, p. 44.)

"He has most faithfully represented in a small but scientifically constructed effigy, the origin and insertion of the muscles, the course of the veins, the articula- tions of the bones, and the ligaments of the limbs in so lifelike a manner that experts who have viewed it said that in this statue the artist has proved superior to art itself."

Haller: I, 234.

JAN WAUTERS V.\N VIERINGEN

Jan Wauters van Vieringen, Valterius \'iringus, born in Louvain, was professor there and edited:

Dat Epitome oft cort hcgryp dcr Anatomicn Andr. Vesalii, uyt hei latyn in Xcdcrduudsch o?cr<^licstc!t, BruggJic, 1569, 4°.^

Tabula isatioi^ica ossium corporis liumani connexioncm ac numerum complcctois. olim Loianii cdita. nunc rccognita ct aucta. Duaci, a p. B. Bcllrrum, 1597, lol. j)at.

It is (ioublful whether ])oth works have illustrations since tubida may mean cither an engravini^ or a tabulation.

liroeckx: Essai sur Hiistoirc dc la mcdccitic BcIgc, (land, 1837, 8°, p. 319. Haller: I, 171, 2S0.

• Tlic work contain-;, i)C'si(lfs a portrait of fan Wauters (loan Waltcrius Viringius), an illustration of anatomic instruments after X'esalius. Haeser and Israels give 1560 in place of i5'»(). I'lie work is rare. A copy is in the lil)rar\- of the University of Ghent. De Feyfer,

loc. 111., 457.

Gunx) Gumi

Guido Guidi, Vidus Vldius, was bom in Florence. His mother C<mstance was the daughter of the painter Domenico del Ghirlandajo. In 1542, he was called to Paris by Francis I, and after 1548 again lived in Florence. He later became professor in Pisa, and died there on May 26, 1569, after he had taken holy orders. Most of his works were published long after his death, with the exception of his Ckirurgia. Nevertheless he was highly re^)ected by his contemporaries and espe- cially by Francis I and Cosimo I. He also enjoyed the esteem and friendship of the Florentine goldsmith Benvenuto Cellini with whom he lived in Paris.

[The woodcuts in Vidi Vidii: Ckirurgia, Paris, 1544, foL, show excel- lent workmanship and are very numerous. They may probably be attributed to Francois JoUat who was working in Paris from 1502 to 1550; cf. Weigel: Kunsikatalog, no. 2o8ssa. The work is in the library of the Surgical Medical Academy of Dresden.] Cellini has said of him {ViUiy ed. Lips. 1833, 12®, H, 100, ei seq,):

Scbbene molto prima io mi dovevo ricordare della guadagnata amicizia del piu virtuoso, del piu amorevole e del piu domestico uomo dabbene, che mai io conoscesis al mondo; questo si fu Messer Guido Guidi, eccellente medico e Dottore, e nobile

dttadin fiorontino Capitd il detto Messer Guido in Parigi, e avendolo comin-

dato a conoscere Io menai al mio castello (Piccol Nello, Petit-Nesle), e quivi gli detti

una stanza libera da per se: cosi d godemmo insieme parecdii anni Con il

sopradetto Messer Guido godenmio Tamidzia tanti anni, quanto io la soprastetti, S^riandod spesso insieme, die noi imparavano qualche virtu alle spese di quello cosi grande e maraviglioso Prindpe (Francis I), ognun di noi in nella sua professione. .... Aveva in questo mio castello un giuoco di palla . . . ., era in detto luogo alcune piccole istanzette, dove abitava diversa sorte d'uomini, infra i quali era uno stampatore, molto valente, di libri: questo teneva quasi tutta la sua bottega drento in nel mio castello, e fd quello che stampo quel primo bel libro di Medicina a Messer Guido.

" Far back in my autobiography I ought to have recorded the friendship which I won with the most cultivated, the most affectionate, and the most companionable man of worth I ever knew in this world. He was Messer Guido Guidi, an able

ph3rsidan and doctor of medidne, and a nobleman of Florence Messer Guido

came to Paris; and not long after making his acquaintance, I took him to my castle, and there assigned him his own suite of apartments. We enjoyed our lives together

in that place for several years We enjoyed our mutual friendship during all

the years I stayed in Paris, and often did we exult together on being able to advance

211

212 ANATOMIC ILLUSTRATION

in art and knowledge at the cost of that so great and admirable prince, our patron,

each in his own branch of industrj' 1 had a tennis-court in my castle, from

which I drew considerable profit. The building also coniaincd some Uttle dwellings inhabited by different sorts of men, among whom was a printer of books of much excellence in his own trade. Nearly the whole of his premises lay inside the castle, and he was the man who printed Messer Guide's first fine book on medicine." (The Life of Bcnvenulo Cellini, translated by John Addington Symonds.)

This book printed in Petit-Nesle, is the Chirur^ia e graeco in lalinum conversa, Vido Vidio Florenlitio inkrprele, LvtetUie Parisiorum, excutiebat Petrus Gallcriiis, 1544. pridlc Cal. Maii,fol.

The complete anatomic work which Gtiido left was also not pub- lished until long after his death, and when, at last, it appeared it hardly received the attention that it deserved, and is now rarely seen. It is known under the following title:

Vidi Vidii: Florenlitii de analome corporis hnmani libri VII. Nunc primum in Ittcem edili atqtte LXXVIII. tabulis in aes incisis illustrati el exoruati. Francojurti, typis el sumplibus Wechelianontm a pud Danielem et Dai'id. Attbrios el Clemenkm Schleichium, 1626, fol., copper title-page, 323 pp., including a plate representing the anatomist's armamentarium and 78 anatomic copperplates in iolio.

This work first appeared as the third volume of the Ars medicinalis, Vcnet. apud Junius, 1611. fol., a book edited by the yoimger Vidus Vidius and containing the collected works of our author. The plates are mostlj' new and original. They remind one more of Eustachius than of Vesalius. Neither the artist nor the engraver are mentioned anywhere.

Haller: I, 236.

JACQUES GUnXEMEAU

Jacques Guillemeau, bom in Orleans, was royal body physician and died in 1612. He is better known in surgery and obstetrics tlian in anatomy. On the latter he published,

Six tables anaiamiques. Paris ^ chez Jean Charran, 1571, fol.

Michel de St. Pierre, body surgeon of the duke of Lorraine, was a collaborator in this work. The plates represent (i) the bones, (2) the abdominal cavity, (3) the thoracic cavity, (4) the head, (5) the arteries, veins, and nerves, (6) the muscles.

He also published

Tables anaiomiques avec les pourtraicls et diclaration d^Iceidx, ensemble Vn denombrement de Cinq Cens Maladies diuerses. (Also with title: Anaiomie universelle du corps kumain en tables methodiques, etc.) Paris, chez Jean Charron, 1586, fol. Reprinted Paris, 1598, fol.

On the copper-title we see the coat-of-arms of Henry lU, and the four elements and temperaments. The title-page is followed by nine- teen anatomic copperplates in folio, most of which show representations after Vesalius and Valverde. The printed text throughout the book is given in tabular form.'

Haller: I, 258.

• Idem, Dutch translation by C. Battum, Dordrecht, 1598, 1606, 1652, 1666.

213

COSTANZO VAROLIO

Costanzo Varolio, born in Bologna in 1543, became professor of anatomy there and later papal physician. He died in Rome in 1575 or 1578. He was the first to examine the brain from its base up, in contrast with previous dissections from the top down. He gave the name pons cerebelli to the pons which, indeed, even today is called the bridge of Varolius. Varolius' work is the following:

De Xervis Opiicis nonniillisque aliis praeier communem opinionem in Ilumano capiie obscrvatis. Ad Hieronymum Mercurialem, Patavii a pud Paul, ct Anion. Meiettos Jratrcs, 1573, 8°, 8 and 32 leaves.

It consists of a letter to Mercurialis, dated April i, 1572, his answer, and Warolius' reply to the latter. It was published without Varolius' knowledge, his approval being taken for granted. Appended are three woodcuts pertaining to the brain and drawn by \'arolius himself. The engraving is somewhat crude, yet distinct and instructive. We find a few very small figures on the margin of the text. Varolius gives the following explanation of the illustration here appended. The left side of the brain is marked with numbers, the right side with letters. Some of the letters, however, were quite indistinct, even on the original woodcut.

/. Origo ncTvis opticis commiinitcr ascripta. 2. Origo nervorum, qui petunt musculos ociilonim. secundum communem alionim senlentiam. j-7. Xer\'i omnes, quonmi originem inquit X'esalius esse ex principio spinalis medullac. S. Locus unde instnimenta olfactus ducuiu suum principium iuxta communem opinionem. g. I^rin- cipium sj)inalis medullae reliquis Anatomicis cognilum. 10. 11. Prominentia media cerebri. JJ. ij. Conl'inia prominent iae anterioris et supremae cerebri cum media, r}uas {)rominentias credidenmt alii esse silnmel continuas in angido formato inter lo, II. et 12. /  ?.. ubi revera sunt tanlum contiguae, ut patet in dextra parte figurae. (7. h. Void portio nerxorinn opticonim cactcris Anatomicis ignota et ubi h. est retlexio pracdiiti ncrvi in p()>teriori parte spinalis medullae. c. d. Pars secundi partis ner\(.)rum. (jiiam non ot)scTvaRnu alii, et </. primum ortum eiusdem ner\'i. e. f. I'rimus .-pinali> inodiillae ex crrc'hro ortus. 'I'otum autem id. quod est inter e. f. ct g. fiiit rciiquis disscctoribus ociidtum. //. Processus irans\'ersalis cerebri, qui diiitur Pons. /. Origo nc'r\i auditus ex ponte ceri-bclli. k.  !. Ductus instrumenti olla(lu> laiiiaii> iniiT suprt-mam it mcdian\ cerebri prominenliam. et ubi k. ibi est prima eiusdem in>irumcnii origo. ni. Media crr(.'l)ri prominentia a relicjuo cerebro di»c(.ta.  ;/. I'rimipium po>tcrioris {)romiiuTUiae irrcl)ri. unde dissecta fuit media. 0. p. ("a\iia,> vmiriculi. quae rellettitur ad prominent iam mediam. q. r. s. Pars superioris i)roniineni iae cerebri, cui me(h"a adliaeret lontigua. /. Intercussatio, r[uam lai il niT\us opticus cum nervo musculos oculi pelente.

COSTANZO V AROUO 2 1 s

A second work by VaroUus, a teleologic physiology of man, was pub- lished for the first time after his death :

Anatomiae sive de resolutione corporis kumam ad Caesarem MediovH- lanum libri IV. Eiusdem Varolii et Bieron. Mercurialis De nervts

Opticis, etc. epislolae, Franco/urli, apud Jok. Wechelum el Pelr. Fisckerum amsorUs, 1591, 8°, 8 and 184 pp.

This contains no illustrations. But the former book is republished as a part of this work with unchanged text and the woodcuts recarved in a somewhat different manner. The drawings are not exact but rather arbitrary reproductions of the original woodcuts.

Haller: I, 341.

FELIX PLATER

Felix Plater was born in Basel in 1536, of a family whose original name was Platter from the house on the 'Tlatte/' a rock near the village Grcnchen in the parish Visp in Valais. From 1560 he was professor of medicine in Basel, and as a scientist he was particularly interested in anatomy and practical medicine. He died in Basel on July 24, 1614. He published:

De corporis' Inimani structura ei usu libri III^ tahulis methodice explicati, iconlbiis accurate illustraii. Basil., ex officina Froheniana, per Ambrosium Frobenium, 1583, fol.; ibid., 1603, fol.

The second edition was probably in no way different, except that it had a new title (a pud Ludov. Konig). I'he dedication which serves as a preface is the old one of February i, 1503. The third book had a separate title: Liber lerlius, corporis humani parliuni per icones deline- atarum explication Basil., 1603, ^^^- ^^^^^ contains fifty etched copper- plates, with a page of text for each. The engravings are drawn in a free and si)irited manner. The bones and the muscles are the best after the manner of the contemporaneous Swiss painters, Christoph Maurer and I'oljias Stimmer. The etching was done perhaps by Abel Stimmer. In the book itself no suggestion as to the artist is made, nor can we find anything about the artist in the author's autobiography published by Fechter. The illustrations are chielly after Vesalius. One plate is after Coitcr, l)ut none of Wdverde's figures have been coined, inasmuch as the ])hite of the cutaneous veins (Plate 50), which shows at least some resemblance to one of Valverde's ]>Iates, represents the body in a different position. Haller thinks that some of the figures are the results of Plater's personal investigations.

Thomiis Platter mid Ftiix Platter: Zuri AKtobiographicen. Kin Bcitrag zur Si(tcni;t\s(hit'Jitc dcs AT/. JtihrlnnnUrts, hrrausi^riichcfi von I). A. Fechter, Basel, 1840. S^

W'ci^cl: no. i 2S65.

SALOMON ALBERT!

Salomon Albert! was bom in Naumburg on the Saale in 1540, and came to Nuremberg with his parents a few weeks after his birth. He was professor in Wittenberg and electoral body physician from 1592 until his death in Dresden in 1600. He was recognized as an industrious anatomist and an independent investigator. He published  :

Histaria plerarumque partium humani corporis, in usum tyronum ediia. VUebergae, 1583, 8®; ibid., 1585, 8**; enlarged, ibid., 1601, 8®; and unchanged from this edition, Viteb, 1602, 1630, 8®.

The book contains about thirty most peculiar illustrations, large and small, in rather crude woodcuts.

Moehsen: Besckreibung einer berlinischen MedaiUensatnnUung. Part I, p. 25, in which a medal struck in his honor is reproduced and certain details of his life are given.

Haller: I, 251.

217

JUAN DE ARPHE Y VILLAFANE

Juan de Arphc y Villafane, Darphe or Arfe, was the descendant of a German family of artists who came to Spain at the time of Juan's grandfather, Henrique Arfe. The family is particularly famous for artistic gold and silver-work.

Juan was born in Leon in 1535 and received instruction in the graphic (and plastic) arts from his father Antonio. He studied anatomy in Salamanca and Toledo, at the former city under Cosme de Medina. In Toledo he attempted to establish the proportions of the human body, following in this the examples of Alonso Berreguette and Felipe de Vigarny (Fel. de Borgona). After his father's death he went to live in Valladolid. While in Valladolid he made artistic vessels (receptacles for the host, so-called custodiae or monstrances) of precious metals for the cathedrals in Avila, Sevilla, Burgos, and Valladolid, and the churches in Osma, and St. Martin in Madrid. He also engraved plates in wood and lead, was a sculptor and architect, and was appointed Ensayador (assayer) of the mint in Sego\'ia. He later moved to Madrid and died there in the beginning of the seventeenth century.

Juan also made literary attempts, but for our purposes only the follow- ing book has any importance:

Varia conmcnsuracion para la csculiura y arquitectura. Sevilla, 1585, io\. -Madrid, par Francisco Sa}iz, irn pressor del Reyno, a costa de la viuda de Bernardo Sierra, 1675, foL, with woodcuts, Madrid, 1795, fol.; is the 7 edition with re-engraved original plates and additions by Pedro Enguera. — Madrid, 1806. foL, corregida y aufneniada por Josef Asscnsio y Torres, 2 Vols., completely revised, ed. 8, in which the eight-line stanzas are lacking.

The work consists of four books, each one paged independently, at least in the older editions. The first l)ook is on geometry and con- tains also a rather exhaustive treatise on gnomonics. The second book deals witli the })roj)ortions of the human l)ody. The third book treats of tlie quadrupeds and birds and contains a large number of illustrations of animals. The fourth book is on architecture. All four books contain a great many woodcuts which are eitlier ])rinte(l between the text or cover whole i)ages. A picture of the author at the age of fifty is in a medallion on the title-i)age. Besides the explanations in the text a

JUAN DE ARPHE Y VILLAFANe 219

great number of dght-line stanzas serve to express the scientific pre- c^ts. For our purpose only the second boot is important. This con- tains a large number of woodcuts representing outlines of the whole body OT of single parts with the measurements. It is quite noticeable that the artist who made the drawings was familiar with Duier's

figures on proportion, yet the drawings are more truthful, more lifeUke, and cleverer. We also find completed and crosshatched drawings for osteology and myology. The latter are the better plates. Pages 24 and 25 represent two skeletons, pages 37 and 38 two male figures; the former has the monogram R in the accessory drawing. This monogram does not occur anywhere else. The two female figures on page 39 are

2 20 ANATOMIC ILLUSTRATION

only outline drawings. Ten face lengths are indicated as composing the height of the body. Two stanzas specify the following requirements as essential for a beautiful female body:

Frente espaciosa, y bicn proporcionada, Ojoa distanlt.s, grandes, y rasgados, Nariz, que ni sea roma, ni afilada, Los labios no muy grucssus, ni apretados, Boca, que con dcscuido eslt cerrada. Los carrillos redoridos, bien formados, Pechos, que distcti, con pequcna altura, Hazen una perfccta hermosura, Sean diez rostros de su cuerpo el cuento, Y muestre carnes morvidas, y tiernas; Tenga suave, y blando el movimienio, V con caderas anchas, gordas piernas: Sea redondo el brajo al nacj- mienlo, Cuello liso, sin hoyos, ni cavernas, Pies, y manos pcquciios, y camosos. Que tales cuerpos son los muy hermosos.

"Forehead lofty and well proportioned, eyes widely separated, large and piercing, nose neither Roman nor too pointed, iips not ver\- thick nor tightly pressed, mouih scarcely closed, cheeks rounded and well formed, breasts not too prominent, and at the proper distance from each other, these make a perfect beauty. — There may be ten features in her body: it should display flesh tender and fresh; her movement should be smooth and even, and with wide hips and fat legs, arms rounded at the shoulder, neck smooth without hollo»-s or wrinkles, feet and haniis small and plump, such lH>dies are the most beautiful."

Two male hgures are treated in the same way on page 13, their height is also ten face lengths. The proportions of the child are given on page 40.

Arphe belongs to those Sjjanish artists who spent much time on an earnest study of anatomy, as Alon.so Bcrreguettc (1480-1561) and Caspar Bccerra (1520-70). See also article on Valverdo. They were particularly interested in the study of the proportions of the human body and also made use of Albrecht Durer's (1471-152S) work on proportions, of which there is said to exist a Portuguese translation, in manuscript, from the Italian. The author of this translation. Luiz da Costa (b. 1509), probably used an Italian edition of Diirer's work. Besides the men named above there were Felipe de Borgona (Felipe de \'igarny) antl the Neapolitan sculptor Pomponio Gaurico who were equally interested along the same lines. The \'iews of these men on the subject differed, and it seemed hardly possible for them to come to any agreement. This must have led Ar[)he to the writing of the following statuas which we lind among the historical notes of his book on propor- tions (Book II, page 3):

Despues vino a alterarse esla mcdida. Porquc a Pomponio Gaurico, y Durero Les parccici que anda\'a muy crccida, V acorlaron en clla un rostro entero; Pero durote poco esla caida: Y lucgo si rcduxo al ser primero Por Polavolo, Bacho y Rafael, Mantena. Donatelo y Micael. — Traspusose dcspues en esla tierra Por dos famosos della naturalcs. El uno Berruguetc, otro liezcrra, .Ambos en escultura prin- cipalcs: Con la opinion conlraria hizieron guerra, Dando siempre a cntender que no eran tales Las partes y mediJa que aca usavan, Como la que Lraxeron y ensenavan.

JUAN DE ARPHE Y VILLAFASTE 221

Later this standard of beauty was altered, because Pomonio Gaurico and DOrer thought the height too great, and they shortened the stature by the length of an entire face, but this change lasted for a short time only and was abolished in favor of the original standard by Pollaiuolo, Baccio Baldini, Raphael, Mantegna, Donatello, and Michelangelo. Afterwards it was changed back by two famous naturalists, Berreguette and Bezerra, both noted in sculpture. With the contrary standard they waged war, giving all to understand that these standards were not the ones made use of or taught by them."

In the text Bacho is explained to stand for Baccio Baldini and Micael for Buonnaroti; the other names require no explanation. See also:

Bermudez (Juan Agustin Cean): Diccumario hisiorico de los mas ilustres pro- Jesares de las bellas artes en Espafkiy Madrid, 1800, 8°, pp. 59, 107, 130, etc.

Fiorillo (Johann Dominik): Geschichte der zeichnenden KUnste von iher Wieder- aujUbung his auf die neuesten Zeiten^ IV, 74, 106, 150.

Stirling (William): Annals of the Artists of Spain y London, 1848, 8^, I, 392 et seq.

ARCHANGELO PICCOLHOMINI

Archangelo Piccolhomini, of Ferrara, wrote a manual of anatomy with illustrations under the title:

Anatotnicae praelectiones explicantes fhirificam corporis humani fabricam, RofnaCy ex typographia Barthol, Bonfadini, 1586, fol.

He himself never did much dissecting, and his book contains only very poor and few truthful representations. We find woodcuts of the abdominal muscles and the heart printed in between the text on pages 68- 71 and 207. Haller (I, 260) rightly calls them badly and arbitrarily done {ex arbitrio fictas) ,

In the article on Remmelin the Anatome integra revisa, Veronae^ 1754, fol., will be spoken of which appeared over his name, but was the fraudulent work of a book-dealer.

ANDRE DU LAURENS

Andre du Laurens, Andreas Laurentius, of Aries, was professor in Montpellier in 1586. From 1600 he was royal physician at the court in Paris and died there in 1609. His activity as an anatomist was limited. He seems to have been too fond of court life. Nevertheless, his work

Hisioria anatofnica humani corporis et singularum eius partiumy multis controvcrsiis et observationibus novis illustraia, Paris, 1589, fol., went through several editions: Paris, 1600, fol.; Francofurtij apud Matth. Beckerum, impensis Theodorici de Bry viduae, s. a. fol, and oftener; Francof., 1602, (S^, without illustrations; Ludg., 1605, 8°, also without illustrations. It is also republished in the hitter's Opera, Francof, {Paris), 1627, fol. and in a French translation in the same author's (Euvres, traduitles par Theop/i. Celce, Paris, 1621, fol. where a copper-title engraved by Charles de ]\Lalleri accompanies it.

The illustrations are distributed over twenty-six folio copper-prints and are, in the main, copies from Vesalius, Coiter, Valverde, and others. They have no particular anatomic or artistic value. On the copper-title is a bust of Du Laurens; preceding the dedication is a bust of Henry IV of France. The anatomic plates were also published separately wdth an explanation in French:' Paris. 1741, lySi^fol.

Astnic: MSmoircs pour scrvir a r historic dc la Faculte de midecine de Montpellier, Paris, 1767, \', 247. Haller: I, 270.

'This edition was published under the title: Anatomic universelk detoutes les parlies du corps hiimain. representee en figures el exacleffienl expliqiUe par . . . . , Paris, 1731; 174S.

GIULIO CASSERIO

Giulio Casserio, Casserius, of Piacenza, Julius Casserius Placentinus, was bom in 1561 and died in 1616. He was a pupil of Fabridus ab Aquapendente, and, from 1604, his successor as professor of anatomy in Padua.

Casserius rendered particular services to the science of the anatomy of the vocal and the auditory organs as well as to the anatomy of the other sense organs. The results of his studies are to a large extent based on zodtomic researches.

De vocis audiiusque organis kislaria anatomica — variis iconibus aere excusis Ulustralay Ferrariae, (1601) large fol. excudebat Victorius BcUdinus, sumpUb. unitorum Palaviiy with 37 copperplates in folio.

There are thirty-seven copperplates. The first one is the copper- title, the second one a bust of the duke Ranutio Famese of Parma, and the third one a bust of Casserius himself. The other plates are anatomic representations, twenty-two dealing with the vocal organs, and twelve with the ear. Among them we find a great many zootomic representa- tions. Plate 21 represents the vocal organs of the cicadas, the grass- hopper, and similar insects. The artists who made the drawings and did the engravings are not mentioned on the plates, but we are led to conclude from a passage in the Tractat. de auris audiiusque organOy lib. /. cap. /J, pag. 7p that the painter and etcher Joseph Maurer, a German who lived in Casserius' house at Casserius' expense, did both the drawing and the engraving of the illustrations, for Casserius says in the cited passage:

(Musculum hiinc) ego anno 1593 mense Martio, die septimo — observavi, statim ab honorabili Viro Josepho Murero Gennano Pictore, tunc temporis mihi pro pingendis figuris anatomicis cohabitant!, delineari in perpetuam memoriam curavi.

"I observed this muscle in the year 1593, on the seventh of March, and imme- diately had it drawn for everlasting memory by that distinguished man Joseph Maurer, the German, artist, who was at that time living in my household for the purpose of painting anatomic illustrations.

He has also been called Josias Maurer. Both the drawing and engraving are done with unusual care and are anatomically exact. The work consists of two treatises: the first (printed in 1601) on the vocal organs and the second (printed in 1600) on the auditory organs. The complete

223

224 ANATOMIC ILLUSTRATION

work, then, cannot have been published in 1600, but in 1601. The year of publication is not given on the title.

Pcntaesiheseion hoc est de quinque seyisibus liber^ Venet.^ 1609, fol., a pud Nicol, Misscrinum, with 33 copperplates and a copper- title. — Xew edition: Nova ajiatomia coniinens accuratam organorutn sensilium, tarn Immanorum quam animalinm briUoriim et delineationetn ei descrip- tioncm, Franco/., 1622, small fol. impensis J oh, Treudel,

In this work we find again the twelve plates pertaining to the ear. The remaining i)lates, which deal with the other four sense organs, are new. The original edition is said to have contained a copper-title and thirty- three plates, all from the hands of the artist who drew and engraved the plates of the preceding work. The second edition contains also a copper-title and thirty-three plates, but reduced and certainly executed bv another artist. Some of them are even reversed and show much inferior workmanship.

Casserius rendered to anatomic illustration even greater service than through these highly valuable investigations and scientific contributions which are of lasting value, by another work covering the whole field of human anatomy. He did not live to arrange for its publication, and only a part of the illustrations that he had intended for this work, have been preserved to our day. He himself has said of this work:

De totius humani corporis fabrica imagines in lucem dabo omnibus perfectas numcris ct absolutas, quaeque fortasse caeteras omnes, quotquot hactcnus prodiere, elegant ia, perspicuilate, artilicio denique ac studio superent universas (de voc. audit, org. praef.)

"As regards the fabric of the human body, I will make public, pictures finished and complete in every part, which will. I venture to say, excel in nicety, clearness, and fmally in workmanship and pains all thai have hitherto been published."

and later:

It a quorjue propediem in tuum commodum et anatomici studii ornamentum Theatnim meum, quod affectum mihi est in maniljus, opus omnium partium fabricam, actionc's. u^us coniinens cum magna observationum multarum, novarum opinionum el vivaruni tabularuni varielaie edendum curabo (i)entaesth. praef.)-

".\( cordingly 1 will presently have published, for your benefit and the furthering of the study of anatomy, my Theater (birdseye view), which I have now on hand, a work containing the struc ture, actions, and uses of all the i)arts of the body, together with a wraith of observations and a great variety of new ideas and illustrations from life."

This hook must therefore, have l)ccn l)egun al)out 1600 and the author must ha\c been working at it sixteen \'ears when he died. Casserius himself attached great value to this book and considered it his life-work.

GIUUO CASSERIO 225

When Casserius died in 1616, Adrian van der Spieghel (SpigeKus, bom in Brussels in 1578) became his successor in the chair of anatomy at Padua. Spieghel died in 1625, and in his will he asked a German physician, Daniel Rindfleisch of Breslau (Bucretius), to publish his posthumous work De kumani corporis fabricay a manuscript without any illustrations. [Daniel Bucretius received his doctor's degree in Padua, on June 22, 1626, entered the Dominican Order, imder the name of Joannes a S. Thoma on April 25, 1629, and died as deacon, September 10, 1 63 1, only thirty-one years old. He must, therefore, have been born about 1600. (Echard et Quetif: Scriptores ordinis praedicaiorum recensUiy Tom, II, 270.)] Bucretius asked the heirs of Casserius for the plates which Casserius had had drawn and engraved for his TheaUrum anatomicum intending to add these plates to Spigelius' work. He received seventy-eight plates, but one of them got spoiled or, as an uncon- firmed report has it, was purposely ruined by Bucretius because it did not come up to his standard. There therefore remained seventy-seven plates, to which Bucretius added twenty others, drawn and engraved by the same artists who made those of Casserius: Two plates representing front and back views of a male body; ten osteologic plates; one plate representing facial muscles; five plates from Vesalius representing parts of the vascular and nervous systems, and two plates pertaining to the air passages, to sight, and to hearing. The ninety-seven plates were published under the title:

Julii Casserii Placentini Tabulae anaiomicae LXXIIX, omnes novae nee antehac visae; Dan, Bucretius XX quae deerant supplevit et omnium explicationes addidit, Venet,, 1627, fol., ap. Evangelistam Deuchinum; copper-title, 97 anatomical plates, each with a page of explanatory text.

Copies of this work differ. In some we find besides the copper-title, a dedication by Bucretius to the city council of Breslau, dated February i , 1627; and it has been asserted that in these copies the engravings have not been very carefully printed. Other copies have only the copper- title and in still others the copper title-page is also lacking. In these latter copies the paper used is better and the copper engravings are superior. The name of Odoardo Fialetti, as the artist, and the name of Francesco Valesio, as the engraver, are given on the copper-title.

These plates were also published in the first edition of Spigelius' anatomy under the title:

Adriani Spigelii De humani corporis fabrica libri decern, Venet.y 1627, fol., ap. Evang, Deuchinum,

226 ANATOMIC ILLUSTRATION

This edition contains the text of Spigelius* work and ninety-seven ana- tomic copperplates. Spigelius' son-in-law, the physician Liberalis Crema of Padua, had bought several other copperplates from Casserius' grand- son and when in 1626 he wished to publish a few selections from the posthumous works of his father-in-law, he chose nine appropriate plates and added them with his own explanations to these selections. The following is his publication:

Adriani Spigelii Dc forviato foetu liber singularis aeneis figuris exor- natus, epistolae duae anatomicae, iraciatus de arthritide, opera posthuma, studio Liberalis Cremae Tarvisini edita, Palavii, a pud J oh. BapL de Martinis et Livium Fasquatum, s. a. foL, 8 and 104 pp. and 9 copper- plates in folio.

The dedication is dated April 26, 1626 (IT. kal. Maji). The plates belong to the treatise dc Jormato foetu and deal with the pregnant uterus, placenta, and the child. They are among Casserius' most beautiful engravings. Four of them represent entire female figures wath the abdomen cut open. At their feet we sec decorative landscapes. The work was pui)lished at Crema's expense and is rare. Mohsen's state- ment (Bildnisse, page 97) that the edition contained ten copperplates and that Casserius was the author of the treatise dc Jormato foetu, is incorrect.

Up to the time when Joannes Antonides van der Linden (1609-64), then |)rofessor in Francker, published Spigelius' complete works including a few smaller and older writings, eight}'-six plates from Casserius' legacy and twenty })lates added by l^ucretius had i)een published.

Adrlaui Spigelii Opera, quae extant omnia. Ex recensione J oh, Anionidae  ?a}i der Linden, Anisterdami, a pud Joann. Blaeu, 1645. ^^'-j 2 vols., splendidly j^rinted;

In this work we iind in addition to a copper-title and a bust of Spigelius ver\' beautifully engraved by Jeremiah I-'alck, ninety-seven anatomic I)kites (i.e., seventy-seven from Casserius* legacy and twenty added by Hucretius), the nine prints belonging to the Tractat. de formato foetUy and a tenth one re[)resi'nting the hymen, which also came from Cas- serius' legac\' and had been obtained through the assistance of Johannes Rhodius. There are altogether one hundred and seven anatomic plates dealing with subjects of Sj)igelius' works. But there are besides these, ten more cop|)er])lates which do not belong to the Casserius series. r\)ur of them belong to L:asparo AscUi: De lactihus et lacteis vents, one to William IIar\e\': De motu cordis et sa)igi(i)iis, three to Johannes W'alaeiis: Dc motu cliyli, and two to Adrianus Sjngelius: Dc lumbrico tiito. All these treatises are also contained in this edition.

'■il

GIULIO CASSERIO

337

This edition of Spigelius' works constitutes the most complete collection of original impressions of the dghty-seven plates from Casserius' legacy and the twenty added to them by Bucretius. These plates were drawn by Odoardo Fialetti (b. Bologna is73~d. Venice 1638), a pupil of Giovanni Battista Cremonini and of Jacomo Robusti, and were engraved by Francesco Valegio (Valesius). [Odoardo Fialetti

was the author of a manual for the drawing of the^iuman body, with proportional lines: // vero modo ed ordine per disegnar tutle le parti e membra del corpo umano, Venez. appresso 7 Sadeler, 1608, cf. Bartsch: Peinlr. grav. XVII c, 296.] The names of both masters are given only on the copper-title of Bucretius' edition of 1627, which appears again in the 1645 edition of Spigelius' work, and nowhere else. Only the first two plates added by Bucretius (representing two nude figiu-es), bear on the left-hand side the name of the engraver, Francesco Valesio, but not

228 ANATOJIIC ILLUSTRATION

the name of the artist. But in Bucretius' preface (1627) both masters are expressly named as the artist and the engraver of all the plates:

Ecce eosdem adhuc in vivis rejjtrio, qui ante plures annos in hoc ipso opere I'lacenlino operam tulissent, Edoardum inquam Fialettum Bononiensem et Fran- ciscum Vallesium Venelum, ilium pictorum, hunc grj-ptarum suae tcmpestatis et in urbium regina Phoenices.

"Mark you, I find sLiil among the hving the very same men who many years ago assisted Placentius in this seif-same work, I refer (o Edward Fialettus of Bologna and Francis Vallcsius of Venice, veritable phoenixes, the one of the painters, the other of the sculptors of his time, in the queen of cities."

Casserius' jilatcs mark a new ejioch in the history of anatomic repre- sentation, owing to the correctness of th(;ir anatomic drawing, their tastL'ful arrangement, and the beauty of their technical execution, .'^nd this all the more, since they cover the whole field of anatomy and have become the models for anatomic illustrations in copper, just as the \'csalian representations had been for anatomic woodcuts. The woodcut was now entirely abandoned. Its means of reproduction had proved insuITicient in view of the necessarily more minute re[iresentalion required at this time.

Under the title: JuUi Casserii Placeuliui Tabulae analomicae LXXIIX, etc. FrancoJ., impetisis et caeh Afallhaei Meriani, 1632, 4°. there are published some re-engraved copies of the plates belonging to Spigclius' work De Immani corporis falirica, all reduced to quarto size. Copies of the plates belonging to the treatise I)c formato foclii arc not among them. Thiise same copies were re-engraved again and were published with (lerman text under the title: Jiilii Casserii Placeiilini und Daniclis Biicrelii Anatomische Ttifclii, etc., mil beygejiigtem Vtiter- ricbl von dcr Frucht im Muttcricibe. Angcordnel mid atisge/erligl ion Simon Paulli, Fraiikjitrl, b. G. II. Oe.hrling, 1683, 4°; and 1712, 4". In both editions, we find under a special title reduced copies of the nine plates belonging to Dejormnloforltf. The tenth plate is lacking. There is still another eiiition under whose title we read: Ncbsl tier Eiiifiihrung dcr Anatomcy-Kittist tiujj dcrer iilirallrii kiiuif^lifhcn Akadcmien Kopcti- hagen, Frankjiirl am Mayii. T. M. Gotzc. 1656. 4°.

t'oRgiiili (Crislofoni): Memoric per la sVoria Ifiii-rarirt di I'laccnaa, Piacenza, 1739, 4M, 11, pp. 01 cl se^.

iloehscn: Bildii. p, f]4.

Haller: I, aSg. 357.

CASPAR BAUHIN

Caspar Bauhin, professor of anatomy and botany in Basel, was bom in 1560 and died in 1624. Of his many writings only the following concern ns:

Theakum anaiomicum navis figuris aeneis illustratum et in lucem emissum opera et sumptibus Theodari de Bry relictae viduae et filiorum Joann. Theod. et Joann. Israel de Bry^ Franco/,, 1605, 8**; ibid., 162 1, 4**.

Vivae imagines partium corporis humani aeneis formis expressae et ex theatro anatomico C. Bauhini desumptae. Opera sumptibusque Jo. Theod, de Bry {Franco/, )y 1620, 4**, with 140 copperplates; ibid., 1640.

They contain reduced copies from Vesalius, Valverde, Eustachius,

Coiter, and other anatomists, but have no particular artistic value.

The merit of Bauhin's work consists rather in the compiling and revising

of subject-matter already known. He did this in a scholarly fashion

and with expert knowledge, and was thus able to produce a work that

was both welcome and useful to his time.

Haller: I, 260. Weigel: no. 17774.

239

PETER PAUL RUBENS

A phite from a sketchbook edited by Peter Paul Rubens {b. Cologne

1577, d. Antwerp 1640), after a traced copy of an example preserved in the museum in .\msterdam. The Royal Collection of Copper-EngravingsatDres- d en also possesses a number of prints from this sketch- liook, among them the muscles of the arm, the hand, the foot, and several musclcmcn. most of them in extreme motion. Then there are prints without anatomy, representing the head, the face, the eye, the ear, the hands, and the feet. The organs repre- sented anatomically are not praiseworthy. The title is written on a stretched-out aniniiii skin, beneath it a filled money bag. The title is: P. P. Rubens ddincavit. A iitvcrp. ap. Alcxandr. Vod. PiuiL Pontius sadpsil. It contains twenty plates, among them eight ana- tomic ones. Cf. F. Basan: Catalogue des estampes gravi-es d'uprcs P. P. Rub^ nis. Paris, 1767, 8°, p. 242; sec also the Index to sketches

of Rubens in the Lan-reitcc (lullery edited by J. S. Woodburii, London,

1835.8°. p. 17, no. 55.

[Tlu'oric dc la fipirc humoinc, considerce dans ses principes. soil en rcpos

oil en inouvemcnt. Ouira^c trad, dii iaiin, avcc xlii' planches gravies par

PETER PAUL RUBENS 231

Pierre Aveline, d^apres les dessHns, etc. Paris, C.-A. Jombert, 1773. 4**, xi, 55 pp., 44 pL, port.

The work is a translation of certain posthumous fragments of Rubens, the scaffolding for a more definitive treatise on the hmnan figure. The text is sketchy and of trite elementary character. Two chapters, made up of alchemical and astrological reveries, similar to those found in Albrecht Diirer, Cardan and Lomazzo, have been omitted by the translator. The forty-four copperplates by Pierre Aveline, from pen and pencil drawings of Rubens, are the ordinary painter's preliminary studies of the external confiiguration of the body in various attitudes, with touches of the study of human proportion here and there. The first six plates represent hmnan heads, resembling those of animals, after the manner of Leonardo's grotesques. Muscles in action are studied in plates xvi-xxiv. The series was evidently inspired by the studies of Leonardo and Diirer.]

JOH.^NN REMMELIN

Johann Remmelin, a physician of Ulm, born in 1583, decided to reproduce the entire anatomy of the human body on three plates in such a manner that parts lying successively one under the other would be shown by means of pictures fastened one to the other like the pages of a book. These pages were published after his drawings, but without his knowledge, under the title:

Caloptron microcosmicum (Ulm?) 16 13, fol.

This edition is wrongly ascribed to the Tyrolese Stephen Michael Spacher. Remmelin himself says that friends to whom he had shown the drawings and manuscript published the edition at their own expense and without his knowledge. He himself published a corrected edition of his work under the title:

Johannis Remmelini Catopfrum microcosmicum, suis acre incisis visiouibus splendcns, cum historia el pinace, de novo prodit. Augustae Vindelicorum, 1619, fol., typis Dauidis Fnnicki,

with an allegorical copper-title, on the back of which there is to be found a bust of Remmelin, and three plates (Visioues) in folio. On the first of these are reproduced a male and a female body together with the trunk of a pregnant woman; on the second, the man; on the third, the woman; all presented anatomically, in the manner mentioned above. The remaining sjxice of each plate is partly taken up with allegories. On the first plate we find at the left: J. R. inventor, L. K. sculptor, at the right: Stcphan Mic/iclspaclicr excudit. The initials stand for Johann Remmelin and Lucas Kilian, an industrious engraver of Augsburg (1570 16S7K From the signature at the right it becomes evident how one might sup])ose Stei)hen Michael Spacher to be the publisher, since in the first edition this name j^roi^ably stood alone on the plate. The anatomic \alue of the drawings is ver\' slight and even, as a whole, they rcj^rocnt the ckimsiest stud)' of anatomy. Judging from the te.xt, it also aj)i)cars ihaL the hook was to serve [)hysico-theological purposes, and was inlen<ic(l for laymen, for whom it contains altogether too much. Never- theless the i)ook must have won applause, for l)esi(ies a few other Latin editions ( i'lni., 1660, fol., sum pi. J oh. Gorlini with the same plates), trans- lations were also published.

JOHANN REMMELIN 233

Kleiner Welt-Spiegel, Das isU Abbildung GoMicher Schdpfung am dess Menschen Leib . ... in die TetUsche Sprach Ubersetzei Durch M, Joh. Ludav. Remmelinum, med. stud, autharis filium. Gedruchl durch Joh. SchuUes, in Verlegung Joh. Gifrlin, Ulm, 1661, fol.

This was edited by the son of Remmelin, who had died meanwhile. The plates are those of the Latin edition, but Remmelin's picture is missing. The text is translated into German. A reprint is supposed to have been published at Franco/. 1660, but may have had only a new title.

Pinax microcosmographicus, etc. Ontleding des Menshelyke Lichaems, etc. Uit het Latyn in de Nederlandtse Tale overgeset en konstigh inH licht gebrachly door Justus Danckers, Amsterdam, voor Justus Danckerz, 1667, fol.

Here the copper-title is absent as well as Remmelin's picture. The plates are copied and oh the back of the title are added two anatomic figures and the principal veins after Valverde. The text is in Dutch.*

A survey of the microcosm or the anatomy of man and woman — corrected by Cloptan Havers, London, 1702, fol.

An English edition and probably with re-engraved plates, four of which are mentioned. The editor was a celebrated English anatomist, noted in other fields. [Discoverer of the Haversian canals.]

The three principal plates of Remmelin's Catoptrum, and the many smaller pictures superimposed, totaled before they were cut out and pasted together, five copperplates. These original plates of Remmelin's seem to have fallen into the hands of a Veronese book-dealer who used them for speculation, asserting that he had obtained possession of the plates from the anatomist Piccolhomini, and published them as a posthumous work of Piccolhomini, purporting to be revised by Fantoni, under the following title:

Archangeli Piccolomini Anatome integra^ revisa^ tabulis explanata et iconibus mirificam humani corporis fabricam, ad ipsum naturae arche- typum exprimentibus, cum praefatione et emendatione Joann, Fantoni, Veronae, sumptib, Gabrielis Julii de Ferrariis, 1754, fol.

In this work, the plates reveal themselves as the original ones of Remmelin through the names of /. R. inventor, L. K. sculptor, Stephan Michelspacher excudit, which were engraved upon the first of the plates. The anatomist Fantoni whose name is probably misused, like that of Piccolhomini, was born in Turin, 1675, and died there as a professor and royal body-physician in 1758. He should be distinguished from the Bolognese anatomist Fantoni who gave instructions in anatomy in the academy of the Caracci.

• Dc Feyfer, op. cit., 491, 52, gives the following editions: 161 5, 16 19, Ausburg i66i;

Uhn 1639; 1634, Amsterdam 1645; Frankfort x66o.

234 ANATOMIC ILLUSTRATION

This manner of anatomic illustration, however, was not tried here for the first time, as we have mentioned several attempts in our section on "Fugitive Sheets" (jlicgende Blatter, p. 156). Vesalius himself has given some hints of the method in his Epitome; an arrangement of this kind is to be found in the library of Louvain. Several works published immediately after his have also the same idea (see the article on Vesalius, p. 169). Similar attempts can be found inLeonhard Thurneisser: Con- firmalio concerlalionis. Berol. fol. 1567, and in Georg Bartisch: 'O^qX- >Kii5ot'X*(a, das ist, Augend iensl, Dresden, gedritckl durch Mallhes Slockel, 15S3, fol., a rare book with many remarkable woodcuts.' Even in recent times, this kind of anatomic representation was used by the EngUshman Edward WiUiam Tuson, in his textbook on the muscles, Myopolypla- siasmus, and in his doctrine of the pregnant uterus, Enkymoplasma, which were also translated into German, Weimar, 1826-30.

[Ludwig Christoph von Hellwlg (1663-1721), an Erfurt professor, edited in German a newly revised edition of Remmelin's Caloptrum, enlarged by a few figures from newer anatomists, under the title: Ludwig Chrisloph von Hellwig: Noscc le ipsiim vel anatomkum I'ii'um, oder kurtz- ge/assles und dock richUg gcslellles anatomisches IVerk, etc. Franckfurt u. Leipzig iiyzo), small folio, with four large poorly engraved copperplates drawn by Johann Heinrich Werner. The latter however is the second edition of the work, preparei.1 by Hellwig's son, Theodor Andreas, who signs the preface under date of May 16, 1720. The dedication was signed by his father on May 2 of the same year. Haller (Bibl. anal., II. 81) speaks also of a thiril edition published in Frankfort and Leipzig, about 1745, and prepared by another son of Hellwig's, Johann Gottlieb.]

HalL-r: l.jjji.

Moehsen: Bildn., p. 116; Lebcn Thumcisscrs sum Tliuni. BiTliii, ijSj, 4", p. 69.

Lordal: Iroiiclogic m&lUalc. Jlonipi-llicr, 1833. S', p. M4.

' [Jrm, [■'rankfnrt. 15S4, fol.; idem. NurcmUTg, iOSli. j'.

PIETRO BERRETTINI

Pietro Berrettini, Pietro da Cortona, a painter and architect, was bom in Rome, in 1669. To him are attributed twenty-seven large anatomic plates, which were begun in 16 18 and were engraved by an artist whose initials, L. C, are given on Plates i and 4. The engraver, undoubtedly, is Luca Ciamberlano, a painter and copper engraver who worked in Urbino and Rome. But neither in Berrettini's biographies nor in those of Ciamberlano's is there any mention made of these plates. They were also unknown to Bartsch {Peinir, grav.j Tom. XX). In the lower left-hand comer of the first plate is found, Petr. Berret, Carton, delin. In the copies of both editions that were in Choulant's possession the year (1618) had been erased. According to Moehsen, page 100, it is supposed to have been given, although Petraglia says in the preface to the second edition of 1788: Petrus enim Berrettini has easdem tabulas elabarare caepU anno 16 18, ut ex prima tabula patet, ("For Petrus Berrettini began to work over these same books in the year 1618, as appears from the first book.") Both the anatomist, Johann Vesling (1598-1649), and the surgeon, Gulielmo Riva (d. 1676, aet, 50), have been mentioned -as the anatomists for whom these plates had been made, but Vesling was then too young and Riva was not yet born in 16 18. Later Hunter wrote in a letter to Haller {Bibl. anat,, II, 702) that he possessed these plates under the title: Vente tavole anatomiche fatte da Pietro da Cortona net ospidale di S, Spirito in Roma ajutato dal celebre chirurgo Nicolas Lache. But, according to Petraglia's assurances, the latter name (Nicolas Lache) does not occur on the roll of the hospitals of San Spirito in Saxia, at Rome. Perhaps the name is Larche. Larche was a surgeon who is said to have studied anatomy in Rome with Nicolas Poussin. According to Hunter the chief object of these plates was to teach neurology {scopum primarium nervos esse), and all the rest was added by some person without judgment. Berrettini's plates seem indeed to prove the first part of this assumption in so far as the nerves are everywhere emphasized and their representations are made more prominent by means of crosshatching. This seems to be especially true of the first twenty plates. The other seven show an entirely different treatment, and it appears therefore that Hunter saw only the first twenty. And he must have seen them in the edition of 174 1, with the extra figures

238 ANATOMIC ILLUSTRATION

smaller figures around it, the different vertebrae. These latter figures might be regarded as among those Petrioli added, although Petraglia left them on the plate. Plates 21-23 'l^al in niany small figures, with the brain, the eye, and the ear. These figures differ somewhat from the other figures both in the drawing and the engraving. Plate 24 repre- sents the cutaneous veins and valves of the veins, Plate 25 represents the spinal column and the spinal cord taken out of it. Plate 26 shows three skeletons in Vcsalius' style as far as the space on one plate per- mitted. Plate 27 represents a standing female figure with the abdominal cavity open. A side figure on the same plate shows the open uterus with the foetus. These figures are the only representations of a female body in the whole collection. Yet one would prefer to include this plate among the genuine Berrettinic plates rather than any of the six pre- ceding it. All the plates, by the way, were intended for physicians and not for artists. They are indeed of little use to the latter. The two editions of these plates are as follows:

Tahidae unalomicac a eel. pklore Pelro Berrcllhw Corlonensi delinealae ei cgregie iieri incisae nunc primum proJeuiil el a Cajelnno Petrioli Romano, Declare, etc., nolis iliuslrnlue. Impensis Fausti Amidei bibliopolae, Romac, 1741, ex typographia Aiilanii de Rubcis, fol., 4° and 84 pp. and 27 copperplates in folio.

This edition contains the nineteen plates with the accessory figures on the blank spaces, which are not Berrettini's work. It also contains PetrioH's commentary which has little anatomic value. The publisher says in a short preface: mtcloris qui luis tabulax confinxit nomen ignoratur ("the name of the author who comixwed these books is unknown"), and does not mention Uerrcttini. On the title is a copper vignette representing, among other subjects, the transfusion of blood.

Tabulae aiiatomicac ex urcltetyftis egregii pictoris Petri BerreUini Corloncnsis expressac el in ues incisae. Opus chirurgis el picloribus appriiiic necessariiivi. .ilterani Italic edilionem recensuil, nallias iconas exptmxit, perpetuas explicalioncs ndjccil Fninciscus Pelragliti, philosophiae el niedicinae professor, Romne. 1768, impensis Vcniiiilii Monnidini bibliopolae, cxcud. Joliann. Zcmpcl, fol., 16 and 104 pp., and 27 copper- plates.

In this edition, all the accessory figures on the first nineteen plates are erased, so that the original figures stami out better. The publisher's dedication is followed by an interesting preface of the editor and his new commentary on these plates. On page r. wc recognize the vignette engra\cd by Pierlcone GheMi which occurs in PetrioH's eight plates

PIETRO BERRETTINI 239

supplementary to Eustachius' plates. Here the inscription is not given. In the lower left-hand comer we read: Eques Petrus Leo Ghezzius Inu, dd. ei scul. (see pp. 201 «/ scq. The skeleton is in the left part of the picture. The lecturer is placed at the right of the cadaver. On the title-page there is another vignette also representing the opening of a cadaver, at the bottom, Giuseppe Piravani inv, et dis.y AtUanio Fieri incise; on page ix of the preface is another, inferior vignette probably representing Polyphemus; below at the right: Vacca inv. et sculps. This edition, although it contains the later prints, is to be preferred to the first edition. It is said that there exist colored copies of this edition. The Gottingen Library possesses a manuscript with the pictures of Guilielmo Riva, and thirty-two illustrations partly hiunorous, and partly pertaining to surgery and anatomy. These are followed by Berrettini's plates as they appeared in Petrioli's edition (Haller: Bibl. amU,, I, 579).

The anatomical theater of the hospital of Maria delta consolazione in Rome possesses the first of Berrettini's plates done in color and of more than life size. The above-mentioned Riva attended anatomic studies in this hospital (Petraglia's preface).

Moehsen: Bildn, p. 99. Haller: I, 340, 579; II, 572. Ebert: no. 2028-29. Weigel: no. 17775.

GASPARO ASELLI

Gasparo Aselli was born in Cremona about 1581 and died in 1626. He was professor in Pavia and, on July 23, 1622, discovered the chylifer- ous vessels, which had not been observed since the days of Erasistratus. He died before he had been able to publish the treatise dealing with his discovery. The Milanese physicians Alessandro Tadini and Senator Settala or Settalio published it after his death under the title:

De Lactilms Siue ladeis vents Quarto Vasorum Mesaraicorum genere Noito Inuento Gas pan's Asellii Cremonensis Anaiomici Ticinensis Dis- sertatio Qua Scnlcntiae Anatomicae niultae, uel perperam receptae coftuel- luntur, uel parujn pereeptae illuslrantur, Mcdiolani, apud Jo. Baptistam Bidellium, 1627, 4°, copper-title, 6 leaves of printed preliminaries, 79 pp. and 4 unnumbered leaves in quarto, with 4 polychrome woodcuts in folio, and a copperplate in 4°, the portrait of the author.

The woodcuts are treated in a very spirited manner and in colored chiaroscuro. On each plate four colors are used as follows: black for the background, the contours, and the crosshatching, and also for indicating the veins and for the letters engraved upon the figures; white, the color of the paper, for numbering the plates on the black background and for the chyliferous vessels in the tigures; dark red for the arteries, for crosshatching, and for shadows en masse; light red for the surfaces of the intestines, the mesentery, and the liver. All the figures represent animal nut human organs. This very rare work contains therefore the earliest anatomic illustrations in colored printing. [As regards his work containinu: woodcuts in color sec Weigel: Kunslkalalog, no. 18405.] There is no engra\*er's mark on the woodcuts, nor is he in any way men- ti()ne<l in the book itself. The copper-title, as well as the portrait of the author in his forty-second \"ear, bears the signature of (Caesar) Bassano as the engraver, and conse([Ucntly must have been engraved in 1623. It is ot suj)erior execution and is surrounded by the following inscrip- tion: ini.sfhir Asc/lius r/V/.v Crrwonrnsis anatomicus Ticinensis anno (ichilis X Llf : and at the bottom Gasparis Juiec jacies —ilia Juit. One ma\' thcTcfore atlril)Ute these woodcuts cither to this artist, who was al^o a \vr)()d cngraxer, or to l)omenico l^alcini with whom he worked and of wliom wc ]ia\ e other sheets from three wood blocks. A very beautiful cop}- of this extremely rare original edition, which was never duplicated

GASPARO ASELLI 24 1

by any of the later editions, is now in the possession of the Leipzig Pauliner or University Library. It formerly belonged to Johann Zacharias Platner, later to Johann Benjamin Boehmer, Christian Gottlieb Ludwig, and Johann Karl Gehler. Aselli's book was again printed:

Basil. i628y ^, iypis Henric Peirinis, 12 and 67 pp., and 4 copper- plates in 4^.

These copperplates are reduced copies of the woodcuts of the original edition and are engraved in reverse, and printed only in black. Therd are no woodcuts at all in this edition. A new impression was published without changes:

Lugd. Bat. 1640, ^, ex qfficina Johannis MairCy 8 preliminary leaves including 4 copperplates, 104 and 8 pp.

These plates are re-engraved and are likewise reduced in size and printed in black. The first three are reversed as compared with the woodcuts^ the fourth one is not reversed. The text and the prefaces are the same. There is some doubt about another edition: Lugd. 1 641, 8?. Reduced copies of these engravings are also contained in Manget: Tkeairum analomicum.

In the edition of Adrian Spieghel's works, Amsterdami, 164$^ foL, Aselli's treatbe is also printed. Here the copperplates are also printed blacky but^ are not reversed and not so small as in the Basel edition. On the othi^ hand^ ihey seem to show a rather arbitrary treatment of the chyliferoos vessels. In both editions (1628 and 1645) the editors boast of having done the illustrations/^rifi J5 eUgarUianbus which probably refers to their choke of the copperprint in place of the woodcut. Haller says of them, and justly (icants), fere carruperunt,

Modisen: BUdm^ p. 158, .\ppciidix, p. 9. Halfer: I. 362. Ebcrt: no. 1276.

KnoQe 'Johann Frkderich): Decas librarum anatomicorum varwrum. Lips. 1761, 4^. p. 5 a S€q.

JACOB V,\N DER GRACHT

Jacob van der Gracht, a painter and etcher in The Hague, spent several years abroad. No pictures or copperprints credited to him are known. But the following work is ascribed to him:

Analomie der witerlijke deelen van hei menschelijke ligchaam, ten diejiste van Scbildcrs, Bceldhouwers en Plaatsnijders door Jacob van der Gracht, Scliilder, 's Gravenkaag, 1634 (16&0I, fol.

The copperplates were etched by the author himself. It is the earliest of all independent works written on the external parts of the body for the needs of graphic or plastic artists." (Cf. p. 377.)

[This work, which is very rare even in Holland, was a highly appre- ciated present to Choulant from Mr. Groshans, lecturer in Rotterdam. The coppcr-titlc is in folio and represents twelve persons standing around a model, two of them lecturing and demonstrating, the remainder lis- tening. At the bottom are two allegoric figures, Painting and Sculpture, The title is engraved on the pedestal as follows; Analomie der wlterlicke deelen van hcl Menschelick Lichaem. Dienende om te verstaen ende volkotnentUck wt le beelden alle berocrlicheit des selven Lichaems. Aettge- -iVcsen door Jacob van der Gracht Schilder. Bequaem voor Schilders, Beelt- kou'iVers, Flaet-snyders, als oock Chirurgiens. Wlgegeven door den Auteur, Jii s^Graven Uagae, Cum Privilegio, i6j^.

There are fifteen folio copperplates besides the copper-title, numbered H-X\T and representing muscles and bones after Vesalius. These fifteen folio plates are preceded by two others which are not numbered and represent upright skeletons after Vesalius and one reclining skeleton. The IJulch commentary is printed after Andre du Laurens, Bartholomaeus Cabrol, and Andreas Vesalius. The printing takes up even the space on the back of the copperplates. Counting the copper-title there. are altogether eighteen plates, all etched by the author himself. Text and plates together take uj) thirty-three pages, with signature A~H follow- ing. Sumuel van Hoagstraaten, in his Inleidiiig tot de Hooge Schoale der SchlldcrkonsI (Rotterdam. 167S, 4°), reproaches Jacob van der Gracht for writing for surgeons rather than for painters: zelj van der Gracht leyi mccnvcegs voor hcehnccslcrs als voor Schilders of (page 52).]

Ilalkr: I. jS3.

R. van Eijndeii en A. van tier WilUgcn; Gesckiedenis der vadcrliindsche Schiida- kimsl. 3 DL-elen, Ha;ir!em, 1S16. 8°, 1, m.

i-ciLlltil anatomic alius that was published for artists in H0I- e,  !)ut De Feyfer, op. til., p. 473, says that this is incoirect.

r

1 .

JOHANN VESLING

Johann Vesling was bom at Minden in 1598 and died at Padua, August 30, 1649. He lived for some time in Egypt and Palestine and in 1632 became professor of anaton^ at Padua and soon after director of the botanical gardens there. He later made a scientific journey to Candia and the Orient for the study of botany. As professor of anatomy, he wrote a good and much-used manual:

Syntagma anaiomicum. Pataviiy 1641, 4**; Paiavii, 1647, 4**, enlarged and provided with copperplates; later often edited with additions by Gerard BlaeSy BlasiuSy thus Trajecti ad Rhen. 1696, 4**; translated into German by Ger. BlaeSy Leiden, 1652, 4**; into Dutch by the same, Leiden, 1661, 8**; into EngUsh by Nicholas Culpepery London, 1653, fol.

This manual contains twenty-four copperprints (in some editions less) of rather inferior quality and without any artistic value. They were intended for the commonest needs but are mostly original engravings and represent some organs of the hmnan body more correctly than their predecessors. They were very popular at the time of their appearance and have been frequently re-engraved.

These same twenty-four copperprints were published with a simple commentary and without the other text under the title:

Tavole anatomiche del Veslingio spiegate in Lingua Italiana, Padava^ 1709, foL, per la V{edova) FramboUi e Gio. Battisia ConzaiHy 28 pp. and 24 copperplates.

On these prints Giovanni Georgi is named as the artist or engraver. The elucidation of each print takes up an entire page.

[The Latin edition of Vesling's Syntagma anaiomicum, Trajecti ad Rhenum, 1696, 4**, bears the date, 1695, on the copper-title. It con- tains an Appendix ad anatomen Veslingianam recentiorum inventa varia proponens on pages 309-560, and eight pages of index. The Appendix comprises twenty-eight quarto copperplates, most of them taken from other anatomic works. Plates 9 and 13 are i itical. Most of these, like Vesling's own plates, are incorrectly x sred. T e arfe several other editions of the Syntagma^ besi

Haller: I, 391.

JOH.\NN GEORG WIRSUNG

Johann Georg Wirsung, Wirsueng, was Vesling's prosector in Padua. He was born in Augsburg and was assassinated on August 22, 1643. In 1642 he discovereti the excretory duct of the pancreas in the human body which still bears his name. He made a life-size representation of the duct and published a copperprint of it with a short commentary.

[Through a gift of Mr. Borner, auctioneer in Nuremberg. Choulant came into possession of this rare plate. Wirsung's illustration of the

pancreatic duct, 1^14:, is a small oblong folio. At the top of the title; figiini diidiis cuiiisdi}m cum miiUipticibus siiis niniuHs nouitcr in Pan- crealc d Jo. Geori^. ll'irsuiiii 1 Phil, el Med, D. in diuersis corporibus luiuuinis oliscriidti. Below this in the center of the plate, a figure of the pancreas with a small part of the duodenum to the left, dissected so as to show the anastomosis, one above the other, of the ductus choledochus am! the ductus pancreaticus. A ])art of the former can also be seen outside of the duodenum. To the right in a. part of the spleen with the dichotomous entering artery ami emerging splenic vein; both are shown conlinued in the dissected pancreas, as is the ductus pancreaticus com- ing from the tluodenum, with twenty-one roots entering the pancreas on both sides. Letters that are engraved upon the anatomic parts refer

THOMAS BARTHOLINUS 245

to a Latin explanation engraved upon the lower third of the copperplate; on the right side at the bottom: Paduae. 1642. This plate shows that the name is Wirsung and that WirsUng, originating in the Latinization, is wrong. A sketched copy of this plate is said to be in the University Library at Leipzig.]

Two copies of this very rare print in folio were in the Bibliothek deuischer Nation at Padua, and, through Caldini, one of these came into Blimienbach's possession.

Haller: I, 415. Bhimenbach: p. 206.

[THOMAS BARTHOLINUS

Thomas Bartholinus, bom at Copenhagen, October 20, 1616, was the son of the Danish anatomist Caspar Bartholinus senior and studied in Copenhagen. From 1637 on, he traveled through Holland, visited Paris and Montpellier, then Padua, where he remained three years, and after this Italy, Sicily, and Matta. In 1645, he received his doctor's degree at Basel. In Copenhagen, he first became professor of anatomy, which position he held until he retired in 166 1 to live on his country estate, Hagested. In 1670, Hagested, with his library and his manu- scripts, was destroyed by fire. He died on December 4, 1680. Having a broad education and a good knowledge of the Greek and Arabic languages, and being an ardent student of history and archaeology, he took an active part in the anatomic and physiologic labors and dis- coveries of his time, particularly in the discovery of the lymphatics. He was also actively interested in pathologic anatomy, and was extra- ordinarily productive as an author. In line with our present discussion belongs only his very much-used anatomic textbook, in reality, a revision of his father's Institutiones analomicae (published in Viteberg, 161 1, 8®), under the title:

Caspari Bartholini InstittUiones analomicae auctae ab auctoris filio Thoma Bartholino, Lugd, Batav,, apud Franc. Hackium, 1641, 8°.

Besides this first edition there appeared three other original editions:

Caspari Bartholini Insliluliones analomicae secundum locuplelalae, Lugd. Balav.y 1645, 8®.

Thomae Barlholini Analamia ex Caspari Barlholini parentis inslitU" tionibuSf Lugd. Balav., 1651, 8®.

S46 ANATOMIC ILLUSTRATION

Thoniae Barlholitii Analomia ad circulalionem Harvejanam el vasa lymphalica, quarhnn renovata, curantc Gerardo Bhsw, Lugd. Balav., 1673, 8=.

In a short time, many other editions were published in German, French, Italian, Dutch, and English. Among the Italian was one in verse.

Many illustrations ha\e been added, dilTering in the various editions, but few of them original. Most of these are after Vesalius, Casserius, Vesling, Eauhin, Ruysch. and others; a great many are taken from monographs, such as Stensen, Regncr de Graaf, Franciscus Syhius, Folius, and from writings on the lymphatics, a branch of anatomic research to which the author's original works especially belong.

The workmanship on the copper engravings is unequal, but for a compendium, is on the whole commendable. The illustrations of the brain by Sylvius appear for the first time in the edition of 1641 drawn by Sylvius himself and engraved by J. V'oort-Kamp, whose name is given on three plates.

Thomas BarthoHnus wrote, in a small book of si.\ty-thrce pages, a his- tory'and description of the Copenhagen anatomic theater, founded in 1644. during the reign of King Christian IV. It was pubHshed under the title:

Damns aiuilomlcti Uafiiiensis hrevissime dcseripta. llafniae. Uteris Hear. GdJiani, sump. Petri Jliiuhold idzz. ^mall S° (appended to the latter Cisia mcdica Hajnirnsis. I/ufii. lypis Mulh. Codichciiii, impensis Petri Hiiuboldi, 1662, small S=J.

Tills has for its frontispiece a view of the house which the anatomic theater occupied, and an interior view of the theater itself, both on one copperplate. Two woodcuts, printed in between the text, represent illustrations of the ticket (tessera) for aiimission to the anatomic theater and of the seal of the Medical Faculty of Copenhagen, which Christian III bestowed upon it in 15,37. In the index to the author's own anatomic collection ipage tij are ali^o mentioned: hours plcrarumquc partium lam iiilfrioriim ijiiaiu exlcrioriim liiimavi corporis, ualiirali magniludine cl forma seeitudum dmiuni seiiiouiim Thorn. BarilioUui a Ciirolo van Af under Apclle Regio vivis priniitm inloribus, dciiide ab Alb. Ilael'u.-egli Rcgio f^lyptc iicri inscisuc. pro Aihilonic Aiifiust'i, nccdum iillimam manum adeplae. The younger Karl \an Mander, who is meant here, was a court ])ainter at Copenhagen. The remarkable prints by the copper engraver, .Albert Haclwegh, arc also indexed in a separate catalogue by Sandvig. Karl I'Yiedcrich von Runiohr also speaks of the plate men- tioned in' liarlhulinus. in his GcscUichtc der Ko pciihagcner Kupjerslich-

THOMAS BARTHOUNUS 247

sammlungy Leipzig, 1835. Prints of these plates are not known and no- where is mention made of any work that might contain them. Perhaps they were never published, as Haller mentions {Biblioth, anatom,, I, 404), or perhaps the fire which destroyed the country-house at Hagested near Copenhagen destroyed both the plates and the prints, Bartholinus' library being completely ruined by that fire. An inquiry regarding these plates made in Egger's Deutsches KunstbUUi, February, 1852 (No. 8, page 70), was unsuccessful.

The expression Anatome Augusta in Bartholinus' words quoted above may indicate that they were made for the king's use, since Bartholinus boasts of the fact (p. 6) that King Frederick III more than once attended his anatomic demonstrations in the anatomic theater: demonstrationes nostras non semel dementi oculo inspexit (has more than once looked 01^ at our demonstrations indulgently"). Or one might, as Haller does, take them to indicate the edition of an anatomic work planned by the king which, however, is less probable.]

S

(PHILIPP VERHEYEN

Philipp Verheyen was born oti April 23, 1648, in Verrebroeck, a village in Belgium, and at first devoted himself to agriculture, as his poor parents had done. In 1675 he went to the university in Louvain to study theol- ogy. The amputation of a foot, made necessary by illness, rendered him unfit for the clerical profession, and he took up the study of medicine at Louvain and Leyden. At the former university, in i68j, he obtained his doctor's degree. In i68c), he became professor of anatomy, and also professor of surgery, in 1693. He became known through successful researches and gained the reputation of an industrious anatomist. He died at Louvain on January 28. 1710. Hi.s anatomic compendium Corporis htimani anatomia replaced Bartholinus' as the preferred text- book. Its numerous, though generally small and inferior copperprints were later inserted in Kulmus' plates. There are a great many editions of this compendium, which seems to indicate that its use has been wide- spread.

Distinction should be made between two editions, the second of which is greatly enlarged and improved.

The first edition was published at Louvain, i6q,;, 4°, Lips., i6qq, S"; yti'i/., 1705, 8°; ibid., ly 16, S°. A German translation was published at Leipzig. 1704, 8"; Leipzig, 1705, 8°; 1714, 8"; Konigsberg. 1739. 8'. It was translated into Dutch by A. D. Sassenus, under the title: Onllced- kundigc bcschryiingt van hd mcnschcn ligliam, Brussels, 1711. 8°, some plates of which probably belong to the second edition.

The second eiiition was published in two volumes, the first one bearing the title: Corporis /mmaiii umitomiiic liber primus — editio secunda ab Aulliore rccogiiila novis ohsenvlionibus el ini-enlis pluribusqiie Figuris iiiicla, etc., while the second volume is entitled: Supplenientum anato- micitm sii'e analomine corporis kumani liber secundiis, in quo partium solidarum Libro prima descriplyirum Usiis et Munia e.xp!icanliir. Accedii dcscriplio Anolomica parliitm Foctui ct rcrcntcr italo proptiarum. Item, Conlroz'crsid de Foraminc oi\ili inter Autlwrem el D. Mery. Opus vartis figuris iiliistralum, Bruxellis, apud fnitrcs I'Serslrvcns, 1710, 4°. It is in two volumes of 400 and 436 pages respectively, not counting the prefaces, which contain a biography ami a portrait of \'erheyen. The lirst volume contains 40, the second volume 6 anatomic copperplates.

AM£ bourdon 249

This edition was reprinted in Bruxell. 1726, 4^ in two volumes. The second volume of the edition, Supplementum anatomicumy also appeared separately, Amstdod. 1731, 8®. Reprints of both volumes, somewhat enlarged, were published in Genev. 1712, 4®; in Neapoliy 1717, 4**; in Neapoli, 1734, 4®; Amstelod. ac Lips. 1731, 8*^, apud R, et J, Wetstein ei W. SmUhy with newly engraved copperplates, in two voliunes.

See also Haller: BibL anai.y I, 755; II, 769. C. Broeckx: Essai sur Vhistoire de la midecine Beige avatU le XIX. siecle. Gand, BruxelleSy ei Mans, 1837, 8^ pp. 160, 315.]

am£ bourdon

Am£ Bourdon was bom in Cambrai in 1638, became a physician there, and died on December 21, 1706. He published:

Nouvelles Tables Analomiques Ou sotU reprSsenUes au naturel toutes les parties du Corps kutnainy toutes les nouvelles dicouvertes, le cours de toutes les kumeurs, etc. On y a joint un petit liure, qui en fait la descrip- tion et en explique clairement les Vsages avec ordre et en peu de mots. Le tout dissini et compos i par Ami Bourdon Midecin. Elles se vendent en blanc et enluminies d Cambray chez VAuteur, d Paris chez Laurens D'houry, 1678, large tallfolio, 8 plates without text.

These plates were mostly done with the etching needle and the burin, and are for the most part imitations of previous pictures. They are inconvenient for practical use and have no particular anatomic or artistic value. On the other hand, they are very rare. The first plate represents a front and back view of a male body and also bears the title given above. The second, consists of four front views of the trunk. The third, shows the abdominal viscera, and the fourth, the thoracic organs, the genitals, and the brain. The fifth and sixth plates are repre- sentations of the bones and the muscles, the seventh and eighth of the nerves and the blood vessels. All the plates are signed: Ami Bourdon delineavit, excudit C. P. {cum privUegio) Regis, Daniel le Bossu sculp.

The text that belonged to these plates was later republished under the title: Nouvelle description du corps humain, Paris, 1683, 12°, and the plates were also added to this edition. After Bourdon's death they were published again: Paris et Cambray, 1707, fol., but probably under a new title.

Moehsen: BUdn. p. 104, note.

Haller: I, 658.

Haller: in Boerhaave: Methodus studii medici, I, 531.

Ebert: no. 2866.

GODFRIED BIDLOO

Godfricd Bidloo was born at Amsterdam on March 12, 1649, and died at Leyden in April, 17 13. From 1688, he was professor of anatomy at The Hague and, beginning with 1694, held the same position in Leyden. Later he was appointed body physician of William III, of England, and returned to Leyden after the latter's death in 1702. We possess a large work of his on the whole anatomy of the human body bearing the title:

Godcjridi Bidloo, medicinae dodoris et chirurgi, Anaiomia humani corporis y centum cl quinqiic tabulis per artificiosiss, G. de Lairesse ad vivutn dclineatisy demonslrala. Amstelodami, sumptib. vidiiae Joan, a Someren, hacrcdum Joan, a Dvkj Henrici et viduae Theodori Boom, 1685, large foL, 5 leaves of printed preliminaries, 107 copperplates, a page of text to each anatomic plate.

Besides the one hundred and five anatomic plates the work contains an allegoric copper-title on which the following words are inscribed on a small shield: Godefridi Bidloo Medicinae Doctoris et Chirurgi anatomia humani corporis centum et quinque tabulis illustrata. Then comes a bust picture of Bidloo and the 105 plates, all in elephantine folio. The drawings are by Gerard de Lairesse (b. Liege 1640, d. Amsterdam 171 t). The engravers are not mentioned anywhere, except that beneath Bidloo's bust is engraved: G. Lairesse pinx. A. Blooteling sctdp. According to Haller the engravings were done by Van Gunst; see Herman Boerhaave: Method us studii medici ed. Alb. ab Haller, I, 53 r. Moehsen names the brothers Peter and Philip Van Gunst as the engravers. Hie first three anatomic plates are representations of the nude bodies of a man seen from the front, and of a woman seen from front and ])ack. They all have a great many accessory designs in Lairesse's well-known st\le and are all s[)oiled by absolutely unnecessary letters engraved ui)on them. The drawing of the nude figures is entirely in Frcndi taste, revealing more affected than natural beauty. The other anatomic fiirures are correct, as far as the artist was able to observe Init tlu'\- show the lack of exi)ert anatomic guidance. This is particu- larly true of the drawings of the muscles, and the characterization of the tissues is fre([uently incorrect. The engraving is most elegantly done and is artistically perfect, llie exposition of the plates is too short to

GODFRIED BIDLOO

25a ANATOMIC ILLUSTRATION

be instructive. The work was unsatisfactory to professional anatomists because of the high scientific standard of anatomy at that time, and was too expensive for the beginner. It was absolutely useless to the artist since the complete musculatures are missing, and the muscles were gen- erally misplaced. The two skeletons do not show natural proportions and are lacking in beauty.

Onlleding des Meuscheiyken Lichaams, Amsterdam i6go, fol.. Is a Dutch translation of the text with impressions from the one hundred and five original plates.

On account of the probably small sale of the work the publishers gave three hundred impressions of these plates to the English surgeon and anatomist, William Cowper (1666-1709). He later published these plates mth a new text in English over his own name:

William Cowper: The anatomy of humane bodies with figures drawn after the life by some of the best masters in Europe in 114 Copper-Plates, Oxford, i6i)7, large fol.. 116 copperplates.

The co])per-title is that of the original edition except that the shield which contained the former title ami Bidloo's name now bears Cowper's name and the changed title. Moehsen points out that this title was pasted on the shield. The second copperplate represents Cowper's picture painted by John Closterman (1656-1713) and engraved in mez- zotint by John Smith (1654-1727). These plates are followed by the one hundred and five plates of Laircssc and finally nine plates of the same .size, newly added by Cowper, which are drawn by Henry Cook and engraved by Michiel van dcr Gucht. .\mong them also are two well-executed plates, representing the front and back views of the entire musculature. On some of the plates of Lairesse, more letters were added which Cowper had put on in pen and ink.

Bidloo resented this crude piece of plagiarism must bitterly and an exchange of polemic writings between him and Cowper followed.' Afterward there appeared an English and later a Latin edition with impressions taken from the old plates. Both were published in Leyden by Jiihann .Arnold Langcrak. The English edition appeared in 1737, the Latin in 17,51). The title of the latter is:

Aihitomia corporum humanorum 114 lubuHs, singulari arlificio, nee miuori elegnntia ah c.veellcntissimis, qui in Europa sunt, artijicibus ad

• .Vutiihly RitiliMi, GiitirlmiK Cir.fp,T. rriminh tH-r^rii (ililm, Lund. B.il.. f/oo. 4°. and Cowper, Klixapiaria in qiia dulcs pliirimif rt siiitiil'irr.t Oodefridi Bidliio. perila aniilomica, {•rnhrlns. i-tc, rrMiraiihir il rjiifdfin tilatiani blimillhnt rtspondeliiT, Londini, 1701. 4°. HntThiiavt. in his \Jrlhi<di<.^ sliidii undid. Amsttnlam. 1751, judged the plagiarism of litUe momrnl mh iictnudtof the slcndiT value of BiiiliKi's text {Tabulas crrtc Itabcl optimas, descrip- tioarj BWUHAXAE nulHiis siial mnmcnti, cited by Baylc).

GODFRIED BIDLOO 253

vitrnm expressiSj atque in aes incisis iUttsiraia^ amplius explicaia mid- tisque novis anatomicis inventis^ medicisy chirurgicisque observationibus aucia a GuU. Cawper. Accpdunij etc. Omnia nunc primum IcUinikUe danala curante GuU. Dundass, BriUanno, M.D., Lugd. BaL, a pud Jo. Am. Langeraky 1739, large foL, 115 copperplates.

The original inscription in the shield on the copper-title is erased. In place of it we read : Anatomia Corporum Humanorum curante Guilielmo Cawper. The bust pictures of both Bidloo and Cowper are missing. On the anatomic plates of Lairesse a few more letters are engraved. No commentary on the history of the book is given. On the printed title there is a copper vignette.

A later edition is also mentioned, viz., UUrajecti 1750, foL, max., cur. Radulph Schomberg.

The anatomic work with the Lairesse plates is not included in Cowper's Opera omnia amatomico-chirurgica, Lugd. Bat., 1715, 4®.

[William Cowper is also the author of Myotomia reformata: or a new administration of all the muscles of the humane body, London, 1694, 8**. After his death a finer edition was published: Myotomia reformata or an anatomical treatise on the muscles of the human body, with an introduc- tion concerning muscular motion, London, 1724, fol. (Haller: Bibl. ancU.,

I. 768.)]

Moehsen: Bildn., p. 104. Haller: I, 693, 768. Weigel: no. 17,777.

BERNARDINO GENGA

Bernardino Gcnga, of Mandolfe in the duchy of Urbino, was pro- fessor of anatomy and surgery and physician in the hospital of San Spirito in Rome. The anatomic preparations in the following book for artists are his:

Anatomia per uso el intelligenza del disegno ricercata non solo su gV ossi, e muscoli del corpo hiimano, 7na dimostrata ancora su le statue antiche pin iusigni di Roma. Deli neat a in piii tavole con tiitte le figure in varie J'accie, e vedute. Per istudio delta regia academia di Francia pittura e scultura, sotto la direzzione di Carlo Errard gia direttere di essa in Rofna. Preparata su i cadaveri dal dottor Bernardino Genga regio anatomico. Con le spiegazioni et indice del Signor Canonico Gio. Maria Lancisi. Opera utilissima a pittori e scultori et ad ogni altro studioso delle nohili arti del disegno. Data in luce da Domcnico de Rossiy herede di Gio. Jacomo de Rossi, nella sua stampcria in Roma alia Pace, il di XV. Set- temhre, i6gi, Libra prima, hirge fol., 56 copperplates.

The lifty-six copperplates arc printed only on one side. On the engraved title the words Libra Prima seem to have been added later and are e\'idently meaningless since no Libra Second 0 follows. There is also a dedication bv Rossi addressed to Giovanni Tiracorda,  ?nedico primario dvW Archiospcdale di S. Spirito e gia pontificio. This title is followed bv an allet^oric sheet with the emblems of Death and with the following inscription: Jngrcdimur cuncti dives cum paupere mixtus. Then follows the work itself. Of the plates with pictures nine pertain to osteology, and fourteen to myology; sixteen are representations of anticjuc figures xicwed from dilYerent sides, namely, the Farnese Hercules, the Laocoon i without his sons), the (.jladiator, and the Borghese Faun. Of the j)lates with text seven pages are devoted to osteology, seven to nnolo'^w and one i)age to an huiici dcUc cose notabili. Thus the entire book consists of sixteen pages of text and forty pages of illustrations.

^'et there are copies of this edition consisting of fifty-nine pages, viz., -cNcnleen pages of text and fort\-t\vo pages of illustrations, since they contain in addition to the antique rej)resentations, the Venus de* Medici, the ^'outh IHilling a Thorn from llis Foot, and the Amazon of the Hou^e of Oesi. These copies have on some of the plates the sig- nature l'\ Audriot sc. Romac, while in the ordinary copies the names

BERNARDINO GENOA 255

of the artist or engraver do not appear anywhere. They were probably put on the market later than the ordinary copies, with the additions given above. An English edition, published in London in 1723, is also mentioned.

All the plates are excellent anatomically as well as artistically. The work is even today one of the most useful for the needs of plastic and graphic artists. The engraver is probably Francois Androit (Handeroit) , and the artist Charles Errard, director of the French Academy in Rome, who died there in 1689. '^^^ Papal physician Giovanni Maria Landsi (b. October 26, 1654, d. January 21, 1720), to whom we owe the publica- tion of the Eustachian plates, wrote the explanations.

Moehsen: Bildn,, p. iii. HaUer: I, 623. Ebert: no. 8309. Weigel: no. 17,776.

CARLO CESIO

Carlo Cesio, painter and copper etcher, was born at Antrodoco in the Papal States on April 17, 1626, and died at Rieti on January 6, 1686. He was a pupil of Pietro Berrettini of Cortona and lived in Rome. He maintained in his own house an academy for painters. He left a book of anatomic information for artists. At least such a book was published under his name after his death.

Carlo Ccsio: Anatomia dei pittori. Cognizionc dei muscoli del corpo lima no per il di segno. Roma, 1697, ^^1-

It contains sixteen pages of illustrations with explanations, viz., two skeletons and fourteen myologic plates, among them five complete muscle-manikins, which, however, are not without anatomic errors. Johann Daniel Preissler (born in Nuremberg in 1666, died there in U3 7 [•]' published these plates in a German edition at Nuremberg, 1706, fol., with newly engraved plates by Hieronymus Bollmann, of which there are six editions. The fifth of them is the following:

L\inatomia dei pittori del S ignore Carlo Cesio, das ist: deutliche An^ceisung iind griindUcJie Vorstellung von der Anatomic der Mahler — zu mehrern AuJnaJim der Mahler- und ZeicJien-Kunst in das Teutsehe gelreulicJi iibersetzet mitgetheilet von Joh. Daniel Prcisslern — bei lirlehem sie (inch zu finden. Fiinfte Aujlage. Xurnberg, 1759, fol. 16 copper- ])Ialcs with German elucidations etched upon them.

The ])refacc is signed by Preissler, March 14, 1743. In it he says that the plates of Cesio were neatly and accurately engraved in copper with llicron. H()llmann\s assistance. His plates are lacking in anatomic <icruracy and l)caut\'. The illustrations, especially the bones, are too round and tlat. Thc<e anatomic })lates are also included in Preissler's hook on the nrinciplcs of drawing, Init were omitted in the latest edition ' \ u rem 1 )enj;. i S 2 ; , f ( )h ' .

^Thc Tir^t German edition is: L\uiatomia dei pittori del Signore Ciirlo Crsio. Das /.v/, Dentliche Aniceisung und griindliche Vorstellung Vo)! drr Antiionur der M aider V.u meJirern Aujnainn der Edlen Mahlcr- iijui Zriciioi i\uusl J)i das Teulsche i:^etreulich iibersetzet \'ofi Joh. Daniel Prrissicni iDid in rcine Ku Mrr-Sdrhe '^rbr<!cht von Hieronymus Bdllmann, Jn .Xumhrri;. Dili Jlirrr hccdrrsriis \^erlag und Unkosten. Anno 1706. foh It rontain^ -ixteen roi)j)erj:»hites with explanations in German

CARLO CESIO 257

engraved upon the first eleven. There are four pages of printed prefaces (Weigel, no. 18,256, 57).]

Another German translation of Cesio contains sixteen copperplates with explanations engraved on them.

Eine herrliche Anweisung und wolgegriindete FUrsieUung von der Anatomic des gantzen Menschlichen Ci>rpers — denen recht Kunsterfahrnen Mahlenty Kunsi-Zeichnemy Bildhauem — welche zuerst in lialidnischer Sprache herausgekommen von — Carlo Cesio, anjeizo aber — in der TetUschen Sprache herausgegeben und verlegel von Jos. Frid. Leopold in Augspurg, 1708, fol., 16 copperplates with legends engraved upon them.

The dedication and the preface are signed by Leopold. In the lower left-hand comer of the first plate appears : Elias Baeck alias HeldenmtUh sculp. 17 oy; in the same comer on the fourth plate: Jos. Frid. Leopold excudit. Baeck died in 1747. Leopold, publisher and engraver, died in 1 726. A book by Cesio on the principles of drawing was also published and appeared probably after his death.

Carlo Cesio dementi del disegnOy dati in luce daUe stampe originali di Matteo Gregorio Rossi. {Roma) In piazza Navona aW insegna della stampa, 4®.

Cicognara {catal.) referring to this book, refers to the figures as being di bellissima e larga maniera suUo siilo Caraccesco, '^in the large and beautiful manner after the style of the Caracd." This, on the whole, is also true of all the other anatomic representations mentioned above. This drawing-book is exceedingly rare.

Moehsen: BUdn.^ p. 103.

Pascoli (Lione): Vite dei piUori, etc. Roma, 1730-36, 4°, II, 163, et seq.

CRISOSTOMO MARTINEZ

Crisostomo Martinez, a painter and copper engraver, was bom at Valencia about 1650, lived first in Valencia and later in Paris and in the Netherlands, and died there in 1691 or 1694. With the financial as- sistance of the city of Valencia, he essayed a book of anatomic instruc- tion for artists. It is said that twenty copperplates were completed for this book. These plates probably remained in Paris, but a few good prints were sent to Valencia. It is doubtful whether the entire work was completely published. [We know of two copperplates in patent folio, numbered, but without date, and with engraved letters for refer- ence. Both are very rare plates (one, osteologic, the other myologic) and are fairly correct as to anatomy. They are carefully and cleverly drawn and lifelike, with full crosshatching in the manner of clever line engraving, some lines with the needle.

1. The osteologic plate is 0.673 meters high and 0.523 meters wide and is divided into an upper and a lower half. The upper half repre- sents monumental architecture and a cloudy sky, and as principal figures, two larger upright skeletons and eleven smaller ones in various positions. On one skeleton parts of the upper and lower extremities only are represented, of another one only the head and the neck. Muscles and body outlines are indicated by lines, bones are entirely crosshatched. The lower half of the plate represents on a larger scale the various bones in their entirety, sawed through lengthwise so as to show the diploe and the cavities of the long bones. With the exception of a few metacarpal ])oncs and j)halanges the bones of the hand and foot are missing. A few parts of the skull, also a few vertebrae, and one rib are given. The bones are placed around a pedestal-like stone. This plate bears no signature, but has numbers and letters engraved upon it.

2. The myologic^ ])latc is 0.6S5 meters high and 0.515 meters wide and shows on the left side, three u[)right muscle-manikins, representing views from three dilTcrcnt sides, with the bones sketched in. The nuisi ulatures are full\- crosshatched. To the right is an outline repre- sentation of a child's skeleton. All figures are surrounded by many proj)ortional circles and lines. At the bottom, in the architectural drawing, there is engraved an escutcheon with a compass, a ruler, and a scroll bearing a text from I\zekiel; to the right and left are geometric

CRISOSTOMO MARTINEZ

I

26o ANATOMIC ILLUSTR.\TION

figures pertaining to the perspective. On the right side, above the lower field engraved in script: Chrysostomus Martinez Hispanus Inv. del. et sculpsit cum privil. Regis. The word Hispanus has been subsequently inserted in its place above the line.]

To the copy of the myologic plate that Choulant had, was pasted at the bottom a printed explanation of the picture, or rather a brief anatomic course for artists, in French under the title:

Xouvelles figures de proportions et d^anatomie du corps humain, Ouvrage non seulemcnt utile aux Medecins et Chirurgiens, mats encore aux PeintreSy Sculpteurs, Graveurs, Brodeurs et generalement a toutes les per Sonne s sqavantes et curieuses de connoitre exactement la structure du Corps de Vllomme, designees d'apres Nature et gravies par Chrysosiome Martinez, Espagnol, Peintre Anatomiste, Paris, chez Vauteur, s.a.

Both plates were republished together in Francojurti et Lipsiae, i6g2, foL, and later a description was published in French: Nouvelle exposition de deux grandes planches gravees et dessignees d^apres nature rcpresentants dcs figures tres singulieres de Proportion et d'Anatomie, Paris, 1780, 12*^, accompanied by both plates. Cf. Weigel: Kunstkatalog No. 20,416. Both original plates are in the library of the Medico- Chirurgical Academy in Dresden.

Ilaller: I, 744; II, 768. Cicognara: Calal.

Bcrmudcz fjiian Aguslin Ccan): Diccionario historico de los mas ilustres pro- fcsorrs de  !,is hrlltis artcs en Espafhi, Madrid, 1800. 8^, III, 72.

vSiirling (William): Annals of ihe artists of S[)ain, London, 1848, 4°, III, 1068.

PIERRE LANDRY

Pierre Landry, a co[)pcr engraver in Paris, was born in 1677, and died at Xanterre in 1741, but ()[)ini()ns as to the latter dilTer. There should be mentioned here one large j)late by him, composed of four sections, all (lone in hea\ y engraving. It represents, rather correctly as to anatomy, a life->ize(l himian skeleton in a reclining [)()sili()n, with an ermine coat and several other eml)lems around. On a label are Latin verses: Ilodie niilii (Kiis iihi, cU . and under them Paris, rhrz Pierre Landry, without 3,ny date. ( )n the other >ide of the ^keleton. another label contains anatomic e\i)lanation> of the i)one. It is probable that his [)latc was originally an eniljleniatic rej)re>entation. and was only later, and perhaps in order to ini rea^e its >ale, made o\er into an anatomic representation by adding tlie>e o>teologic exj)lanalion,>.

WILLIAM CHESELDEN

William Cheselden was bom in 1688 at Burrow on the Hill, near Sowerby, in Leicestershire and died on April 10, 1752. As physidan for several large hospitals in London and later chief surgeon in Chelsea he won distinction, e^edally in surgery. Of his anatomic works there should be mentioned:

The anatomy of the human body, London, 1713, 8^; 1722, 8®; 1726, 8^; 1732, 8^ 1741,8^; 1778, 8^

All of these editions contain very excellent copperplates differing, however, in number and content, for example, the edition of 1741 adds much from his osteologic work. The edition of 1778 contains forty copperplates engraved by Gerard Vandergucht (died in 1776 in London) some of which deal with subjects of a pathologic and surgical nature.

[There is a translation of his Anatomy of the human body^ by August Ferdinand WolflF, with a preface by Johann Friederich Blumenbach, with forty copperplates engraved after Vandergucht by Riepenhausen, Gottingen, b. Dieterich, 1790, 8°, 20, 324, and 15 pages, 40 leaves of copperplates. Among the English editions the seventh should be men- tioned as particularly fine. Lond. 1756, 8° (Blumenbach: Introd, in historiam med. litter ariam, p. 319).]

Osteographia or anatomy of the bones. London, 1733, large fol.

This contains fifty-six splendid engravings which are said to have been drawn with the camera obscura.^ They represent the bones in natural size, also animal skeletons and diseases of the bones.

HaUer: 11,84. Ebert: no. 4065.

' The title-page represents Cheselden himself in the act of making a drawing under the camera obscura. This is one of the finest of English works containing anatomic illustrations.

GIOVANNI DOMENICO SANTORINI

Giovanni Domenico Santorini was born at Venice, June 6, 1681, and died there, May 7, 1737. He was a pupil of Bellini and Delphini and from 1703 he was public instructor in anatomy and practicing physician. Later he became prolomediciis and physician at the Speda- letto in Venice. Here he also lectured on obstetrics.

He was one of the most exact and careful dissectors of his day. His name and influence would have been far greater if death had not called him away before the completion of his chief work which was not published until thirty-eight years after his demise, and then only in part. Many corrections and discoveries in the detailed anatomy of different organs of the human body go back to Santorini. Even today a facial muscle (risorius), a pair of cartilages (cornicula) of the larynx, the emissary veins of the skull, and a part of the superior and inferior turbinates of the ethmoid arc named after Santorini. Formerly a few other organs, too, were named after him, and there are doubtless many more that might just as properly bear his name. Haller, in his notes to Hermann Boerhaave's Mctlwdus studii mcdici, I, 541, characterizes Santorini's efforts in the following way:

In his observalioriibus anatomicum indcfessum. in dilVicillimis partibus extri- candis artificiossisimum el penc niniis pcrspicaccm se gcssit, si omnino hie aliquid nimii locum hahct, cum multos musculos cius viri nemo recent ionmi perinde distinctos vidit.

"In these observations he showed himself an indefatigable anatomist, most skilful in extricating the most difficult pans, and almost too penetrating, if indeed, there is just ground for such a criticism in this, since many of the muscles (detected l)y) of this man have not been seen with eciual distinctness by any of the more recent investigators."

This is true of his first book, which will be discussed here, and was the only one which lialler had seen, but it is not less true of his later works. His investiii;atioiis rovercd almost all parts oi the body. Apparently he never intended to publish a systematic textbook. Of his works the followin:^ should be mentioned here:

()hsrri<itii)}ics ajialomiciic. IV;/r///.v, apifd Job, Bapt. Recurti, 1724, lari^e 4', 12 and J50 pp. and 3 copi)erplates in small foi. — Lugd. Batav., up. (iyshrrliofi LdUi^crak, 1739, 4'^, 12 and 256 pp. and 3 copperplates in small lol.

GIOVANNI DOMENICO SANTORINI 263

The plates of the first edition are done by Marco Galli, the engrav- ings by Carlo OrsoUni, at least, the second plate shows a signature in Latin to this effect. The engraver Orsolini was born at Venice, about 1 710, and died there, about 1780. In the Leyden edition, which is a literal and complete reprint, the plates have been re-engraved in the same size by Nicolaus van der Meer and have probably also been drawn by the latter. They are signed N. v. d, Meer Fecit. The title vignette is also by him. The first plates represent a complete view of the facial muscles, the face seen from the front. The second and third plates show representations of the external ear and its muscles, the larynx and genitals of both sexes, among the latter a representation of a tubal pregnancy. The text treats of widely different organs of the human body. The book is dedicated to Czar Peter I and is, on account of the wealth of material it presents, even today of great value both for the history of anatomic discoveries, and to the professional anatomist. Haller, II, 24, expresses himself on this point, as follows: Subtilissimus incisorum in hoc exiguo libra innumera nova invenia proposuii, in this unique book, the most subtle of dissectors sets forth many new dis- coveries."

Septetndecim tabulae qua^ nunc primum edit atque explicai Usque alias addit de siruciura mammarum ei de tunica testis vaginali Michael Girardi in regia Parmensi universitate anatomes professor primarius, etc. Parnuie, ex regia typographia, 1775, fol. min., 43 and 218 pp. and 21 copperplates in small fol., with as many plates in outline.

The first seventeen plates were by Santorini; two of the last four plates belonged to the anatomist Giovanni Battista Covoli (Cubolus) who was drowned, in 1768, in his youth. The other two belonged to the editor, Michael Girardi (born November 31, 1 731, at Limona on Lake Garda, died June 17, 1797, at Parma), a professor of anatomy in Parma, who wrote a commentary for Santorini's plates, thus carrying out Covoli's plans and using, in part, posthumous writings of both Santorini and Covoli. Santorini had been preparing a new, enlarged, and improved edition of his Obseroationes anatomicae with this addition to the title: quibus inventorum plurima, tabularum non modica accessio adjuncta est. For this edition the seventeen plates with their explanations had been planned. All the twenty-one prints of the work are done in a light crayon effect which, however, does not impair the anatomic clarity of the prints, but even brings out well the differences in the tissues. Each plate is accompanied by an outline plate whi^ M th reference letters.

The seventeen plates by Santorini at the top and

264 ANATOMIC ILLUSTRATION

on the side, like the Eustachian plates, but have no signatures of the artists. They were drawn by Giovanni Battista Piazzetta (b. Venice 1682, d. 1754), who made the coppers for Tasso's Gierusalemme liber- ala, VcHcz., 1745, fol. and w^as also the author of a book on drawing, engraved ])y Giovanni Marco Pitteri {Venez., 1760, oblong folio). A woman, Florentia Marcella, engraved San torini's plates under San torini's personal supervision. Covoli's two plates (Plates 18, 19) are without the ruled margins and are also without signatures. Girardi^s two plates (Plates 20, 21) are also without ruled margins, but are signed both by the artist and engraver. The former was Ignazio Gasparotti, the latter Giuseppe Patrini (d. 1786). The work belongs to the best of its time (as Haller recognized, II, 715), not only as regards the dissections and illustrations, but also as to the very elaborate commentary. The pictures deal with the facial muscles, the base of the brain and other parts of the brain, the organs of smell and hearing, the pharynx, the breasts, the heart, the diaphragm with the beginning of the thoracic duct, the stomach, the liver, the intestines, the pancreas, the ileocecal valve (Bauhin's valve), the bladder, the muscles of the perineum, and the genitals. Covoli's pictures represent the breasts, the tunics of the testicle and a six months' fetus.

The remaining collected works of Santorini were published in Parma, 177:;, in 4"", with his portrait and his l)iography, and were edited by Michael Girardi. An Italian medical journal, Giornale di Medicina, i^tyib, 13 volumes, which Pietro Orteschi edited in Venice, also con- tains a bioixraphv of Santorini, written bv the phvsician Niccolo Pol- laroli, in Volume I, page 112.

Haller: II, 2.^, 714. Kbcrt : no. 20322, 23.

COLORED AXAl'OMIC (X)PPERPLATES

Hie article on Aselli, paLrc 240. mentions anatomic representations in colored woodcuts. In the tV)||<)\vin^ will he gi\en an account of colored copiHTplates (lone by means of several imi)ressions, dealing with human anatomw i.e.. the works of Le Blon, Ladmiral, and Ciautier d'Agoty.

JACOB CHRISTOPH LE BLON

Jacob Christoph Le Blon (not Le Blond), was born at Frankfort on the Main, in 1670, and died at Paris, May, 1741. After a sojourn in Zurich, Paris, and Rome, he lived and worked as a miniature painter in Amsterdam where, in 1704, he made known his first attempts at colored mezzotinting. He used in this process three different impressions (blue, yellow, and red) for one picture and was thus able to produce the different color values without any black, by using only these three primary colors. He then went to The Hague and later to Paris and London in order to practice his art, which he had so far kept secret, with the aid of sub- scriptions. In London he had some success in this, but the venture finally failed, because of the Uttle care devoted to the making of the plates, and on account of the inventor's extravagances. Thereupon Le Blon established a wall-paper factory in London, which soon failed also, so that in 1732 he was compelled to flee and return to The Hague, a poor man. Soon after he went to Paris. On November 12, 1737, he obtained a privilege and on July 24, 1739, a twenty years' patent for colored copper printing, which however he enjoyed only a few years and with very little benefit. The following publication, dealing with Le Blon's process, contained one colored and two black copperprints: Vart dHmprimer les tableaux, TraiU d'apres les ecrils, les operations et les instructions verbales de J, C. Le Blon, Paris, 1756, 8°.

Of anatomic plates which Le Blon produced by means of his inven- tion only one print in oblong folio is known. It represents the male sexual organs in natural size and is printed on blue paper (therefore, perhaps only two other impressions, yellow and red, were employed). It has an exposition in Latin and French and bears the date 172 1, but is without the artist's name. This print bears the title:

Preparation anatomique des parties de Vhommey servants a la genera- tioHyfaites sur les decouvertes les plus modernes, 1721.

It is loi inches long and not quite 8 inches high and is contained m a

medical book which was published repeatedly and was translated into

both Latin and French: William Cockburn: The symptoms, nature, cause

and cure of gonorrhoea, London, 1713, 8°, and later years. In Latin:

Ludg. Bat, 1 7 1 7, 1 2° ; in French : Paris, 1 730, 1 2°. From this it was inserted

into one of the later editions or translations as an anatomic explanation of

the seat of the disease.

265

266 ANATOMIC ILLUSTRATION

Le Blon had been given an order from St. Andre, the body physician

of the King of England, to furnish an anatomy in twelve sheets, but this order was not carried out. There is doubt regarding another print with which he is credited, representing the female sexual organs.

[With regard to Le Blon and his color copperplates, one should also consult Heinecken: Idee generate d'une collection complette d'cslampes, Leipsic et Vieniw, 1771, 8°, p. 210.]

JAN LADMIRAL

Jan Laxlmiral (not rAdmiral), was bom in 1698, of a good family of Normandy, and died at Amsterdam in July, 1773. He and his younger brother Jacob were pupils and assistants of Le Blon during his sojourn in London. But it seems that Ladmiral published the invention as entirely new and as his own, without ever mentioning Le Blon. Ladmiral offered his services in the making of colored anatomic repre- sentations to the famous anatomist Albinus in Leyden. This anatomist put his invention to a test and even permitted him to use two posthumous drawings by Ruysch. In this way, six representations of this kind were produced which were later published under the joint title: Anatomische voorwerpen door Jan Ladmiral. They are, in order, as follows:

Bemardi Siegfried Albini DisserL de arteriis ei venis intestinorum hominis. Adjecia icon coloribus disiincta. Leid. Baiav. apud Theod. Haak; Amsielaedamij ap. Jacob, Graal ei Henr, de Leih, 1736, 4°; 5 leaves text and i plate in oblong 8^.

The print is preceded by Albinus' preface and treatise. In the former he says:

Accidit quippe, ut egregius et industrius artifex Joannes Ladmiral ad me acederet offerretque se ad icones vivis coloribus distinctas efficiendas, quadam picturae com- pendiariae specie. Qua in re ut quid posset, experirer, curavi parandam iconem quam huic Dissertationi addidi, etc.

It happened that that excellent and industrious painter John Ladmiral came to me and offered his services for making pictures colored after life in a sort of short- hand kind of painting. To see what he could do in this line I have had a picture made which I have added to the dissertation.

In the treatise itself, no reproach of the artist is found, as Moehsen asserts;

quite to the contrary, we read on page 6: ipsos ramos incredibili se

fleeter e varietale, quam icone expressit artifex j verbis vix possem^ ** Words

fail me to express the incredible variety of twisting of these branches, as

the artist has rendered it in the plate." The picture represents a piece

of the muscularis mucosae of the intestine in which the arteries are

injected red, but the veins blue. The representations of the surface of

the tunic as well as the injections, are very faithful and true to nature,

even to the smallest detail. In the lower right-hand comer, in the green

margin: /. Ladmiral Fecit, a signature which occurs also on all the other

five plates to be mentioned. On all the plates explanatory letters are

engraved.

267

z68 ANATOMIC ILLUSTIt^TION

Bernhardt Siegfried Albini Dissert, secunda. De sede el causa coloris Aelhiofnim el caelerarum hominum. Accedunt tcones coiorihus disltnclae. Leid. Bat., apiid Thcod. Haak; Amslcl., apud Jac. Graal el Hetir. dc Lctli, 1737, 4°, 9 leaves text and i plate in oblong 8°.

The very detailed treatise on the color of the human skin is followed by the explanations of the representations in which is said:

Has idem ille Ladmiral, nee miiiore artificio, canfecit. qui arteriarum et venarum inleslini hominis. qiiam anno proxime supuriore edidi. Is laudabili anis suae singularia spccimina eihihendi studio incensus, non dcstitit mc donee oblinucnt rogare ut opfjonunitatem darem, etc.

"These were made, and with no less workmanship, by that same Ladmiral who made the illustrations of the veins and arteries of the intestines of a man. (a work) which I published last year. From a burning and praiseworthy desire to show spocimens of his matchless skili, he did not cease to entreat mc until he prevailed upon mc to gi\-e him a chance, etc."

The plate represents in three figures the skin and the nails of a negro

Icon diirae malris in concava siiperficie visae, ex c<i pile foetus humani add circiter a conccplioiic mcnsium. desumlae, ad objeclum arlificiosissimi pracparatum a CI. V. Fred. Riiyscliio, dclineala, et coloribus dislincla lypis imprcssa a Joanne Ladmiral. .Amstehd.. ap. Jac. Graal el Ilenr. de I.rlh; Liidg. Bat., ap. Thcod. Ilauk, 173S, 4°, 2 leaves text and i plate in oblong S°.

The text contains only the explanations of the plate in Latin, French, and Dutch; all identical. In this explanation the plate is described: vi'i-is coiorihus non pcnicillo dcpicla .fed iiiaitdifo el mirabili artificio lypis imprcssa, "in the colors of life, not painted with a brush, but printed from plates with a wonderful and unheard of ingenuity," while the French expresses the same idea in this manner: imprimc a la Presse, au grand Eloiiiiniiciil d'lin Chaqu'uit. The Dutch explanation reads only: ial ven.vudrriuii. It is obvious that this designation originated with Ladmiral himself, who styles himself the editor. This plate ranks among the most beautiful of the entire series, both as regards the natural appear- ance of the whole and as to the very fine injections of the vessels which, on this plate, are only arteries and are therefore colored only in red. Of this plate am] of the following plate, prints on blue paper had been made previously but with only Latin and Dutch explanations and with- out the date. These [irinLs are saifl to have been done with less care. Friedcrich Kiiysch, an anatomist who was especially famous for his fine injections, was born at The Hague, on March 23, 163S, lived in Amsterdam as a professor of anatomy and died there on February 22,

JAN LADMIRAL 269

1 73 1. His very rich anatomic collection was sold at Petersburg for 30,000 florins, but he soon collected a second one.

Icon durae mairis in convexa superficie visae, ex capUe, etc. — a Joanne Ladmiral, Amstelod.y etc. — 1738, 4®, 2 leaves text and i plate of the same size as the preceding.

The title is the same as that of the preceding print, with exception of the beginning. The year, the place, and the publisher are also the same. The explanations are given in Latin, French, and Dutch and have a separate title: Explicatio figurae cranii, serra divisi, periosiio tecH, viiae speciem repraesenlantis. In the preface it is said that the print is ariificio eodem elaborala, ** wrought with the same artistry." This figure, too, is as faithful and as beautiful as the former. As regards an earlier impression of the plate the same is true as was said of the preceding.

Icon membranae vasctdosae ad infima aceiabuli ossium innominatorum posikLCy ex puero desunUae^ ad objecium arUficiosissimi praeparaium d CI. V. Fred. Ruyschio, delineaia, et coloribus disiincia iypis impressa d Joanne Ladmiral. Amstelod., etc. — 1738, 4°, 2 leaves text an(J i plate in oblong 8^; the same publishers.

The explanations are in Latin, French, and Dutch; in these it is stated that the figure is coloribus iisdemy quibus methodo Ruyschiana praeparaia superbii, iypis impressa, "printed in the same colors which are the crowning feature of that prepared by the method of Ruysch.'* The figure is less beautiful and also less distinct and it is considered by some to be of an earlier date than the two representing the dura mater.

Effigies penis humani, injectd cerd praeparati exhibens inventa anaiomica aliquot nova; el propria colore typis impressa d Joanne Ladmiral. Leid. Bat., ap. Cornelium Haak, Amstelaed., ap. Jac. Graal et Henr. de Leth, 1 741, 4®, 3 leaves text and i plate in 4°.

The text contains only the explanations in Latin, French, and Dutch. The picture is the largest of all the six, and of good workmanship. This print is said to be an imitation of Le Blon's on the same subject, men- tioned before, but is supposedly inferior to it as regards vividness of color, beauty, distinctness, and naturalness of the impression (see Moehsen, page 147). Nothing, however, is said in the text about Le Blon or Cockbum. The last four small publications all have a vignette on their title-pages representing a skeleton, with glass receptacles contain- ing preparations on a table in front of it and a genius behind it; all these are illuminated by a large sun. At the bottom on the left we read Jan Ladmiral inv. et fecit. The vignette is in black. The two works by Albinus have in place of the vignettes only a printer's mark.

JACQUES FABUX GAUTIER D'AGOTY

Jacques Fabian Gautier d'Agoty, a maker of colored prints, was bom at Marseilles, about 1717. He too was an assistant of Le Blon and after Le Blon's death, he obtained the latter's privilege on August 31, 1745. He died in 17S6. He. also utterly disregarding Le Bion, claimed, like Ladmiral, to be the inventor or restorer of the colored copperprint, although he himself did nothing more than add a fourth black plate to the three colored plates used by Le B!on, and this addition, in the judg- ment of connoisseurs, did not improve his prints, as compared with the others. Since Gautier, in his own work. Cbroagenesie ou g&neralion des couieurs. II. Tomes. Paris, 1750, 1751, 8°, and in a second, more general work, Nouveau syslemc de Vtum-ers, attacked Newton's theorj' of colors, Goethe considered him important enough to devote to him an elaborate article in the historic part of his Farbcnielire. Here at the very beginning he is called "an active, quick, rather impulsive man, certainly gifted, but more than befittingly aggressive and sensational." His anatomic illustrations, while they may perhaps be fascinating to the layman, on account of their size and vi\-id execution, impress the critical obscr\'er with their arrogance and charlatanry and do not recommend themselves to the student of anatomy either for their faithfulness and reliabihty or for their technique. The latter is not suited for delicacy and exactitude but rather for large and massive representations. They are far inferior to Ladmiral's work, but they will always retain their value in the hi.story of art and especially in the history of anatomic illustrations. They are as follows:

Essiii d'analomie en tableaux imprimes, qui rcprescnlcnt an nalurel tous les muscles de la Face, de Col. de la Tele, de la Langiie el dii Larinx, d'apns les parties disscqu&es el prcparics par L. Duverney, Mailre en Ckirurgie a. Paris, coniprenaiit Intit gramles planches dessinies. peintes, ofiiires el imprimres en couleur ct grandeur naturelles par le Sieur Gautier, seid Prh'ilegie du Roy dans le nouvel art. avec des tables, qui cxpliquenl les planches, Paris, chez Gautier, 1745, large fol., S plates and text.

Stiile de I'Essai d'amitomic en lahleatix imprimis representans an nalurel tous les Muscles du Pharinx. du Trouc et des Extremiles superieures el in/irieures. d'aprcs les parlies disscquces el prCparces par M. Duverttey, etc. comprcnanl douze grandes planches dessinies, peinles et gravies par

JACQUES FABIAN GAUTIER D'AGOTY 271

le Sieur GaiUier, setd Graveur priviUgU du Roy dans le nouvel art, Paris, etc., 1745, large fol., 12 plates and text.

Myohgie compUUe en cauleur ei grandeur naiurelle, composie de VEssai etdela Suite de VEssai d^anatomie en tableaux imprimis. Ouvrage unique, utile et nicessaire aux Etudians et amateurs de cette science. Paris, chez Gautier, QuiUau pire etfils et Lamesle, 1746, large fol., 20 plates and text.

The latter work is composed of the first two works. Of the three editions, this one is oftenest met with. It does not contain anything that has not already been given in the two other works, both as to the text and the plates.

A'natomie de la Tete en tableaux imprimis, qui reprisentent au naturel le Cerveau sous difirentes coupes, la distribution des Vaisseaux dans toutes les parties de la Tete, les organes des Sens et une partie de la Nevrologie; d^apres les pieces dissSquSes et priparies par M. Duvemey, etc. en huit grandes planches, dessinies, peintes, gravies et imprimies en couleur et grandeur naturelle, par le Sieur Gautier, seul PriviUgU du Roy pour cet ouvrage; avec des tabUs relatives aux figures. Paris, chez Gautier, Duvemey et QuiUau, 1748, large foL, 8 plates and text.

Anatomie ginirale des Visceres en situation, de grandeur et couleur naturelle, avec VAngiologie et la Nivrologie de chaque partie du corps humain. (Paris 1752) fol. maj.; 24 large plates.

From eighteen plates of this latter book, seven complete human figures can be put together, composed of either three or two plates each. The following four figures can be arranged from three plates each: a female body with vessels and muscles; a male body with the viscera, vessels, and muscles; a back view of a body with the nerves, muscles, and vessels; a skeleton with nerves and arteries. The following three figures can be put together by means of two plates each: a pregnant woman with the opened uterus; a male body with the muscles of face and arms, and the viscera; a skeleton with the mesentery, the diaphragm, and the vessels. The remaining six plates were nt^t designed to be put together.

Exposition anatomique de la structure du Corps humain; en vingt planches, imprimies avec leur couleur naturelle, pour servir de suppUment d celles qu^on a dijd donnies au public. Selon le nouvel art, dont M. Gautier, pensionnaire du Roi, est inventeur. Par le mime atUeur. 1759, MarseilU, chez Vial; Paris, chez Le Roy; Amsterdam, chez Marc Michel Rey. De Vimprimerie d'Antoine Favet a Marseille, large fol., 20 plates and text.

Here, too, nine complete figures can be composed from every two plates, viz., a pregnant woman with abdomen and uterus cut open;

272 ANATOMIC ILLUSTRATION

the profile of a female body; a male body with the blood vessels; a male body with the thoracic and abdominal viscera; the back vdews of two musclemen; three skeletons with representations for the study of the viscera and of neurology. Two plates are unconnected.

Anatomie des parties de la generation de rhomme, et de la femmf, representees avec leurs coulenrs naturelles, selon le nouvel art, joints a VAngeologie de tout le corps Jiuniain, et a ce qui concerne la grossesse et les accoucliemens. Par M. Gautier Dagoty perCy Anatomiste pensionne du Roi. Paris, cliez J. B. Brunet et Demonville, 1773, fol., 8 plates.

These eight plates can be put together into four figures: a male body, a female body, a pregnant woman, and a woman in labor. None of these figures are life-sized.

Exposition anatomique des maux vencriens sur les parties de Vhomme et de la j'enime, et les reniedes les plus u sites dans ces sortes de maladies. Par M. Gautier Dagot\\ pere, Anatomiste pensionne du Roi. Paris, chez J . B. Brunet et Demonville, 1773, f^^- 4 pl^ites.

Two plates represent the male genitals and two plates the female genitals afilicted with the diseases mentioned. The work is of very little value.

Exposition anatomique des organes de Sens, jointe a la Neirologie entiere du corps humain et conjee! u res sur V elect ricitc animate, avec des planches imprimecs en cou leurs naturelles, suivant le nouvel art. Par M. Dagoty pere, anatomiste pensionne du Roi. Paris, chez Demonville, IJJ5, fol., S plates.

Three of the plates arc designed to be composed into a neurologic figure. The other \\\(^ rc[)resent: a cross-section of the skull and the organs of vision, the organs of hearing, the brain, the base of the skull, tongue and nose. The size of the plates is not the same throughout.

Expasiiio)! inuilomiijuc des oy\!^a)ics des Sens, jointe, etc. — animate et Ic sii<^c dc r<n}ic. Par M. Dai^oty pcrc, anatomiste, pensionne du Roi. Paris, rlirz Dcmojivillc, IJJ^, fol. 0 plates.

( )nl\- tlie fir.-t one of I lie plate>^ of the j^receding edition is missing here. In it- [)hn e \vc find a douhle ])late rej)rc>enting jUTpendicuhir sections of two -ivuil-. \vin\ h. indeed are merelx' copies of the upper part of Plate 19 of the J'lxf'o^ilion <i}i(ilo}}}iauc dc hi slrurlurr du corps humain, a re|)resenta- tion of two horizontal iro----ei tion> oi the brain. U[) to page 45, the text i- al».-okitel}' identieal witli that of the preceding edition. On n;iL:e 45 an e\])lanation of tlie la-t three plate- follows the original text. '!1ie al)o\e mentioned edition >hould be ui\en |:>reference over the one • li-(U--ed iiere >iiu e the two newl\' added plates are very poor and c:inn(»t rephu e the (»ne omitted from the fir-t edition.

JACQUES FABIAN GAUTIER D'AGOTY 273

Cours camplet d^anatomie peint et gravi en couleurs par Amaud Eloi Gautier d^Agoty, jUSy expliqui par Jadeloi, Nancy, 1773, large fol.

There is some doubt whether this work, begun by a son of Gautier, was ever finished. The statement, however, that the works on the sense organs discussed above were also edited by a son of Gautier is wrong. His father, who was then still living, is expressly named on the title-page as the sole author.

There is still another colored print by Gautier in large square folio representing the genitals of the well-renowned hermaphrodite Michel Anne Drouart. The main figure is a life-size representation of the abdomen from the imibilicus down to the middle of the upper part of the thigh. In the upper right-hand corner of the print a separate illustration of only the genitals is given, also in life-size. At the top of the print, toward the right, is engraved: Demoniri par if. MetUrude (this should read Mertrud), at the bottom, to the left: Peint et gravi par J. Gautier pensiannaire du Roy.

Gautier edited three smaller prints in quarto representing the same hermaphrodite, whom Mertrud took for an actual hermaphrodite, while most of the other anatomists regarded him as a deformed man, and a few others took him to be a deformed woman. On one of these smaller prints the position of the main figure of the larger print is repeated, while the second one shows a front view of it. The plates are on page 50- 52 of a journal edited by Gautier, which contained, among others, many color prints and also colored copper engravings. The title is:

Observations sur Vhistoire naturelle, sur la physique et sur la peinture, Avec des planches imprimees en couleur, Paris, 1752-55, 4°, 6 volumes. Continued as: Observations periodiques sur la physique, Vhistoire naturelle el Us beaux arts ou journal des sciences et des arts par Toussaint, avec des planches en couleurs par Gautier jUs, Paris, 1756, 1757, 4°, 3 volumes.

The copperplates published in this journal have been compiled and published under the following title: Collection de planches d'histoire naturelle en couleur par Gautier, Paris, 1757, 4°, 3 volumes. In this journal Gautier deals with the art of colored printing, I, 138; concerning which cf. Drouart, I, 61.

A colored print in folio after Gautier's method represents a child with the thoracic and abdominal cavities oi>en. The order of the viscera is reversed from right to left. A short description is engraved upon the print and also the signature Sue delineavit et Sculp. This Sue can only refer to Jean Joseph Sue The Elder, who is generally called Sue de la Charite. He was bom in 17 10 and died in 1792. He m id

274 ANATOMIC ILLUSTR-ATION

anatomist, and an artist. He himself executed for anatomic demon- strations, a collection of one hundred and ninety-five drawings which his son, with the same Christian name and surname, increased to three hundred and sixty-four. The color prints are kept lighter in tone than Gautier's prints.

In Peter Tarin's Adversaria anatomica de omnibus corporis humani parlibtis; Prima de cerebri ttervortim — dcscripHoiiibus, Paris, 1750, 4°, there are colored copperplates by a certain Robert, a pupil of Le Blon, who printed by means of two colors, red and black, using only two plates.

For color engravings and anatomic illustrations of this kind, see also the following works:

Van Ciool (Joha.nn) : Di' niciiu/e schottburg der ncderloiilsdic kuiislchilders, Graven- hagt, 1750. 17SI, S°. I, ii!-63.

De Laborde (Leon): U'lsloire de la gr,ivurf en maniire noir. Paris, 1839, 8°. pp. 364-91-

Goethe; Farbenlehre, historischer Theil; in his works, LIV, 160-71.

Moehsen: Bildii. pp, 1.11-47.

Haller: 11, 307, 387, 7S1.

Ebcrt: no. Biqa-ijg.

Wcigd: no. 3521, 22, 4924, 6815-17, 17932-34.

[In IQ14. thtre were exhibited in Paris twelve unsigned painted panels which are attributed to Jacques Gautier d'.Agoty. These panels, which measure approxi- mately gr inches in height by 2; inches in width, are doubtless the origins of some of the series of twenty plates which appeared in d'Agoty's Myohgie complitle en rauleur el grandeur niiturdh. published in 1 746. The technique and beauty of treat- ment of certain portions of the twelve panels indicate the hand of the finished artist, and oppose the suggestion tliat they were executed by d'Agoty's son Arnaud as illustrations fur the medical works composed by the latter. These panels were placed on sale and were purchased by Burroughs Wellcome & Company of London,]

E OF Twelve Oil Paintku P,\

ANATOHICAL SlBJKCTS ATTKIBfT.

1 of tbae measures 2.3a meters in height by 0.70 meter in breadth. The delicacy and beauty men's faces show them to be (he work of a finbhed painter. The twelve panels are now in the E Hiitoric^ Medical Museum at London.

EDME BOUCHARDON

Edme Bouchardon, a sculptor and architect, was bom at Chaumont, Bassigny, in 1698. He studied in Paris with Guilleaume Coustou The Younger and later for some time in Rome. After his return to Paris he became a member and a professor of the Academy of Paris. He died there in 1762. He was the author of:

Vanatomie nicessaire pour Vusage du dessein. Paris, chis J. Fr. Chereau, 1741, fol. — NouveUe idUian, Paris, 1802, foL, title and 16 leaves.

In it we find an allegoric copper-title with the preface engraved on the back, fourteen sheets of anatomic prints representing three skeletons, and eleven complete musclemen. In all, the drawing was done by Bouchardon, the engraving by Jacques Gabriel Huquier (b. Orleans, 1695, d. Paris, 1772). The latter also prepared the first edition of the book. Neither from an anatomic nor from an artistic point of view are the illustrations praiseworthy. The muscles, especially, are repre- sented in that enervated, cadaverous condition which is the least suitable for the use of graphic or plastic artists. Everything indicates that unprofitable stage in artistic anatomy where Vesalian influence is weak or already extinguished, and where Albinian influence has not yet made itself felt. The drawing throughout is in the affected French style of the time.

[Bouchardon's portrait was engraved by Jacques Firmin Beauvarlet as a ReceptionsblaU after a painting by Francois Hubert Drouais, Senior; cf. also J. Camandet: Notice historique sur Edme Bouchardon, suivie de quelques lettres de ce skUuaire publiies pour la premiire fois d*apres les originaux. Avec un portrait et un atUographe, Paris, 1855, 8°, of which only fifty copies were made. Cf. Weigel: Kunstkatalog, no. 18259, 20982.]

275

BERNHARD SIEGFRIED ALBINUS

Bernhard Siegfried Albinus was born at Frankfort on the Oder, February 24, 1697, and died at Leyden, September 9, 1770. He began his studies in Leyden and went to Paris in 17 18 to continue them. Later he received a call to Leyden to lecture on anatomy and surgery during Rau's last illness, and, in 1721, was appointed professor of these sciences, to which, anatomy in particular, he devoted himself exclusively for fifty years.

lie was the pioneer of a new epoch in human anatomy, an epoch during which all investigations, and especially those pertaining to osteol- ogy and myology, were carried out with the most perfect thoroughness and exactitude and with all the means then available.

Anatomic representation, too, enters upon an epoch of high perfec- tion during which the mere outward appearance, superficial investiga- tions, or the mere copying of subjects observed prove insufficient. Artistic and faithful representations of the true form and connection of anatomic structures, discovered through repeated comparative studies, are now demanded. What demands Albinus made upon himself in this res|H'ct and how he exerted all his energies toward the conscientious preparation for pul)Hcation of his anatomic illustrations, can best be learned from the preface to the first volume of his Aunotationcs academicae and from a (ontroversy between himself and Pieter Camper over the making of his illustrations. His reply to Camper's criticism, given in detail in the eighth \olume of the Ajuwlationcs academicae^ is also an exact description of the processes used l)y him and by the artist in the ])ro(kiction of his illustrations. A person familiar with the methods and needs of the graphic and j)histic arts, could from these two writings and ai>o from the prefaces to all his larger illustrated works, furnish a (Iclailcil and most in>tructi\"e treatise on the methods of anatomic illustration. Here a few suggestions must suffice:

Kr.MiTr [u>n ad ail-juniuni. qui mo- est. sod o\ nu'iisura; rccidcrc quod natura opiiiiM ovu-ndit  : ri'd-k-rr. aon ul solciU anaionii^i. sic solummodo sub adspectu '>iMoriv pniundo. <|Uod roioxiicrunt . si-d c\ alii- alii>qiic corporii)iis coUigcndo et in iiiuiin ad ri-i:ulain i onij^oiu-ndo. >ii ul \t.Tiia> cxhibraUir, ftc. Kgo sic exislimo. (juod uaiura lahrivaia r-i . uo-vlto \\)kMuil)iis <.-.\hil)rnduni sine depravalione, per- s|>icui\ n-inoiis inipcdinu-nii- ct. t|Uod i\tc caput rci sit. cum quodani judicio, inque taut a naturae \arictatc dcli^vndani naturani o|)liinain, clc. Satis non est, quamvis

BERNHARD SIEGFRIED ALBINUS 277

aliquid sit, corpiis diligenter rimari, ejiisque compositionem retexere, instar fabri dissolventis cum cura aedem: sed quemadmodum architectiis structuram penitus cognosdt, sic perspecta constructio corporis habenda. Satis non est, quaerere, investigare, notare, cognoscere, proferre ut eruere potueris: sed perspecta delectaque redigenda ezhibendaque definite et distincte, etc. Laudo artexn, quae plenius exprimat, planeque et dilucide. Fatentur, qui intelligunt, difficilem esse naturae imitationem: quo minus negligas, quibus imiteris melius. Laudo magis, quae elegantius exprimat, etc. (Acad, annoU., Lib. I, Praef., pp. 7, 11, 13, 14.) Neque icon ulla ex solo adspectu ducta est: omnes mensuratae simt, aut ex intervallo infinito, architectorum more, quemadmodum pleraeque : aut ex intervallo quadraginta pedum per dioptras, quod infinito in his respondet, ut icones sceleti, in quibus deinde ut in fundamento musculi inscripti sunt, et ubi sceleti non suffidebant, musculi mensurati sunt ex intervallo infinito, ac deinde aliquantum in se adductiores (verkUrzt) redditi, ut poscebat distantia a centro. Ossiaila autem auditus mensus est artifex parvo optimoque circino, cujus extrema acutissima erant, etc. Elegique quantum potui positum, ubi adductionis ratio minima sit, elegi, ut, quum vitari adductio nequeat, occurrerem imperitis, quos plurimos esse scivi, etc. {Acad, annott., L. VIII., pp. 30, 50.)

"To reproduce, not free hand (according to the view), as is customary, but from actual measure: to reproduce what the best in nature displa3rs: to reproduce, not as the demonstrators of anatomy generally do, by merely placing before the eyes of the artist what they have uncovered, but by collecting (data) from one body after another, and making a composite according to rule so that the actual truth will be displayed, etc. I am of this opinion, that what Nature, the arch workman, which b generally the source of ever3rthing, has fashioned must be sifted with care and judgment, and that in the endless variety of Nature the best elements must be selected. Then it does not suffice, though this, to be sure, is something, to search the body and reveal its composition like a carpenter dismantling a house with care, but just as the architect knows the structure through and through; in the same way we must thoroughly acquaint ourselves with the construction of the body. It is not sufficient to search, ferret out, take notes, become familiar with things and publish what you have been able to unearth in your delvings, but you must first know your material thoroughly and then exercise selection in reducing it and displaying it in a definite and clear manner. I have conunendation for that art which expresses nature fully. Those who know admit that it is no easy task to imitate nature: the less you neglect this, the better you will serve the interests of those for whom you imitate. I have more conunendation for that art which reproduces with discrimination, etc. {Acad. annoU.)

"And not a single picture has been drawn free hand. All have been measured, brought down to scale, either from an indeterminate distance, as the architects do, a method which has been followed in most cases, or from a distance of forty feet through diopters which corresponds to an indeterminate distance in such cases, as for example, the pictures of the skeletons, upon which finally, as upon a ground plan, the muscles have been drawn in. Where the skeletons were not large enough the muscles have been measured from an indeterminate distance, and finally repro- duced, somewhat shortened as the distance from the center required. The tiny bones of the ear the artist measured with a very small and perfect compass, the

2J& ANATOMIC ILLUSTRATION

points of which were particularly sharp. I have chosen, in so far as I was able, a. position where the matter of shortening would be reduced to a minimum, in order that, since the shortening could not he altogether avoided, I might meet the needs of the inexperienced, who would, I knew, be many."

He, by the way, expended twenty-four thousand florins of his own money on his illustrations. (Acail. anno/l., L. Ill, p. 73.)

Albinus' figures were drawn and engraved by Jan Wandelaer (b. Amsterdam 1690, d. Leyden 1759) who was a pupil of Folkema, Guiljam van der Gouwen and Gerard de Lairesse. He had done some work for the anatomists Friederich Ruysch and Arent Cant and began to work for Albinus in 1723. Albinus fully appreciated this artist's merits.

Is omnia et vere accuraleque exprcssil ct magna subtilitatc artis. Exprcssit minima quaeque et, quod difficillimum est, ipsum, quantum forsan in hac arte, habitum. Eoque melius, quoct idem puichre el delineal et quod etiam majus est, imagines in acre ad res ipsas ducit. Has aulem icones (ossium foetus) ad ipsa ossicula incidit. Qua propter non modo nihil sx imitatione deminutae sunt, ul dcminui solent, quae ad delineatam formam inciduntur, scd longe etiam exquisitius imagines lis cxprlmutitur, quuniam deUncare nemo potest, quae ad res ipsas taUs ariitex incidere, etc. Omniaquc me ducc expressit atque nihil nisi quod aniea plane intellexisset, etc. (Preface to his lean. 01s. fed., p. j.)

"He has reproduced everything with truth and accuracy and with a marvelous refinement of skill. He has reproduced all the smallest details and what is most dilTicult, the very appearance, in so far as that art could. Still belter is the fact that he draws beautifully and, what is even more important, draws the pictures on copper after the objects themselves. These pictures, moreover, of the bones of the embryo, he has cut after ihe little bones ihemselves. For this reason nol only have the engra\-ings nol been reduced at all, as is the case with those that arc cut after a pic- ture, but these pictures arc far finer than those, since none can sketch as well as such an artist can cut with the objects themselves tor his model. He has reproduced ever>lhing under my guidance ,ind nothing ihal he haci nol first thoroughly under-

liut must in.-structi^ e iin this point is .\!l}inus' preface to the large work, Tahulite srcleli. etc., where he points out the ingenious contrivances used in the drawing of the (skeletons and the musclemen. Two nets, as large as the skeleton itself, and divided into st[uares, were placed in front of the skeleton in such a w;iy that one stood very close to it. and the other, with square^ ten times as small, about four Rhenish feet away from the lirst. The artist . from his observation of the whole, placed himself at a distance of forty feet from the object. In order to see such parts of the whole as could not be (Uscerned accurately enough at such a distance, he could come up to them as closely as he chose and owing to the net with the larger squares, which stood immediately in front of the skeleton, he was enabled to draw such details in proper propor-

BERNHARD SIEGFRIED ALBINUS 279

lions to the whole. These contrivances, the details of which should be read in the passage dted above, had been suggested by 'sGravesande, professor of physics in Leyden. Albinus guided the artist in all his works  :

Atque ita formandus a me ducendusque et plane regendus fidt, tanquam si ejus ministerio figuras ipse efficerem (Preface to Tabulae scelelt). Hoc scio, incredibilem operam a me insumtam, ut formarem duceremque, ad quam redire nolim nulio adducendus pretio, etc. £t si quis videat delineationes, praeter accuratam rerum definitionem neque umbras inveniat, neque quicquam cohaerens et absolutum; ut mirentur artifices, ad tam imperfectas delineationes tabulas efficere potuisse et quidem absque corporibus hominum: mirentur magis absque delineatione absoluta transferre in aes sic statim potuisse (Acad, annott,^ L. VIII, p. 65).

"And so he had to be trained and guided and practically directed by me as if I were myself making the pictures, using him as a tool.

" I am aware that I took upon myself an incredible task of training and guidance, one that no amoimt of money would induce me to go back to. And if anyone should see the pictures, besides the acciuxtte definition of things he would find no shadows and nothing coherent and complete, so that artists are astonished that he could have made the engravings after such unfinished pictures and that, too, without bodies: they would wonder more that without the finished picture he could work directly on the copper."

On the other hand, Albinus praised the artist most highly everywhere and defended him, especially against Pieter Camper who was prejudiced against him:

Cujus (sc. Wandelaarii) ego saepenumero miratus sum animum, patientiam, constantiam, qid alioquin acer, nunquam ab hyemali ilia contentione (anatomic drawing in winter) discessit, nisi hebes redditus tardusque et languidus, plerumque etiam corpore aeger {Acad. annoU.y L. I. Praef. p. 8).

"I have often wondered at his spirit, his patience, and his resolution; he is more- over ardent and never without a certain intjpetuous eagerness of effort."

With regard to the accessories to the first twelve plates of the Tabulae scdeti et muse., which Camper had criticized, Albinus points out that the artist himself suggested them to improve the figures and that he did not by any means choose them arbitrarily as Vesalius and Bidloo had done.

Colore quodam circa figuras indigere se contendebat (Wandelaar) eumque colorem in res distinxit, quae parergon efficiant. Ob hanc praecipue caussam parerga adjecit, quae adeo non noceant figuris, ut eas potius juvent. Sic lumen figurarum se custoditurum contendebat: nam si spatium circum figuram interque partes eanmi album sit, limien figurarum frangi. Sic effecturum, ut nihil durum sit, etc. Parerga in tabulis sceleti leviora esse, quam in tabulis musculorum, ut respondeant levitati sceleti, soliditati musculorum — ^leviora esse circum imagines, insigniora in locis distantioribus, ut res poscat {Acad, annott., L. VIII, p. 17).

• • He (Wandelaar) maintained that he required a certain color around the pic-

tures and, to this end, he tinted the parts that make up the ornamental frame. It

28o ANATOMIC ILLUSTR.-VTION

was for this reason particularly that he added the ornaments, which, fat from harm- ing the piclyres, are actually a help. He maintained that, in this way, he would pre- serve the proper light of the pictures, for if the space around the picture and between the parts >hould be white, tht light of the pictures would suffer. He said that thb means would insure that nothing would be harsh. The ornaments in the pictures of the skeleton are lighter than in the pictures of the muscles, corresponding to the lightness of the skeleton, ihc solidity of the muscles— they are lighter directly around the pictures and more conspicuous in the more distant places, as expediency demands."

That is why these figures, although composed of many separate parts, appear as a whole and seem to be stepping out of the picture, if you look at them through your hollow hand from a distance of three to five feet. This is especially true of the skeletons. With figures surrounded by blank spaces (as for instance Genga's, p. 254) the light is refracted and the shadows become harder so that the whole as such, and the details lack distinctness. {Ibid., p. 18.)

Besides the works by Albinus which have been mentioned in the articles on Vesalius, Euslachius, and on the anatomic colored copper- print, mention should also be made of the following:

Illsloriii musculorum Jtomhtts. Leid. Baluv., apud Theodor. Haak el Ilcnr. Mulhoiium, 1734, 4°, fig*) pp., including S plates in 4°.

l"he plates contained in this work were drawn and engraved by Waniiclaer, as we learn from Albinus' preface. The piates themselves do not bear the name. They represent the hand of a man of particularly beautiful build, in life-size, with all the muscles, tendons, ligaments, and bones. There arc four finished plates, each one accompanied by an outline-plate ujion which the reference letters are engraved. Both the drawing and the engraving are done most excellently. The latter is slightly harder and colder ihan in the later works. The edition, Editio alterti nolis autla, Fraucof. ft Lips., sumpl. Toh. Giibhurdl, 1784, 4°, contains inferior reprints of the.'ie eight plates in the original size.

lamra i>s.'<iuiii foetus Iniimiiii. Acccdil oslcogcniac hrevis historia, Leid. Biiliiv.. apud Joli. el IJerm. Vrrbcek. ijt,j, 4°; 4 and 164 pp. and ^2 copijcrplates.

These plates are also engraxed by Wandelacr. The illustrations were engraved uixm the plate-* directly from the prc])aralions. The first bears (he signature: .7. Wiuidi-Uittr omucs ad cxenipluria in aes incidil. The other plates are not signed. There arc altogether sixteen finished plates, containing a total of one hundred and sixty-three representations. Each one of these plates is supplemented by an identical outline-plate containing the same figures with letters engraved upon them. The

BERNHARD SIEGFRIED ALBINUS 281

different bones are reproduced with an unsurpassed fideUty and delicacy. The entire skeleton is missing. At the end of his preface, Albinus promises to see to it that only good prints are published and that the plates are not given away to anybody, to prevent the making of inferior prints for the sake of pecimiary gain.

Tabulae sceleti et musculorum corporis humani, Lugd. Batav,, ap. Jo, et Hermann. Verbeek, 1747, large fol., 6 and 41 printed leaves, 40 copperplates.

All the plates are drawn and engraved by Wandelaer as the signature on each one of them indicates. The first three plates are finished repre- sentations of the skeleton and are each accompanied by an outline-plate of the same size. The following nine plates represent complete finished musclemen; each one is again given an additional outline-plate. The fourteen plates following these nine represent special muscles and parts of muscles. Each one of the very numerous figures on each plate is supplied with an outline-drawing unless the letters are engraved directly upon the finished figures. The skeleton plates are numbered 1-3 and are all double, the myologic plates are numbered 1-25 of which the first nine are double. This would give altogether twenty-eight plates with the first twelve double, or a total of forty copperplates. Ebert, no. 360, should be corrected accordingly. The first twelve plates, representing entire skeletons and musclemen, are provided with elaborate accessory work. The title contains a vignette by Wandelaer. This book is Albinus' principal work.

Tabulae VII. uUri mulieris gravidae cum jam parturirei mortuaet Lugd. BcU., ap. J. et H. Verbeek, 1748, large fol., 7 copperplates.

Tabularum uteri mulieris gravidae appendix T. L; iWrf., 1751, large fol. I leaf; together 8 leaves with engraved explanations.

These present on seven plates in life-size the uterus, far advanced in pregnancy, and the fetus, and on an eighth plate the fetus alone. They are both without any printed text.

Tabulae ossium humanorum. Leidae, apud J. et H. Verbeek^ i7S3> large fol., 70 copperplates.

Two of the seventy copperplates contain the title and the preface. The remaining plates are thirty-four finished coppers and the thirty- four corresponding outline-plates with letters and explanatory text. On the first plate is engraved: /. Wandelaar omnes in aes ad ossa ipsa incidit, 1727 et seq. This book is a continuation of the Tabulae sceleti and contains life-sized representations of all the different bones of the adult himian being, done with the usual exactitude.

ratio;*

BERNHARD SIEGFRIED ALBINUS 283

Tabula vasts chyliferi cum vena azyga, arieriis intercostalibus aliisque vicinis partibus^ Lugd, Bal., apud /. el H. Verbeek, 1757, large fol, I copperplate and i leaf of text.

This is a life-sized representation of the thoracic duct in its entire course and consists of one main figure and three subordinate figures which were all directly drawn and engraved upon the plate by Wan- delaer. Besides the accompanying text, explanations may also be found in Acad. annoU., L. IV, p. 38 el seq.

Academicarum annoUUionum libri I-VIII. Leid,^ apud J, el H. Verbeek, 1754-68, 4**, 2 volumes with 37 copperplates.

This is a miscellaneous treatise pertaining to anatomy, physiology, natural science, surgery, etc. On some of the plates, twenty-eight of which belong to the first and nine to the second volume, Wandelaer's name is given.

Engraved copies of Albinus' plates can be found in Pierre Tarin's OsUographie, Paris, 1753, 4**, and his Myographies Paris, 1753, 4**. Others representing three skeletons and three musclemen may be found in John Brisbane's A nalomy of painting, London, 1 769, fol. Imitations turn up in many of the later works on scientific and artistic anatomy.

Jacob Houbraken and Johann Jacob Haid engraved a portrait of Albinus in copper, after a painting by the younger ELarel de Moor. Original drawings done by Wandelaer for Albinus are in the possession of the Medico-Chirurgical Academy of Dresden.

Van Gool (Johaiin): De nieuwe schouburg dcr nederlatUsche kunsischilders, Gravenhage, 1750-51, 8®, II, 169-78. Moehsen: Bildn., p. 124. Haller: II, 126. Ebert: no. 359-65.

PIETER CAMPER

Pieter Camper, physician, anatomist, and naturalist, was born at Leyden, May it, 1722, and died at The Hague, April 7, 1789. Initiated into the domain of the graphic and plastic arts at an early age by the elder and the younger Karel de Moor, he studied medicine at the University of Leyden and obtained his doctor's degree in 1746. In 1748, while on a journey through England, France, Switzerland, and Germany, he was offered the professorship of anatomy and surgery at the University of Franccker. He took this position in 1750. In 1752, he was in London and here he made the drawings for several plates for Smellie's Set of anatomical tables, dealing with obstetrics. In 1755, he was appointed to the professorship of anatomy and surgery at the Athenaeum of Amster- dam; with this he combined the professorship of medicine in 1758. But very soon after, in 1761, he resigned from these positions and withdrew to his villa at Klein-Lankum near Franecker. In 1763, however, he became professor of anatomy, surgery, and botany at the University of (ironingen, and these positions he held until 1773, when he retired to live in Franecker. In 1 776 he was in Paris, in 1 779 he traveled through a part of Germany, staying especially in Hamburg, Hanover, and G()ttingen, and in 1780, in Berlin. In 1785 he made a second journey to England and in 1787 was again in Paris. Later, he lived in The Hague and, as a member of the Council of States, was obhged to spend the remainder of his life there.

We have from his |)en a very large number of smaller articles on the most widely differing subjects of medical science, such as anatomy, surgery, obstetrics, medical jurisprudence, veterinary surgery, zootomy, and natund hi>t()ry. .Vmong them are ten crowned prize essays. He made allemi)ts also in various branches of the graphic and plastic arts. \'cry earl\- he IkkI done oil painting and had turned out a great many Irawings in India ink and charcoal. Later he tried his skill also at pa>U'i {)ainting, etchinu;, and mezzotint. At the age of fifty he took in>triKli()n from /iesenis in sculpture and made a marble copy, after (JiR>n<)i. o{ the head of a child. He also lectured on the graphic and l)la>tic arts and on artistic anatomy at the Athenaeum in Amsterdam and is e\ en <ai(l to JKue .studied the theories of architecture, of which assertion proof is repeatedly gi\en in his treatise on the beauty of form {11 ct Gcdaantcschooii ) .

PIETER CAMPER 285

In particular he made many anatomic drawings which are, there- fore, often foimd in collections. They are all graceful and bold in design and, by sparing use of cross-strokes, are characteristically crosshatched. Especial attention has been paid to a careful differentiation of the tissues.

Of his many writings, only the following concern us:

DisserL inauguralis de visUy Leiden, 1746, 4^. — Diss, inaug. altera de nonnuUis oculi partibus, Leiden, 1746, 4^.

The second of these writings, which has also been inserted in Haller's DispukUiones sekclaey contains, among other illustrations, a fine repre- sentation of the canal of Petit at the equator of the lens capsule.

Demansiratianum anatomico-pathologicarum liber primus, cotUinens brackii humanifahricam el morbos, Afnstelaedamiy apud Joann, Sckreuder el Petr. Morlierjun., 1760, large foL; 6 and 22 pp. and 3 copperplates. — Liber secunduSj cotUinens pelvis humanae fabricam ei morbos, Amstel,, ap. eosdem, 1762, large foL, 6 and 24 pp. and 5 copperplates.

This is Camper's larger work and is particularly valuable. Treat- ing, however, mainly of anatomic, pathologic, and surgical matters, it is of only partial interest to our discussion. These two books, which were not followed by any continuation, contain five finished coppers of which the first, the third, and the fourth are supplemented by a linear plate with references and letters. The fifth plate has a few outline figures besides the finished representations. All the representations were drawn by Camper himself and were engraved by Jacob van der Schley (bom at Amsterdam in 1715, died there in 1779). The repre- sentations are nearly life-size and were designed for the practical use of surgeons. A third book had been planned to contain a representation of the base of the brain and the origins of the nerves, but was never published.

Epistola ad anatomicorum principem, magnum Albinum. Groningae 1767, 4^

This is the letter which caused the rather bitter controversy which we had occasion to mention in the article on Albinus. Camper held the opinion, previously expressed in his preface to the above-mentioned work, that anatomic subjects should not be represented in perspective but architecturally, i.e., they should not be drawn as seen from one point of view, but as if the perpendicular visual axis struck each single part of the subject from the same distance. The plates by VesaKus, Eus- tachius, Cheselden, Albinus, and Haller, were all perspective representa- tions, in contrast with this view.

286 ANATOMIC ILLUSTRATIOX

Verhandeling over Itet nalurlijk verscliil der wezenslrekken in Menschen van onderscfieidene Landaart en Ouderdom, over bet Schoon in aniijke beelden en gcsneedeve Sleetien, gevolgd door eeti voorslel van eene nieuwe manier om lioofden van allerleije menschen med zekerheid te lekenen. Na des Schrijvers Dood uiigegeven door zijnen zoon Adrian Giiies Camper, Utrecht, bij Wild en Allhrcr, 17Q1, 4°. — French by Denis Bernard Quatremere d'lsjonval, Utrecht, chez les memes, 1791, 4°. ^German by Samuel Thomas Soemmerring. Berlin, Voss, 1792, 4°, with 10 copperplates.

This work deals with the difference in the features of people of dif- ferent countries and of different ages, and with the beauty of classic sculptures and cameos. It contains also the .suggestions of a new way of drawing to assure success in representing the heads of all kinds of people and was first planned by Pieter Camper in 1768. In 1772 he made certain additions and, in 1786. completed it, in the form in which his son published it. But the chapter on the characteristics and the character of classic statues, coins, and cameos is missing; and the mark- ings and explanations of the figures on the last nine plates had to be added by another person. This small publication, nevertheless, con- tains the most valuable investigations on the mathematical structure of the human head (on cephalometry) and, of all his writings, was most instrumental in making Camper's name famous, since Camper's so-called facial line, or, more correctly, facial angle, was described for the first time in this book. The book also contains ten copperplates, drawn by Camper and engraved by lieinier Vinkeles, all in outline without cross- hatching. The French translation contains copies from the original plates. The German translation has prints from plates faithfully re-engraved by Daniel Berger. In this latter translation are also several annotations by Soemmerring. Camper's preface on his studies of the graphic and plastic arts is very instructive.

Redrjoeringen over de wijzc om de verscheidene hartstogten op onze u-ezeiis te vrrbrcldcn; over dc verbaazende avercenkomst lusschen de vier- voetige dieren, dc vo?,cien, de visschen en den ttiensch; en over het gedaanle- sclioon. Gchouden in de Tekcn-Academie te Amsterdam. Uitgegeven door zijnen zoon A. G. Camper, Utrecht, bij Wild en Altheer, 1792, 4°. — French^ Utrecht, 1792. 4^.— German by G. Schaz, Berlin, Voss, 1793, 4°, with 11 copperplates.

These lectures on the methofis of representing the different passions in the human face; on the astounding similarity between quadrupeds, birds, lish, and man, and on the beauty of form, were given at the

PEETER CAMPER 287

Academy of Graphic and Plastic Arts in Amsterdam/ in 1774, 1778, and 1782. Only incomplete fragments of the same, with a number of sketches, were found after Camper's death. From these fragments the text for this edition was compiled and was then provided with explanatory outline drawings. The original Dutch edition contains also a portrait of Camper by Reinier Vinkeles. These same lectures may also be foimd in French, supplemented by illustrations, in the third volume (pages 297-421) of the following work:

(Euvres de P. Camper, qui ant pour objet Vhistoire naturdle, la physi- ologic ei Vanatomie comparie. Vols. I-III. Paris, chez H, J. Jansen, 1803, 8**. — Planches pour les csuvres de P. C, qui ont pour objet, etc. Paris, 1803, fol.

The atlas contains an engraved portrait of Camper done in stipple by Barthilemy Roger and thirty-four copperplates in folio engraved by Euphrasie Picquenot, by Reinier Vinkeles, and by others whose names are not given.

In the following collections none of Camper's works mentioned here- tofore is given.

Peter Campers SdmmUiche kleinere Schriften die Arzncy-Wund- arzneylunst und Naturgeschichtc betrcfend, Mit viclcn neuen Zusdtzen und Vermchrungen des Verfassers bereichert von J. F. M. Herbcll; Vols. I-III, Leipzig. S. L. Crusius, 1784-90. 8° with copperplates.

Petri Camperi Dissertationcs decern, quibus ab illustribus Europae, praecipue Galliae, academiis palma adjudicata. Cum tabulis in acre expressis. {Edid. J, F. M. Herbell.) Vol. I, II, Lingae, sumtibus F, A . JiUicher, 1 798-1800. 8**.

Two fine osteologic sheets (representing in several figures a diseased bone of a child, the skull seen from below, and the foot) drawn by Camper and engraved by Reinier Vinkeles, bom in Amsterdam in 1741, may be found in J. F. Blumenbach'sGe5c/ric/r^ und Beschreibung der Knochen, Gottingen, 1786, 8**. They were engraved in 1780.

Eight years before his death. Camper himself edited a list of his writings published up to that time under the title:

Historiae litterariae cultoribus S, P. D, Petrus Camper, Harlingen,

i779> 4^ 8 pp.

A biography of Camper was written by his son Adrian Gilles Camper in Dutch, an abstract of which may be found in the translation of the work on the passions prepared for publication by Schaz. A biography in French may be found in (Euvres qui ont pour objet, etc.. Vol. I, which

288 ANATOMIC ILLUSTRATION

also has the two Elof^es written by Vicq d'Azyr and Condorcet. An abstract of these biographies is given in

Rocland van Eynden en Ad. van dcr WilHgen: Geschiedenis der vater- landsche Schilderkunst sedcrl de heljt der XVIII Eeuw., Haarlem, 1816-40, 8°, I, 163; with portrait.

Stephen Maurice I'alconet made a bust of Camper in marble. Reinier \'inkeles (1741-1816) drew and engraved his portrait. The other por- trait of Camper by Koyer has already been mentioned.

Halk-r: II, 305. 7S1.

Ebcit; no. 34;4-ji.

Wi'igi'l: no. 35i;t>. 8454. iSj6d-6j.

ALBRECHT VON HALLER

Albrecht von Haller, botanist, anatomist, and physiologist, became the foimder of a new epoch in these sciences through his many very exact investigations in nature and through his numerous works of lasting value. He was a man of untiring diligence and admirable sagacity, great and unequaled in all that he undertook. He was born at Berne, October i6, 1708, His first teacher in anatomy was J. G. Duvemoi at Tubingen. Later instructors were Boerhaave and Albinus in Leyden, James Douglas in London, Winslow in Paris, and others. In 1736, he became professor at Gottingen. On account of his poor health he reluctantly resigned this position in 1753, and went to Berne, where he became magistrate, holding this position until his death, December 12, 1777.

With the many scientific corrections which Haller was able to present to anatomists, owing to his exact investigations and to his studies under Albinus, he was bound to make pictorial representations of anatomic preparations the main object of his care. His illustrations are therefore very numerous. They are very clear, vivid, highly exact, and artistic. The greater part of them had been scattered through his many writings and these were later collected by Haller himself under the title:

Opera minora anaiomici argutnenti, emendaia, aucia et renovaia^ Vols. I-HI, Lausanne, 1762, 1766, 1768, 4°, with copperplates. Haller himself esteemed this work and his Icones, discussed farther on, as among his best productions.

Above all, however, mention should be made of a collection expressly emphasizing perfect pictorial representation of anatomic subjects, a collection which Haller prepared during his best days of activity, aided by competent artists, viz. :

Icanes anatomicae, quibus praeciptMC aliquae partes corporis humani delineatae proponunlur ei arteriarum potissimum hisloria continetur, GoUingae, apud vid. B, Abrami Vandenhoeck, 1756, large foL, with 47 copperplates.

The book was begun in 1743 when the first Fasciculus was published. This was followed by seven others in 1745, 1747, 1749, 1752, 1753, 1754, and 1756. In 1756 the above-quoted common title was given to the whole. The last four plates of the work, representing the arterial system of the whole body and consisting of two finished and two outline

289

2 go ANATOMIC ILLUSTR.\TION

plates, are twice as large as the others. The engraving of all the plates is strikingly clear and done with the graver. C. J. RoUinus, doctor of medicine, is named as the artist who drew the plates in the first books. As the artist of the other plates Joel Paul Kaltenhofer (d. 1777) is given; he also engraved most of them. The other engravers are George Daniel Heumann, court and university engraver at Gottingen (1691-1759), Jacob van der Spyk of Leyden, J. C. Schrader of Gottingen, Michael Rossler of Nuremberg, J. C. G. Fritzsch of Hamburg, and Carl Sepp of Amsterdam. The order of the subjects is purely accidental, depending upon the author's occasional necessities of making some accurate dissec- tions of certain organs. Besides the general views of the system of the arteries of the whole body, as given in the last four plates, various other plates represent on a larger scale almost all the arteries of special sites and organs, on a larger scale, with the surrounding parts. Then there will further be found special representations of the diaphragm, the spinal cord, the uterus and its appendages, the omentum, the base of the skull, and the heart. This work will alwavs remain the main source of informa- tion for accurate anatomic studies, especially of the arteries and the viscera.

But in still another respect, Hallcr has become important. Thanks to his habit of reading much and reading accurately, and of taking notes on the value and the contents of every book he read, a supply of literary resources accumulated which, known as the Bibliolhecae ol Haller, com- prise ten stout quarto volumes. Three of these Bibliotliccac, those on botany, anatomy, and surgery, he compiled himself during his later years. The fourth, on internal medicine, was hnished after his death. They contain the most exhaustive and most thorough information on the writings of all times and all nations in these fields, including also the older nianu^cripts and articles {)ertaining to these subjects, found in collections and ])eri()(licals. all of them treated with astonishing complete- nc>-. iiie i)C-^t amonu these works are those on botany and anatomy, the >ubiert> in which Mailer hinisclf accompli>he(l so much. One of the chief ^our( L'^ of hi-toric information in connection with our discussion wa^ hi>

Hil>linll!(\i Di'ilowKii. qu<i sen Md dd d}uilome}i cl pliysioloi^icnu faci- I'lilid ■/ rd'inii niiiiis rccoisoilu)'. I'ols. /. //, ri'^nri. 1774. 177^. 4^.

J lie -ccond \"oiume of the Bihliolhcid dudtomicd was later given anotluT nilc with the vcar 1777 i'^ order to further its sales. On this ialter title it i- ^aid that the hook enumerate> all the books published up to 177^). lUit a- to the hitter }ear, thi< a->ertion is only partially true.

ALBRECHT VON HALLER 291

The title cited is the more correct one. This considers all the publi- cations up to 1774. Such editions as the author himself had looked at he marked with an asterisk. Non omnia certe vidU ipse in labore immenso tiresque super ante morkUes, quae dixU ea siuduU vera fide dicer e. C'He has assuredly not seen everything in a labor so inmiense and too great for human strength, but what he has told he strove to tell accurately")) he says himself of this work (II, 216) where he gives a description of his life, as far as it influenced anatomy. This work is therefore important also for the history of pictorial representations, although the history of art is not taken into consideration.

Blumenbach: ItUrodudio, pp. 383 et seq.; also his Medicimsche BibHothek, U, 1, pp. 179 el seq.

Ebert: no. 9204-21.

JOHN BRISBANE

John Brisbane, doctor of medicine, was dissatisfied with the way in which anatomy was taught, and asked particularly for a short elegant manual of anatomy, with good drawings, for the use of the graphic or plastic artist and for the general information of the layman. He himself never dared to attempt such a book, but suggested that a scholarly anatomist, a man of good judgment and a highly cultivated mind undertake this task. He sets up as models: Celsus De medicina iv. i; vii. 7, i8; viii. i, and the description of the human organization by Cicero in his Jc natura deorum, Lib. ii. He maintains that the artist has to study anatomy differently from the physician and the surgeon, namely from the point of view of his own art: ^'for tho' physicians and surgeons ha\'e. for a long time, in a manner engrossed the whole business of teaching anatomy, yet painters, statuaries and engravers, should assert their rights, and teach and write upon this science in a picturesque manner, suited to their own art," etc. He also thinks that more than is commonly believed can be accomplished by means of good illustrations, indeed he even holds that good illustrations may often serve the purposes of the artist better than personal dissection. He also presents Albinus^ plates on a smaller scale as models, and, translating Albinus' own words. he describes Albinus' method of procedure. Out of these attempts grew the very rare, somewhat curious, but clever and highly instructive work under the [(allowing title:

Tl/c iUialomy of painfing, or a short and easy introduciion to attatomy; briiii^ a }icij edition, on a smaller scale, of six tables of Albinus, icith their linciir ji Inures: iiiso. a neic translation of Albi)ins\s history of that work, a}id of /lis i)iaex to the six tables: to ichich are added the anatomy of Celsus, icith )ioies, a)id the fyliysioloi^y of Cicero: icith an introduction, giving a short  :'ie:.' of hicturesaue anatomy, London, printed by George Scott, and ^old b\ '!'. ("addl  : /(x). fol.; 22 and 7O pj). and 12 co|)perplates in tol.; between ])i\ S'"^ ^^iid 50 there is \et another unaccounted title.

Tlir j)late^ rcproent three skeletons and three musclemen done on 1 Miiail Male alter All)inus and are all aceomjxinied by outline-plates, o\\ wiiieh ^peeiai parl> are rej)eale!l on a lari^e scale in subordinate figures. The oiilline-]>iates are marked with enL,Ta\ed letters for explanation. The nkites are r)raisewortli\'. both from an artistic and an anatomic

JOHN BRISBANE 293

point of view. Each finished print is ^gned, at the bottom to the left: /. Brisbane Id. D. delin. direxU ediiit. On the first plate, in the lower right-hand comer, P. Benazech is named as engraver (probably Peter Paul Benazech, b. 1774). For the other plates J. Caldwell is given as the engraver (James Caldwell, b. 1739). The text contains a preface and an introduction, an English translation of Albinus' preface to his Tabulae sceleti el musculor., an explanation of the plates, and lastly, under a separate title, the translations of the above-mentioned passages from Celsus and Cicero. A commentary is added to the former.

Halkr: U,663.

Weigel: no. 17766.

ERCOLE LELLI

Ercole Lelli, painter, engraver, stamp-cutter, and modeler in wax, was born at Bologna in 1702, and died there in 1766. The anatomy of man, as far as it concerns the artist, was the object of his particular study. By order of Benedict XIV, he made for the Institute of Bologna an anatomic statuette for the use of graphic and plastic artists. Another statuette of his was regarded as a canon even at foreign schools. The Abbate Farsetti in Venice possessed the smaller original of this latter statuette. Lelli gave instruction in such anatomy as artists needed and later became director of the academy in Bologna.

Anatomia esterna del corpo umano, per tiso de^ pillori e scultori, delitieata ed incisa da Ercole Lelli, con la denotazione delle parti trata da* manoscritti del medesimo. S. 1. et a. fol., 6 leaves.

This was probably published after his death and contains five etched copperplates, representing musclemen, all marked with letters and num- bers for which explanations arc always given on the opposite page. The engraving is poor; the drawing is done in the style of the Caracci. [On Ercole Lelli and anatomic plastic art, cf. Mich. Medici: Delia vita e dcgli scritti degli anatomici e vicdici fwriti in Bologna dal cominciamcnto del secolo XVIII. fino al prcsente, Bologna, 1853, 4° (discorso /, p. 21).]

Wcigel: no. 17778.

MICHEL FR.VN(;OIS D'ANDRfi BARDON

Michel Franc^ois d'Andrc Ranlon, usually called Dandre Bardon, was a pauUcr and etcher, and a pupil of Charles Andre Vanloo, whose biog- rar)hy he wrote. Bardon was born at Aix in Provence in 1700. He bcranu' a member of llic Aiadcm\' in Paris in 1737, and later director of the Academy in Marseilles, i)ut he lived in Paris and died there in 17S3. rk'si<les i)eini^ the author of many writini^s on the theory and history of the i!;raphi(^ and plastic arts, he also published

Triiiii d\iniilo?)uc a rusd'^c dcs Jcinirs pcinircs, Paris, 1770 (1783), fol.

LAMBERT SIGISBERT ADAM

Lambert Sigisbert Adam, sculptpr, was bom at Nancy in lycx). After receiving a prize in Paris he studied for ten years in Rome. He then returned to Paris and, in 1737, became a member of the Academy. He died at Paris in 1759. He was the author of

Planches anaiamiques^ dessinies el gravies par Adam VaifU, sculpteur du Roy^ carrigfes^ augmenUes, reduiUes dans la demiere exacltiude el de plus enrichies de descriptions el de lellres d' indications disignans les diffyrenles parties; par les sains de F. M. Disdier, mailre et professeur en chirurgie, etc. Ouvrage Iris utile pour les peintres et sculpteurs et principalemenl pour les commenqans^ Paris, chez J, B. Crepy, i773> ^^l-J ^5 plates printed on one side, in oblong folio.

The work is composed of an allegoric copper-title, six osteologic copperplates with the explanations engraved on the opposite pages, and two myologic plates without explanations. The title is without address. The first osteologic plate is signed: Suite de Squelets dessinS par L. S, Adam JLainS Sculpteur du Roy; the following five osteologic plates are signed: Dessini par L. S. Adam, Sculpteur du Roy; the last two plates show an altogether different technique and are signed JCF (a monogram) /. et ecc, C. P, R,, meaning probably cum privilegio regis. Adam's plates do not represent complete skeletons, but only skulls, the bones of the forearm and the hand, and the bones of the tibia and the foot. The last two plates are pictures of musclemen with the skeletons drawn inside of them and are, of course, on a smaller scale. On the first plate only one body is represented, on the second plate a group of five bodies in different positions is shown. All nine plates are done in red crayon. The anatomy is praiseworthy. The commentator, Francois Michel Disdier (b. Grenoble 1708, d. Paris 1781), was professor of surgery and also drawing master at the Academy of Painting in Paris.

295

WILLIAM HUNTER

William Hunter, physician anc^ obstetrician of London, was born at Kilbridge, Scotland, in May, 1718, and died at London in March, 1783. He was chiefly interested in anatomy, and as a teacher of this science, he founded, with his own means, an institution for the advancement of that subject and in connection with it formed a large anatomic collec- tion. Of his works, the following may be discussed here:

Anatomia uteri humani gravidi tabiilis illiistrata, auctore Gidielmo Hunler. The anatomy of the human gravid uterus exhibited in figures, by William Hunter, Birminghamiae, excudeb. Joannes Baskervilley 1774, large fol.; 3 preliminary leaves and 17 leaves text, 34 copperplates.

These thirty-four copperplates represent the gravid uterus and its contents in life-size, anatomically exact, and artistically perfect. The text is written in Latin and English in two opposite columns and contains only the anatomic explanations of the plates. The work was begun in 1 75 1 and was originally planned to comprise ten, afterward thirty- six plates. Two plates that had been engraved before were discarded, and thirty-four were published. Plate XVI was drawn by Edward Edwards; Plate XXI by Alexander Cozens; Plate XXII by Blakey; all the other plates by L W. Rymsdyk. The engraver of Plates I and \TI was r>an(,'ois Simon Ravenet; of Plates H and IX, Louis Gerard Scotin; of Plate HI. Thomas Major; of Plates IV and VI, Robert Strange; of Plate V, Johann Sebastian Miiller; of Plate VIII, Charles Grignion; of Plates X, XXVII, XXIX, XXX, Pierre Charles Canot; of IMate XI, Pierre Malcuve iprobai)ly Maleuvre); of Plate XII, J. Mitchel; 01 Plate XIII, Mechel; of' Plates XIV, XVIII, XXIII, XX1\', XXW XXVI n, XXXI. Menil (on Plate XXV the name signed is Manil); of Plates X\\ XXI, XXII. XXVI, Eran^ois Aliamet; of Plate X\'I. Michell: of Plate XIX. J. Eougeron; of Plate XX, Henry Brver; of Plate XXXII. I. W. Rymsdyk; of Plate XXXIII, Thomas Worlid^e; of Plate XXX I\'. (ieorge Powle. In the preface the author praises liis l^rother John Hunter for his assistance in the anatomic examinations. <\\\i\ mentions the men who made the drawings for his plates, <iiso the engravers, particularly the famous Robert Strange V1723 921. These are his words:

20')

WILLIAM HUNTER 297

He owes likewise much to the ingenious artists who made the drawings and engravings; and particularly to Mr. Strange, not only for having by his hand secured a sort of inmiortality to two of the plates, but for having given his advice and assist- ance in every part with a steady and disinterested friendship.

Rudolph Weigel in Ch. Lehlanc: Le graveur en laiUe douce No, II, {Cata- logue de VtBuvre de RohL Strange) y Leipsic, 1848, 8^. p. xv, described the two plates by Strange and mentioned there also that, in 1 784, the London bookseller J. Johnson offered for sale simply the proofsheets at three and one-half guineas^ while they originally cost six. A new edition with impressions from the well-preserved original plates was published in London, by Edward Lumey, s. a. (1815), large folio. Caldani's Icones anatotnicae, Vol. Ill, contains the plates entirely re-engraved in the original size.

The text of this work has been enriched by Matthew Baillie, a nephew of the author, with posthumous manuscripts of William Hunter, and has thus been separately published under the title: WiUtam Hunter^ s Anatomical description of the human gravid uterus and its contents, London, 1794, 4**. Edited by Edw. Rigby, London, 1843, 8**. In German by L. F. von Froriep, Weimar, 1802, 8**.

[The original plates for Hunter's work on the pregnant uterus were acquired by the Sydenham Society, founded in London in 1843 ^^^ dissolved in 1857. From these originals, this society had an edition prepared, not for the book-trade, but for its members only, containing the complete Latin and English text, under the title of the original work. In place of the name of the older firm the title-page read : London: printed for the Sydenham Society , 18 51, Preceding the title on a separate page are the words: The Sydenham Society instituted MDCCCXLIIIy with a bust of Sydenham underneath as the printer's mark. The text is separate from the plates and begins directly after the preface. The plates are litho- graphic facsimiles of the originals, transferred upon stone by a mechanical process in such a way as to reproduce every stroke of the cross- hatching and of the contour in the original size. The numbers of the plates in the upper right-hand comer, the signature, and the names of the artists are lithographed in script. At the bottom are the words: London, Printed by Day and Son, which are omitted from some plates. — With reference to the original see Weigel: KunstkaUUog no, 19320.]

Haller: II, 364.

Von Siebold (Exluard Caspar Jacob): Geschichte der Geburtshiilfe, Berlin, 1839-45, 8**, U, 358, Sec. 133. Ebert: no. 10390. Weigel: no. 17946.

ANTONIO SCARPA

Antonio Scarpa, surgeon and anatomist, was born June 13, 1747, at Motta in the march of Trev^so, and died October 31, 1832, at Pavia. He received instruction in anatomy from Morgagni at Padua and instruc- tion in surgery from Riviera at Bologna. He became professor of these two sciences at Modena. He made a rather extended scientific journey through France and England and later also, in the company of Alessandro Volta, through Germany. In 1783 he became professor of anatomy in Pavia, and later took charge also of the surgical clinic from which he resigned in his decHning years.

Scarpa was one of the most excellent men of his day, inventive, and of untiring diligence. Finer anatomy, especially the anatomy of the nerves and operative surgery, owes to him most vital advancements. He was besides an admirable artist and had studied representation of anatomic subjects in wax under Professor Calza. He himself trained the famous Faustino Anderloni to become the engraver of his illustrations. The latter's ])rothcr, Pietro Anderloni, assisted Faustino in the beginning. His anatomic prints are therefore models of anatomic representation as regards faithful dilTercntiation of the tissues, correctness of form, and the utmost perfection of engraving. They rank with Soemmerring's illustra- tions and c\'en surpass them in respect of the vigor of the engravings.

Lca\ inf^ out of consideration the numerous surgical works by Scarpa, the followinu; anatomic works may be mentioned:

I)r slniiiura jcucstrac roiundac ann's, ct dc lympano sccundario 'ina!onii<'iic ob.scn'iilioncs, Mutinac, apud sociclatcni typographicam, 1772, S*^, with figures.

1 his iias two coj)pcrplates in quarto, drawn and engraved by Antonio iUitalo.i^o in Padua. The second i)late is zo()tomic. This small publica- tion contains exhaustive historic and anatomic investigations on the sul)jcrt. Scarpa was then professor oi anatomy and surgery at Modena.

.\}i<il())nir,ini)}i nniotatioHU})! libcr primus, dc nervorum gangliis el plrxuhus. Muiifhie, iypis iuicrcdum BiirlJiol. SoUtDii, 177Q, 4°, with fiij;ur(\-. Ktliiio iiUcrd, Tiiini rci^ii ct Mcdiohuii, a pud Joseph. Galealium, I jijj, 4', with li^ure.^.

1 hi^ contains two (oppcrplates in lari^e ([uarto folio, being the same in 'hotli rditions and rrprocntinii; the distribution of nerve tibers in the

ANTONIO SCARPA 299

ganglia and the plexus, made perceptible by means of maceration in water. They are drawn by Scarpa (see his Preface) and engraved by Domenico Cagnoni of Milan.

Anaiomicarum annoUUionum liber secundus, de organo olfactus prae- cipuo deque nervis nasalibus itUerioribus e pari quitUo nervorum cerebri. Ticini regii, typis manasterii S. SalvatoriSf 1785, 4**, with figures. — Editio altera, Ticini regii et Medial., ap. Jos, Galeatium, 1792, 4^, with figures.

Two copperplates in quarto folio, drawn by Scarpa and engraved in stipple, the first by Charles Knight of London, and the second by Quirin Mark of Vienna(i 753-181 1). The plates are the same in both editions and represent the position and distribution of the olfactory nerves. To each plate is added an outline plate with letters.

Anatomicae disquisitones de auditu et olfactu. Ticini, in typographeo Petri Galeatii, 1789, foL, cum fig. — Editio altera auctior; Mediolani, in typographeo Josephi Galeatii, 1795, fol., with figures.

Both editions contain the same copperplates, viz., eight finished plates, each with an outline plate with letters. The first five plates deal with zootomic subjects, the last three with human anatomy. They are all drawn by Scarpa. The first two are engraved by Benedetto Eredi of Florence, the third does not give the name of the engraver, but seems to have been done by Faustino Anderloni, whose name is signed xmder the last five plates. This work was translated into German :

Anatomische Untersuchungen des Gehors und Gerucks. Aus dem Lateinischen {iibersetzt von Christian Heinr. Theod. Schreger). Number g, in der Raspeschen Buchhandl., 1800. 4®, with copperplates.

The figures of the original plates are complete and have been re-engraved in the same size. They are, however, of inferior workman- ship. The outline plates are missing, and the letters are engraved upon the finished figures. There are altogether seven plates, since on the sixth plate two were combined. Neither the artist nor the engraver is mentioned.

Tabulae nevrologicae ad iUustrandam Historiam Anatomicam car- diacorum nervorum^ noni nervorum cerebri^ glossopharyngaei, et pharyngaei ex octavo cerebri , Ticini, apud Balthassarem Comini, 1794, large fol., with figures.

This is Scarpa's anatomic masterpiece. It contains seven finished plates, the last of which is zootomic (animal hearts). Each plate is accompanied by an outline plate of the same  ! th explanatory

markings. They are all drawn by Scarpa and a; *■ ino

Anderloni. The figures are all life-size representati

300 ANATOMIC ILLUSTRATION

De pcnitiori ossium slruclitra commetitarius, Lipsiae, sumtibus J. F. Uarlknoch, 1799, large 4°, with figures.

This contains three copperplates drawn and engraved by (Faustino) Anderloni, representing the texture of the bones. Partly zootomic and partly pathologic models of exact representations. Another edition, Placentiae, 1800 (1799), S°, which seems to have preceded this work is mentioned, but that edition appears to have contained no copper- plates, or only a few. It was translated into German:

Vom inncren Banc der Knocketi. Verdeutschl, mil einer Vorrede und eimgen Anmerkungen begieitd von Tliead. Gcorg August Roose, Prof, zu Braunschweig, Leipzig, bei J. F. Hartknoch, 1800, large 4", with copper- plates.

The inserted copperplates are proofs from the original plates. An English translation is: A treatise on the mirmle anatomy of the human bottes, London, 1830, 18°, with illustrations. Later Scarpa published an enlarged edition of this work:

De anatame et palhologia ossium commentarii. Cum labulis aeneis, Tifini. lypis Petri Bizzonii, 1827, large 4°, with figures.

This edition contains the complete commentary- with the three copper- plates. On pages 47 to 136 is given a treatise on callus fo!low-ing fractures, illustrated by two new copperplates drawn by Faustino Anderloni and engraved by L. Miazzi and representing also diseased bones. The entire edition thus contains five copperplates. Compare Vincenzo Malacanie: Auclarium obscr'Mtionum et iconum ad osteologiam et astcopathologiam Lu-diiigii el Scarpae. Patav., iSoi, 8°. The French army surgeon Jean Baptiste Francois Leveille, who as such lived a short time in Pavia and was a friend of Scarpa's, edited: Mcnwires de physi- ologie et de chirurgie prn/iqne, Paris, 1804, S°, in which edition the Comm. de pcnitiori ossium strucliira was also inserted.

EbtTl: no. 2047i-Ki.

SAMUEL THOMAS VON SOEMMERRING

Samuel Thomas von Soemmerring was bom at Thorn on January i8, 17559 and died at Frankfort on the Main on March 2, 1830. He was the son of Johann Thomas Soemmerring, the city physician of Thorn, and from 1774 he studied at Gottingen, having Wrisberg for his teacher of anatomy. On April 7, 1778, he received his doctor's degree there and in May of the same year he set out on a scientific journey to England, Scotland, and the Netherlands, which led to particularly close friendships between himself and William Hxmter and Pieter Camper. In 1779 he became professor of anatomy at the Collegium Carolinum in Cassel, and in 1784 professor of medicine at Mayence. In 1797 he established him- self as a physician at Frankfort on the Main. Between 1805 and 1820 he lived at Munich as a member of the Academy of Sciences and be- came Royal Physician. From 1820 until his death he again lived at Frankfort on the Main, practicing medicine.

As far as pictorial representation is concerned, Soemmerring can be compared to no other anatomist so fittingly as with Albinus, whom he himself esteemed very highly. He aimed, like Albinus, at the discovery of the true and beautiful in the form of every part of the himian body and combined a perfect sense for artistic representation with the most exact perception of details. He endeavored, like Albinus, to have every part reproduced just as it existed in the living body, and not as it appeared after death from the treatment of the anatomist. This is one of the reasons that Soemmerring's pictures have, for a long time, maintained such a strong influence both in anatomy and anatomic illustrations. They displaced all the repulsive, xmaesthetic, and unnatural features so often prominent in earlier anatomic representations by the substi- tution of incomparably better ones. To a very large extent this was due to the fact that Soemmerring was himself a good artist and had been endowed with an artistic sense for the beautiful. This made him careful in his choice of artists, as one may conclude from the number of copper engravers who worked for him.

For the drawing of his plates he had himself trained Christian Kock, a stucco-worker, modeler, and draftsman, whom he had found in Mayence and whom he esteemed highly. Kock was indeed especially gifted for that kind of illustration and knew how to use sepia and pigment, but

30X

302 ANATOMIC ILLUSTRATIO.\

particularly the pencil, to excellent advantage. He turned out most admirable illustrations, unexcelled in purity, certainty, and truthfulness, a great number of which were found in Soemmerring's posthumous works. {Rudolph Wagner: Siimmerring' s Leben und Verkehr,etc.. p. 132.) But Kock caused him also a great deal of trouble, especially when he went to Moscow, where he was very unfortunate and could only return to Munich in 1S09, after great pecuniary sacrifices on Soemmerring's part. In Frankfort, as in other cities, Kock lived with Soeramerring. Kijck died in 1818.

What demands Soemmerring himself made upon anatomic illustration may be best learned from the prefaces accompanying the illustrations of the sense organs. From the preface to the illustrations of the eye:

Whal is the purpose of such an iltustralion? C'erlainly nolhing else than a pictorial reproduction of a single surface of a preparation instead of a demonstration in nature, etc. .Since, therefore, even the beat representation never attains to nature's perfectigninrespeetof minuteness and variation, and since what we show the amateur in place of nature is only a very poor substitute, it seems only fair to demand that everj' possible effort should be made to approach nature as nearly as possible; or at least to reproduce it just as well as possible. It will still be imperfect enough, etc.

To Plate r pertaining to the eye:

I also think that physiologists who can avail themselves of a sufficiently large number of subjects and of ample opportunities to examine them should always select the most perfect and therefore most beautiful specimen for the model of their descriptions. Since the anatomic description of any particular organ, generally speaking, is just as idealistic us the representation and description of thai same organ in a sketchbook, it seems appropriate to follow the same principles in describing it. Just as, on the one hand, we assume that all the works of art representing the human body and claiming ideal beauty for 1 hem^ielves must neeiLs be correct from an anatomic point of view, so. on the other hand, should wo as readily expect that everjihing that the dissector describes anatomically as a normal structure must needs be excep- tionally beautiful. Without hiiving found and esiablisheii such a norm, by means of frequent investigations ami abstractions, one is not even able to decide what cases are deviations from the perfect norm, etc. With this in mind, one is all the more bound to recommend the imitation of the masterpieces of the great Albinus, works of .Viiie perleciion. Very few attained to their height, none transcended it, etc.

Irom the preface to representations of the auditory organ;

We cruieavored ihroUfihout 10 be lailhtii! to the principles of the great .\lbinus, md  :itrove to represent ihe connections between different parts just as they occur in nature, and not to picture anything in any way distorted, dried, shriveled, lorn, or dislocated, and also toselcci only ihai whwh proved to be the most excellent or most perfect specimen among many, in otlier words, the anatomic norm, etc. It therefore remains the izulispen sable duty of the physiologist to find the true norm of the organs and when he really knows them lu demonstrate them to the draftsman who cannot

SAMUEL THOMAS VON SOEMMERRING 303

knpw them without him. In short, it is the duty of the physiologist to replace with the aid of his intelligence, what such a preparation must needs lose of its natural form in alcohol, or through mounting in various positions, etc. The person who cannot trust himself to do this should leave such things alone, etc.

From the Preface to rqpresentations of the olfactory organ:

I always endeavored to be faithful to the principles laid down by the great Albinus and to follow his unparalleled examples, which teach us that, in making a repre- sentation of a norm, we have to let our intelligence detect and remedy such deviations as occur in specimens taken from cadavers, in consequence of death, preparation, or preservation, etc.

From the Preface to the representation of the vocal organ:

In making this plate, I also endeavored to follow the beautiful and unsurpassed examples which Albinus gave us in his representations of the bones, and to reproduce the shapes of these cartilages, etc., architecturally, i.e., viewed from all sides. This puts everybody in a position even to emboss these cartilages without leaving out any of the necessary details and without making any mistake.

If one compares these principles, laid down and maintained by Soemmerring, with all that has been said in the articles on Albinus and Camper, he will at once recognize how Soemmerring trained himself in the sight of these men and under their influence. It becomes also apparent ^that Soemmerring gave preference to the architectural con- ception of anatomic subjects over the perspective, picturesque view. Thanks to this conception, it became possible that several of his pictorial representations could be reproduced plastically. The representations of the eye served as models for reproductions of the eye made in various materials by mechanics. The representations of the ear served as models for reproductions in wax and plaster, those of the base of the brain and the embryo for relief reproductions in wax, etc. Not all these repro- ductions could have been made if his illustrations had not been most conscientious copies of nature and had not complied strictly with the demands which Soemmerring himself made upon them.

Many of these works by Soemmerring contain criticisms of former illustrations of the same subject (for instance the inaugural dissertation on cerebral nerves and the essay on the embryo) and they are, in this respect too, instructive contributions to the history of anatomic illustration.

This same endeavor to furnish clear and living, true-to-nature repre- sentations is also found in all the literary productions from Soemmerring's hand, and to an especially high degree in his principal work: Vom Bau des menschlichen Korpers. Indeed they are the real cause of the great and lasting value attached to this work and of its widespread usefulness.

304 ANATOMIC ILLUSTRATION

Soemmerring's literary activity was very considerable. Only the following are of importance to us :

De basi encephali et originibus ncroorum cranio egredientium lihri quinque. Ciun IV tabulis aeneis, Goettingae, a pud Abr. Vandenhoeck viduam, 1778, 4°; 4 leaves and 184 pp.

This is Soemmerring's inaugural dissertation, written at Wrisberg^s instance, and is of lasting anatomic value. The plates in quarto are drawn by Soemmerring and engraved by Carl Christian Glassbach, Jr., of Berlin. The second is an outline plate, all the others are finished. The last plate is a profile cross-section of the brain, the first three plates are representations of the base of the brain and the nerv^es arising there. Christian Friederich Ludwig: Scriptores nevrologici minores, Lips., 1791-95, 4°, Vol. II, is an enlarged edition of this work revised by the author.

Uehcr die Wirkungcn der SchniirbrUste; with i copperplate, new edition, completely rewritten, Berlin, Voss, 1793, 8°, 84 pp.

This treatise, while pertaining to personal hygiene, contains neverthe- less a great deal of anatomic information and is especially important to us on account of its copperplate in oblong folio, drawn by Christian Kock, and engraved by Daniel Bergcr. 'This engraxdng represents with anatomic exactness the outline as far as the knees of the Venus di Medici, copied from (jerard Audran, the skeleton drawn within the frame outline, the body of a girl disfigured by corsets, and finally an illustration of the deformity of the skeleton due to lacing. The first edition appeared in Leipzif^, i7(S8, 8°, and had no illustration. It contained, however, a second treatise on the same sui)ject by an unknown author and a preface by Christian Ciotthelf Salzmann. This book concerns itself only with the stilT ta])ering corsets which were then in use.

Ucbcr die korperliehe Verseliiedenlieit des Negers vom Europiier, Frank- furt und .\fiiifiz, hei Varrentrapp SoJni uud Wenner, 1785, 8°, 2^ and Si pp.

The fir^t edition of this important book, published in Mayence, 17S4, S, contained no illustrations, but this seccmd edition is said to "ontain i)i( tures on two illuminated copperplates (see Wagner: Samuel llionuis vou Soemnierrifii^s f.eheu, ]). 12). ^'et neither in the title nor in the text is there an\' mention made of these pictures. Only in the i^rel'ace ( p. iS) is it said: '*an(l 1 also add a few drawings which were (lone rather correc tl\' bx" Mr. i\anii;e of Cassel from negroes who are still lixim:;/' The three copies, howe\er, of the edition of 1785, which 1 saw. did not contain any illustrations. A nei^ro colony, founded by the land^raxe of Hesse (/assel in a little village on the Wilhelmshohe near

SAMUEL THOMAS VON SOEMMERKING 305

3o6 ANATOMIC ILLUSTRATION'

Cassel, gave Soemmerring ample opportunity to study and to dissect negroes of both sexes. The results of these studies were published in this book:

Ueber das Organ der Seek; with (3) copperplates, Konigsberg, Friedr. Nicolovius, 1796, 4°, S and 87 pp.

This book is less valuable for its hypothesis asserting that the moisture of the ventricles of the brain is the organ of the soul, than for its exact investigations of the cerebral origins of the ner\-es. The plates, one of which is wholly an outline plate, were drawn by Christian Kock and engraved by Ludwig Schmidt. The first two plates represent an e.vcellent, and even today the best view of a profile cross-section of the brain, utterly different from the one presenteii in the inaugural disserta- tion. The last plate represents the fourth ventricle of the brain opened from above and from behind.

Tabula sccleli Jeiiiinhii jiinrla dcscripiioiic. Trajecli ad .\foe1n17n, aptid Varreiilrapp el Weintcr, lytj?, large fol., 1 copperplate and i leaf of text.

Since Albinus furnished the most perfect and most faithful representa- tion of a male skeleton and expressed his regret that there was no equal representation of a female skeleton, Soemmerring undertook to make such a representation in the corresponding proportions. He went to work most carefully in preparing for this task. Not satisfieii with the female skeletons in his own collection, he selected the skeleton of a well- built girl of twenty years, a native of Mayence, who had once borne a child and whose skeleton had been given over for puqaoses of anatomy. He also procured from Ulumenbach's collection the famous skull of the Georgian woman, which he used for the drawing, by way of comparison with the skull of the above-mentioned girl. No less care was taken in selecting, with the assistance of artists and connoisseurs, the most appropriate posture and the contour of an ideally perfect female body in which the skeleton might be drawn to obsen,*e its proportions. Several livint; bodies were on this occasion compared for the purpose, and Soemmerring did justice particularly to the Mayence beauties. But the \'cniis di Medici and the smaller Venus of Dresden, still more delicate in its proportions, although unfortunately greatly restored, were also used for comparisons. In this way a beautiful representation of a skeleton was pniduced as one must conceive of it in the living body. Christian Rock's drawing of il was necessarily a somewhat idealized one, since it had to represent not an individual form but the most beautiful norm as it was imagined to exist in life, with all the carefully obscrvL-d miniiliac nf the dilTcrenlial se.vual characters of the entire bony

SAMUEL THOMAS VON SOEMMERRING 307

stiuctuie of woman. The engraving was done in Stuttgart by Baehren- stecher under the direction of Johann Gotthard von MiiUer. Later, Kilian had the skeleton of the Mayence woman used by Soemmerring drawn in a life-size and individually faithful illustration for his obstetric atlas.

[A criticism of Soenmierring's illustrations of the female skeleton is contained in the Journal der Erfindungetiy Theorieen und WidersprUche m NaUtr- und Arzneiwissenschaft^ ^797^ ^^- ^4} ^^ answer appeared in

1798, no. 28. A side and a front view of the skeleton of the Mayence girl used by Soemmerring is reproduced in life-size in Hermann Friedrich Kilian: Geburtsktilflicher AUaSy DUsseldorfy bei Arnz (1835), large folio, in forty-eight lithographic plates. Each trio of the Plates I-VI, per- taining to this skeleton, can be put together to form a whole plate.]

Icanes embryonum kumanorum, Franco/, ad. Moenum, ap. Varren- trapp ei Wenner, 1799, large fol., 10 pp.; 2 large copperplates and 2 vignettes.

This work had been planned as an appendix to William Hunter's Anaiomia uteri humani gravidi (see p. 296) and therefore presents the illustration, there missing, of a succession of the embryos in the earlier period of pregnancy and the embryo with its coverings in the later period. No anatomy is given, only the external forms. The artist of these plates likewise was Christian Kock, the engravers were F. L. Neubauer, Hiillmann, and the Klauber brothers. The two vignettes occur on the title and on page ten. This ranks among the most valuable works of Soemmerring and is even today useful and highly appreciated. Both the drawing and the engraving show admirable execution.

Tabula baseos encephali, Franco/, ad. Moenum, sunUibus aucioris,

1799, fol., 16 pp. and 2 copperplates.

This contains an aquatint representing the brain of a three-year-old boy drawn by Christian Kock and engraved by Pierre Michel Alix of Paris (b. Honfleurs 1752). The prints were made in Paris under the personal supervision of the engraver and of the physician Johann Gott- fried Ebel. Copies of the book were provided with the first three hundred impressions of the plates, bare and unlettered. Of the later inferior prints one impression with printed letters was added to each copy, so that the entire edition consists of only three hundred copies, each of which must have one well-imprinted plate, unlettered, and one poorer print with letters. The brain is represented with an unexampled fidelity. The nerves of the spinal cord are less carefully treated than in the author's inaugural dissertation.

3o8 ANATOMIC ILLUSTRATION

Abbildungen des menschlichen Auges, Frankfurt am Main, Varrentrapp und IVenfier, 1801, fol. (Latin by Bernhard Nathanael Gottlob Schreger: Icones ociili Immani, Franco/. , 1804, fol.) ; 10 and no pp. with 16 copper- plates, of which 8 are finished, 7 in outline and one is an illuminated reproduction of Plate V.

This is Soemmerring's most perfect work and has, after Zinn's mono- graph (Gottingen 1780, 4°), become the foundation for all modem researches on the structure of this organ. The first plate contains repre- sentations of the living eye in its perfect form, reproduced from living models, such as the eye of a male, that of a female, that of a negro, that of an Albino, that of a person sleeping (Soemmerring's wife), all seen directly from the front and in profile. The other plates are anatomic and partly microscopic. Two of them were colored, viz., the fifth, which occurs three times as an outline plate, as a finished plate, and a colored one, and the last, or eighth, finished plate which is also partially colored. The artist was Christian Kock, the engravers were Vincenzo Scarpati of Naples (who engraved only the first and the fifth finished plates and nothing else), the brothers Klauber, Clemens Koll of Vienna (b. Prague 1754, d. Vienna 1807), Johann Christoph Bock (b. Nuremberg 1752), Johann Conrad Felsing of Darmstadt (b. Giessen 1766, d. Darmstadt 1 81 9). The plates in the Latin edition are the same.

Abbildungen des menschlichen Hororganes, Frankfurt a. Af., Var- rentrapp und Wenner, 1806, fol. (Latin by Christian Heinrich Theodor Schreger: Icones organi auditus humani, Francof., 1806, fol.); 10 and 36 pp., 9 copperplates, of which 4 are in outline.

This work was produced at the request of Professor Lichtenberg, of Gottingen, to furnish him greatly enlarged reproductions of the human ear for his lectures on physics. Soemmerring, with the aid of Kock, at once undertook the task. Specimens of such enlargements were cast lor GiUtingen, Bamberg, and Utrecht, but before Soem- merring had had a chance to make a cast for himself, the forms, through some accident, were s{X)iled. After that Soemmerring and Kock, now perfectly familiar with the subject, worked out pictorial representations instead of ])lastic models. A selection of these illustrations is con- tained in the above work. Jliey represent the parts in natural size, some ver}' much enlarged, and rank among the most excellent works that ha\e been produced dealing with the entire human ear. Here, too, the first ])iate gives the shape of the external ear. The artist is Christian Kock, the engravers are G. Riicker and Johann Christoph Eckardt (the latter engraved only one plate).

SAMUEL THOMAS VON SOEMMERRING 309

Abbildungen der menschlichen Organe des Gesckmackes und der SUmtne^ Frankfurt a. M., Varrenirapp und Wenner^ 1806, foL (Latin: I canes arganorum humanarum gustus et vocis. Franco/. , 1808, fol.); 12 leaves and 4 copperplates, 2 in outline.

The plates are drawn by Christian K5ck, engraved by Johann Blaschke, of Vienna, and G. Rlicker. The book, by the way, contains only representations of the tongue and the male lar3mx. The representa- tions of the tongue are of especially great value.

Abbildungen der menschlichen Organe des Geruches, Frankfurt a. if., Varrenirapp und Wenner, 1809, fol. (I cones arganorum humanarum alf actus, Francaf 1810, fol.) ; 9 and 24 pp. and 9 copperplates, of which 4 are entirely in outline.

This book again gives very complete illustrations. The first plate, representing a cross-section of the skull and the throat extending below the larynx, with indications of the locations of all the soft parts, is an especially instructive fimdamental picture, not only of the olfactory organ, but also of all the other sense organs. The other plates pertain only to the olfactory organ. The drawings are by Christian Kock, the engravings by Carl Schleich and Paul Jacob Lanunit (b. Augsburg 1773).

Several of these works on the sense organs were translated into French, Italian, and perhaps other foreign languages. We do not mention translations here, because they do not contain any original plates.

Besides these principal works, we must also mention a few essays by Soenunerring which were provided with illustrations and were published separately. They are also contained in the Denkschriften der Akademie %u MUncheUy physikalisch-mathematische Classe.

Ueber das feinste GefcLssnetz der Aderhaut im Augapfel {Denkschriften^ Vol. VII, p. 4). Munich, Franz, 1821, 4®, with copperplates.

Bemerkungen iiber den Magen des Menschen {Denkschriften ^ Vol. VIII, p. 77). Mimich, Franz, 1821, 4®, with i copperplate.

In 1804 the Academy of Sciences in Berlin offered a prize for the best essay on the structure and the function of the lungs. The Strasburg physician, Franz Daniel Reisseisen, obtained the prize; Soemmerring received honorable mention. The former inserted a number of fine sketches in his essay, the latter several preparations. The texts of both prize essays were jointly published at Berlin, 1808, 8**. The engravings belonging to Reisseisen's essay were published in 1822 at Berlin by Rucker, in imperial folio, with the German text and the Latin translati by Justus Friedrich Karl Hecker, and inclu d colored cop engravings. The publication of illustrations i

3IO ANATOMIC ILLUSTRATION

preparations had also been promised, but was never realized, as must be mentioned here for correction of erroneous statements. When Soem- merring, on April 7, 1828, celebrated the jubilee of his promotion to the doctor's degree, a great many congratulatory essays with scientific contents, some of them with beautiful illustrations, were published in accordance with a laudable tradition prevalent among German scholars. The following may here be mentioned:

Samueli Thomae Soemmerringio — die VII, Aprilis decern lustra post gradum Doctoris medicinae et chirnrgiae rite captutn felicissime ei in summum scientiae emolumentum peracta celebranti pia mente gratulatur Jo. Frid. Mcckelius. Accedunt tabulae aeneae sex. Ilalae 1828, Lipsiaey prostat apud Leop. Voss^ ex officina Ilirschfeldii, large fol., 4 and 16 pp. and 6 copperplates.

This work, in the largest ^'Colombiaformat,'^ necessary through the size of some of the engravings, is typographically elegant, and is espe- cially remarkable on account of its illustrations. Johann Friederich Meckel, Jr., an anatomist of Halle (1781-1833), was still in possession of six copperplates which had been engraved for his grandfather, Johann Friederich Meckel, Sr. (1713-74), an anatomist of Berlin, who had been unable to publish them. The engravings in the above-mentioned essay are these same six copperplates. They are representations of the lymphatic system drawn by Johann Bernhard Gottfried Hopfer (b. Reclelsee in Wanconia 1716, d. Berlin 1789), and were engraved by Christoph Benjamin Glassbach, Sr. (b. Magdeburg 1724, d. 1779). The text contains only the explanations.

Zu Samuel Thomas von Sommcrrlngs Jubclfeier von Friedrich Tiede- vianu. Heidelberg and Lcipsig, Gross, 1828, 4°, 32 pp., a portrait of Soemmerrinf^, and i copperplate.

Here Soemnierrings pu{)il and friend of many years presents investi- gations of the ova and of the history of the development of the tortoise which he had i)een carrying on with the aid of tortoise eggs, partly with fetus, received from Brazil.

V }ilcrsuclii{Ui!^c}i iihcr lie (icjassvcrhindung zicisclien Mutter und Fruchl in doi Sdut^rlln'rroi. KIji dliickwunsch zur Jubclfeier Samuel Thomas  :vn Sdrnffirrrini^'s von Karl Ernsl von Bacr, with i copperplate; Leipzig, Leop. V'oss, 1S2S, fol., 8 and ^o ])]).

I he piate drawn hv the author and engraved by G. Loreck is an likiniinated colored print.

l)c forfn humiUio ad)ioliilio)ics a)ialof)iicac, quibus praemissis — Samueli Thooiac dc Sorm)ncrri}ii^ doctor at us in mcdicina impctrati semisaecidaria

SAMUEL THOMAS VON SOEMMERRING 311

grcUuUUur UniversUas lUerarum Regiomantana inter prete Carolo Friderico Burdock^ P. P. O. AccedU tabula aenea. Lipsiae, apud Leo p. Voss^ 1828, foL, 4 and 8 pp.

The plate was drawn by Knorre and Rxindt and was engraved in stipple by F. W. Linger, Jr., of Berlin. The text contains remarks on the anatomy of the himian fetus in its earliest stage.

Samueli Thomae equUi a Soemmerring — de quinquagitUa annis post summos in medicina honares rite captos — exacHs gratulantur Regiae Academiae scientiarum Monacensis classis pkysico-mathematicae sodales^ etc. {Ignat. DoeUinger de vasis sanguiferiSy quae villis intesUnorum ienuium hominis brutorumque insunt dissertation C. F. P. de Martius Soemmertingiay novum plantarum genus). Monackii, apud Lindauer^ 1828, 4^; with 2 lithographic plates.

We are here concerned with Bollinger's work on the bloodvessels of the villi of the small intestines, with an anatomic illustration. The botaliic plate represents a leguminous plant of the genus Soemmerring^ which Martius named after Soemmerring.

Besides several portraits of Soemmerring, scattered in writings and portrait collections, particular mention should be made of the following:

A lithographed print in imperial folio by C. Thelott and C. F. Vogel, Frankfurt, 1828.

A copper engraving in medallion shape, after an oil portrait of Soem- merring painted during his last years, drawn by Bagge after Thelott, engraved by Carl Barth in Hildburghausen, before Wagner's publication of a biography of Soemmerring.

A medallion, done at Berlin by Loos, for the jubilee celebration in 1828.

For an appreciation of Soemmerring's life and scientific accomplish- ments, the following writings are also important:

Ignaz DoUinger: Geddchtnissrede auf Samuel Thomas von Sommerring. Gehalten in der K, Academie der Wissenschaften zu MUnchen, Munich, 1830, 4**.

Rudolph Wagner: Samuel Thomas von Sommerring's Leben und Verkehr mil seinen Zeitgenossen. Erste Ablheilung: Brief e berUhnUer Zeitgenossen an Sommerring. Zweite AbtheUung: Leben Soemmerring's nebst einem Anhang von Brief en und Aufsdtzeny so wie einem Portrdt Soemmerring's. Leipzig, 1844, 8®. (Also forms Vol. I of the new original edition of Soemmerring's Vom Baue des menschlichen Korpers.)

Detmar Wilhelm Sommerring (Jil.) : Calalogus musei anatomici, quod coUegit S. Th. de S. Francof. a. M ., 1830, 8**.

EDUARD SANDIFORT

Eduard Sandifort, at one time physician at The Hague, was after- ward successor to Albinus in the chair of anatomy and surgery at Leyden, where he had received the doctor^s degree in 1763, and where he died in 1819 at an advanced age. Like Albinus he directed his efforts to the development and perfection of anatomic drawing, and is therefore mentioned here, although most of his works pertain to pathologic anatomy. In addition to the one work referred to in the article on Vesalius (p. 197), the following deserve mention:

Tabulae hitcstini duodeni, Liigd. Batav.^ apiid P. v. d. Eyk el D. Vygh, 1780, 4°, 50 pp. and 5 copperplates in oblong folio.

This is the most valuable monograph on the duodenum, as far as its shape and its position are concerned. The textural qualities are not touched upon. Sketches were made from more than fifty cadavers of different aj.^es, from which sketches those given in this work were selected as an accurate illustration of the anatomic norm. The plates contain both iinished and outline figures and are most appropriately and clearly engraved by Robert iMuys (b. Rotterdam 1742). The drawings were macie by Aijraham Delfos (b. Leyden 1731).

Museum a)iatomicum academiac Lugduno-Batavae descriptum^ etc. Lui^d. Baiav., a pud S. cl J. Luclitmans, academiac typographos, i793j large fol.. Vol. I, 26 leaves, 335 pp., and g copperplates; Vol. II, 2 lea\'es, 122 pp., and 127 copperplates.

'I'he first part of this important work, which was published by request oi the curators of the University and the council of the city of Leyden, contains a history of the anatomists of the University of Leyden bcL^innini^ with (ierard Hontius M). Ryswik ^s?)"^^ ^1- Leyden Septem- ber I ;. i^()o^. .\])pen(le(l to the first volume are nine tinished copper- ])latcs. each representing in natural size the j^rofile and the front view ')f a -kull. The >kulls rej^resented are those of a Calmuck, a Tartar from Kazan, a negro, a Russian, a Swede, an Englishman, a Frenchman, an Ilaiian, .\\v\ a woman from Ilanoxer. In the second volume are one nundrcd and twent\-sc\ en inclosed copper])lates on pathologic- anatomic sul)icct>. one hundred and three of which pertain to osteology, trn to the anatomy of the soft |)arts, two to the study of concrements, while the la>t twehe represent monsters. Abraham Delfos, again, made

EDUARD SANDIFORT 313

the drawings; the above-mentioned Robert Muys and Pieter de Mare (b. Leyden 1757, d. there 1796) engraved them. The main titles of both volumes are copper engravings. The third volume of the Museum was edited by the author's son, Gerard Sandifort, Lugd. Bat. 1827, large foL, and contained the additions from the collections of Brugmans, pro- fessor of natural sciences in Leyden. The third volume is without illustra- tions. All three volumes are printed on writing paper. A fourth volume was published Lugd. Bat., 1835, large fol., with seventy copperplates.

The Descriptio musculorum hominis, Lugd. Bat. 1781, 4®, and Descriptio ossium hominis J Lugd. Bat. 1785, 4^, both edited by Eduard Sandifort, do not contain any illustrations. Illustrations, although mostly of patho- logical anatomy, may, however, be found in the following works:

Observationes anatomico-pathologicae, Lugd. Bat., apud P. v. d. Eyk et D. Vyghy 1777-81, 4®, 4 volumes with 36 copperplates in oblong folio.

ExercikUiones academicae. Lugd. Bat., apud. S. et J. Luchtmans, P. V. d. Eyk et D. Vygh, 1783-85, 4®, 2 volumes with 15 copperplates in oblong folio.

Anatome infantis cerebro destituti, Lugd. Bat., apud eosdem, 1784, 4®, with 6 copperplates in oblong folio.

The following works were written by his son, Gerard Sandifort:

Tabulae anatomicae, situm viscerum thoracicorum et abdominalium ab uiroque latere, ut et a posteriore parte depingentes. Praecedit observalio de anevrysmate arteriae iliacae intemae, rariore ischiadis nervosae causa, Lugd. Bat., apud S. et J. Luchtmans, 1801-4, large foL, 4 parts with 9 copperplates.

This, in four volumes, contains nine copperprints, engraved by Robert Muys and drawn by the author, with the text accompanying the plates.

Tabulae craniorum diversarum nationum. Delineavit et descripsit G. S. Lugd. Bat., apud. S. et J. Luchtmans, 1838-43, large foL, 3 parts with 18 copperplates.

In these three volumes, the e^hteen copperplates were drawn by the author and engraved by Daniel Veelward. Each print represents in life-size a left profile and a front view of a skull. Each engraving is supplemented by a printed page of text. The skulls shown are those of a Greenland woman, a Roman soldier of Pompeii, an Amboina Islander, a KaflSr, a Hottentot, a Bushman, a North American, a Ceylonese, a Chinese, a Japanese, a Papuan of New Guinea, a New Hollander of New South Wales, an aboriginal Alaskan Indian (Schitgagan) of New Norfolk, a Guanche of Teneriffa, a Turk, a Negro of Darfoot, a Japanese, a Jew. The measurements and proportions are given for each skull.

CORNELIS PLOOS VAN AMSTEL

Cornelis Ploos van Amstel, an artist and copper engraver, who was also well known as an art collector and as a maker of colored copper- prints, was born at Amsterdam in 1726 and died there in 1798. He was the author of an exhaustive and useful textbook:

Aanlcidlng tot te kcnnis dcr anatomie, in de tekenkunst, betreklyk tot het menscJibecld. Met eenigc plaaten, en daar bygevoegde verklaaringeUy opgeJielderd, Amsterdam^ by J. Yntema, 1783, 8°, 14 and 114 pp., 27 copperplates in 8°, of which 9 are printed in red.

The plates are from line drawings, very cleanly engraved faithful sketches from nature. They represent bones, ligaments, and muscles of the trunk and of the extremities, mostly in the style of Albinus.

I'he same illustrations, re-engraved by L. Haider, recur in

Johann Ileinrich Lavatcr: Anleitung zur Anatomischen Kenntniss des mcnscJdichen Korpersfiir Zeic liner und Bildhau^r. Mit vielen Kupjer- tajcln, grosstcntJieils nacJi den AlbinscJien des Herrn Ploos von Avistcl, Zurich, Ziegler, 1790, 8°, 16 and 179 pp. and 27 copperplates in 8°.

]Many of the prints in this edition were made by means of two plates in such wise that the bones appear black and the muscles and ligaments red. The text of the book is new. This work by Lavater was trans- lated into French by Gauthier de la Peyronie and published with annota- tions under the title:

El c mens analomiques d^ostcologic et de niyologie a V usage des peintres et sciiipteurs par J . II. L. Paris, eJiez la veuve Tilliard et fits, ZUrieh ehez Ziegler et ills, Basle, eliez Thourneisen, 1797, 8°, 8 and 157 pp. and 27 coi)j)crplatcs.

Tins contains throu^diout the same illustrations as in the German edition, ^ome of them also printed in black and red. Johann Martin I'ischer of \ ienna, i>\' the way, accused Lavatcr of having copied word for word the iirst eciition of Fischer's own commentary to his anatomic ^tatuc.

Wi-ii^Tl:  !i(). IOQ77. ^^-"^76. 6877.

PAOLO MASCAGNI

Paolo Mascagni, anatomist, was bom at Castelletto (in Siena), in 1752, and died at Florence, October 19, 1815. In 1774, he succeeded his teacher Tabarani in the chair of anatomy at Siena, accepted the pro- fessorship at Pisa in 1800, and was, a year later, appointed instructor in anatomy and physiology in the hospital of Santa Maria Nuova at Florence.

In response to a prize question on the lymphatics, repeatedly announced by the Academy of Sciences of Paris, Mascagni sent two memoirs with illustrations. He did not receive the prize. The Academy, however, annoimced a new competition for 1789. Chiefly to insure the priority of his discoveries (his work with the lymphatics dated back as far as 1777) Mascagni published in French:

Prodrome d'un ouvrage sur le systeme des vaisseaux lymphatiques, con- tenant 24 planches in folio, Sienne, 1784, 4®.

This contained, however, only four folio plates of the twenty-four promised for the work as planned. The language of the book was severely criticized, and in reply to a sharp criticism in a Venetian periodi- cal, Mascagni wrote a passionate rejoinder, entitled: Letter a di Aletofilo al Giotnalista, medico di Venezia, Misopoli (Siena), 1785, 12®. Con- tinued studies, however, soon enabled him to publish a more extensive work on the lymphatics, which made him lastingly famous.

Va^orum lymphaticorum corporis humani historia et ichnographia. SeniSy ex typograpkia Pazzini Carliy 1787, large foL, 138 pp. text.

This contained forty-one copper engravings in folio, fourteen of which were linear copies of as many finished prints. Mascagni had been able to induce his artist and engraver, Ciro Santi (Cyrus Sanctius) of Bologna, to move to Siena to do work for him there. The plates show a fine and careful workmanship and a faithful and truly masterful representation of the lymphatics. Plates I, IV, VIII, XXII, had been published before, in the Prodrome, Most of the plates are signed Cyrus Sanctius A. C. od ipsa corpora delin, et inc. or bear a somewhat briefer signature, while some of them are without any signature. The title had engraved on it a vignette by the same artist, and after it there follows the dedication. The Latin text was published separately: Siena, 1795, 8**, and an Italian translation: Colle, 1816, 8**. A German translation by Christoph

315

3l6 ANATOMIC ILLUSTRATION

Friederich Ludwig was published in Leipzig, 1789, 4°, with some of the illustrations re-engraved by Johann Stephen Capieux of Leipzig, and was the first one of three volumes on IjTnphatics, the two other vol- umes containing works by Cruikshank and others. Leipzig, 1789 and 1794. 4°-

At ZMascagni's death, manuscripts and sketches for three other works were found, namely: (i) for an anatomy for artists; (2) for a compila- tion of the minute, histologic investigations on the anatomy of the human body, animals, and plants, most of them microscopic investigations, accompanied by twenty plates; (3) for a large complete anatomy of man in life-sized illustrations. The publication of these three works was at once undertaken, chiefly on account of the sur\-iving family, as Masragni had died without means. The anatomy for artists was edited by the brother and the grandchild of the deceased anatomist, Bernardo and Aurelio Mascagni, under the title:

Analomia per uso dcgli shidiosi di scultura c pittura. opera postuma di Paolo Mascagni. Firense, dalla tipografia di Giovanni Afarenigli, a xpese dcgli crcdi. 1816, large fol., 6 and 35 pages of preface and introduc- tion, and fifteen large copperplates, ten of which are each accompanied by a separate page of printed explanation. The book is concluded by a page of Indicc dcUc nuileric.

The first two plates represent front and back \4ews of the skeleton with the ligaments. The names of the bones are engra\"ed directly on the plate. At the bottom is engraved Anionio Seranloni del.. Carlo Ladiiio diresse, Agoslina Costa sen. The remaining thirteen plates contain no words directly (m the plate, except the signature of Antonio Seranloni del. e scolpi (who had for fourteen years been Mascagni's anatomic artist). Plates III-V represent front, back, and side views of a muscle-man. Plates VI-XV represent separate parts of the bodv, such as life-size muscles, bones, and ligaments. The muscles are all engraved in red chalk manner, the rest is colored with the brush. The publication was prepared by Mascagni's prosector, the physician Francesco Antommarchi.

The two Mascagnis, who had taken charge of this matter, died soon after its completion, and a group ol unnamed persons undertook to publish also the two other posthumous works for the benefit of Mas- cagni's family. They placed the preparation of the edition in charge of Francesco Antommarchi. the same who had edited the previous work. At nr^t the collection of histologic investigations was prepared for pub- lication, it appeared under the title:

PAOLO MASCAGNI 317

Prodrome delta grande anatomia; seconda opera postuma di P. Mas- cagni, posta in ordine e pubblicala a spese di una socieid innominaki da Francesco Aniommarchi, disseUdre anatomico neW arcispedale di 5. M. N. {Santa Maria Nuava in Firenze), Firenze, dalla tipogr. di Giov, Marenighy 1819, fol. (Text: 14 and 195 pp.)

[The Prodrome has a blank page before the title, making a total of fifteen pages of preface.]

Tavole figurate di atcune parii organiche del corpo umanOj degli animali e dei vegetabiti, esposte net prodrotno delta grande anatomia di P. M. FirenzCy 1819, fol. (Exposition of plates, 103 pp.)

This edition contains twenty copperplates, drawn and engraved by Antonio Serantoni and representing histologically the most hetero- geneous subjects. The title Prodrotno, as one sees, was ill chosen, although it possibly originated with Mascagni himself. The book is rather an absolutely independent work, quite different from and imrelated to the author's large anatomy. Its subject is the textures of the different parts of the human body as compared with the texture of the organs of ammals and plants. It contains a great number of different figures, most of which were intended to illustrate Mascagni's view as to the vascular nature of the texture of the organs. The work is beautifully printed, the very fine title- vignette shows a profile portrait of Mascagni, and is signed: Siefano Ricci sclpi V. Gozzini dis. Antonio Verico inc. The arrangement of the text and of the representations did not seem satisfactory to contemporaneous critics, and the Milanese physician, Tommaso Famese, therefore, prepared and published a second edition under the title:

Prodrome delta grande anatomia, opera postuma del celehre P. Mascagni, Seconda edizione riveduta ed illustrata da Tommaso Farnese. Vol, /, //, Milano, pr. Batelli e Fanfani, 182 1, 8®.

Descrizione delle tavole citate nel prodrome, delta grande anatomia, etc. Vol, I, II, Milano, pr, gli medesimi, 182 1, 8**, 48 copperplates in 4®.

In this second edition of the Prodrome, the arrangement of the text and the illustrations are more instructive and more appropriate. The representations are in quarto and are very accurately copied from the original plates, but they are, on the whole, less beautiful. Five of them were engraved by Antonio Rivelanti, thirty-four by Antonio Bemieri, one by Frei, while eight are without signature. The figures on the i es are arranged according to the anatomic subjects they repr it T first thirty-six plates pertain to the anatomy of the 1 i body^

following nine to that of animals, and the last three to t

3iS ANATOMIC ILLUSTR.\TION

plants. For practical purposes, this edition is to be preferred to that prepared by Autommarchi, on account of the better arrangement and the more convenient size. The make-up of the book, on the other hand, is inferior. The vignette on the title-page of the first volume bears the same signature as the one in .\ntommarchi'5 edition, but is evidently copied and is certainly less beautiful.

Before Antommarchi sent the Prodromo he had edited to the pub- lishers, he departed for St. Helena to look after Napoleon. He remained at the same time in charge of the publication of the large anatomy and. for this purpose, had taken with him three copies of each one of Mas- cagni's posthumous plates. But toward the end of i8ig, during his stay at St. Helena, differences arose between Antommarchi and the society formed on behalf of Mascagni's heirs, probably because the editions of the Anatomy for Artists, and the Prodromo, and their sale had proved unsatisfactory. The society dissolved and the contract with Antommarchi was annulled by court decision. In April, 1822, the heirs sold the copperplates of the large anatomy to the Pisa professors Vacca-BcrUnghieri, Barzellotti, and Rosini, and these men prepared an edition of this work under the following title:

Aualoviia iiiiivcrsa A'/./l'. tabidis aciieis jiixla arcketyfnim hommis adulti, acciiralissime rcpraescnlnli dekhic ab exccssu aitcloris cura el studio Andrcae \'iicci}-Bcrliii}^liicri, Jacohi B-irzellolli cl Joannis Rosini, in Pisaiia iiiiiirrsiliilc projcssoriim, nhsolnld nlqiic cdila. Fists, apud A'ico/. Copurro, lypis t'irmiiii Didol, 18^,3-32, fol. A stout volume in 2 parts without new title.

Anatomiac itiiivcrsnc P. Musiunni icoiics. Pisis, apud Xicol. Ciipurro, 1827,-3,2. large fol., 90 leaves, title, dedication and S8 plates.

Forty-four of the plates are in color, elaborated by subsequent illuminations. They are accompanie{l by forty-four superposed outUne- plates [Coiitralovolc). murked with letters. The size of the bodies is assumed to be three Tuscan brnccie. equal to five feet, live inches, Parisian measurement, but such parts as are rejiresented separately are sometimes drawn on a still larger scale. The sheets are so large that an entire body can he composed out of three of them when they are joined together. The muscles arc drawn on a llesh-colored background produced with the crayon (,by means 01 [he roulette) and are further illuminated by means of the brush. The viscera are very faithfully represented; vessels and nerves are shown in red, blue, and white, the colors commonly used to represent anatomic subjects. Copies in black may also be had. Several of the plates are signed Ant. Seranlonj delineavit, sculpsit et coloribus

PAOLO MASCAGNI 319

expressU; many have no signature at all, while on one of them the engraver, Joseph Canacd, is named besides the artist, Serantoni. This large anatomic work is unique even today, but it is certainly expensive and inconvenient for practical uses. It is, however, useful to the experi- enced connoisseur, although less so to the beginner, for whom it is not intended. As the editors assure the reader, it is chiefly recommended to the practicing physician and the surgeon. It may be called complete since nothing, except microscopic anatomy, histology, and the lym- phatics of the skin have been omitted. Even the pregnant uterus, the placenta, and the fetus are represented in several illustrations. Accord- ing to the editors' preface, Mascagni was believed to have delayed the publication of the work because he was always hoping to make his plates without the use of the brush, by means of the color print alone.

After the annulment of his contract with Mascagni's heirs, Antom- marchi held himself free from any obUgations to them and thought he was entitled to have such copperplates of Mascagni's as he possessed lithographed with his own adaptations, and to publish them under his name without exactly denying their origin. In this way the following work came about:

Planches anatomiques du corps humain exicuUes d^apres les dimensions natureUeSy accompagnSes d^un iexte explicatif par F. Antommarckij publiies par le ConUe de Lasieyrie, editeur, Paris, 1823-26, large fol., title, and 90 lithographic plates.

Explication des planches anatomiques du corps humain^ exiculies d'apres les dimensions naturelles; par le DocL F, Antommarchi, publiSes par leC.de Lasteyrie, edileur. Paris, chez R. BrigeatU, lUhographe hreveU, successeur du Comte de Lasteyrie, de Vimprimerie de Dondey- Dupri, 1826, fol., 16 and 228 pp.

Forty-five of the plates are finished, while the other forty-five are in outline and marked. The former can be had illuminated, raising the price of the edition to 1,050 francs; with the plates in black it costs only 375 francs, which proves it to be by far less expensive than Mas- cagni's work. The illustrations are obviously imitations of those in the latter work. The size and arrangement of the bodies are the same, although here and there details may differ. If one thinks of the Anatomia universa, edited by the three Pisa professors, as an adaptation of Mas- cagni's plates according to the ideas of the three editors, he may, on the other hand, look upon Lasteyrie's lithographed edition as Antommarchi's adaptation, evidently prepared by him at St. Helena for his edition of Mascagni's plates. And it appears that the dishonesty Antommarchi

320 ANATOMIC ILLUSTR.\TION

committed in publishing this (Lasteyrie's) work consisted in his omitting Mascagni's name on the title and in his editing a work undertaken for the benelit of Mascagni's heirs, to their loss. The lithographic plates, by the way, fall short of the copper engravings, particularly in so far as lithography did not succeed in reproducing faithfully the various tissues and in artistically setting them off from one another. Furthermore, twenty-four figures to be found in Mascagni's anatomy are entirely omitted in the lithographed edition. The editors count them in their preface to the second part of their edition, but Antommarchi substi- tuted a few of his own figures,

Mascagni furnished the grand-ducal collection at Florence with a great number of anatomic preparations, and Felix Fontana (d. 1805), with whom he was closely associated while in Florence, made reprct- ductions in wax, after several of Mascagni's preparations, for the wax collection at the Specola in Florence.

For the biography of Mascagni and the history of his posthumous works the following publications arc important:

Lellrcs dcs hcrttiers de/cii Paul Mascagni a M. Ic Cotnlc de Lasleyrie d Paris, Pisa, 1S23. Comjjlaints about Antommarchi with documents.

Tommaso Farvcse: Elogio di P. Mascagtii. Milano, 1816, S". — Nole addizio}iali were later given by the author as a reply.

Francesco A tilommarclii: Osservazioni iulorno al elogio di P. Mascagni, Fircnze, 1817.

JOHANN MARTIN FISCHER

Johann Martin Fischer, a sculptor, was bom at Hopfen, Swabia, in 1740 and died at Vienna in 1820. He was a pupil of Schletterer and, from 1785, was professor of anatomy at the Academy of Graphic and Plastic Arts of Vienna.

Aided and instructed by Joseph Barth, professor of anatomy and ophthalmologist at Vienna (b. Malta 1745, d. Vienna 1818), he decided to make an anatomic-myologic statue for the use of graphic or plastic artists. This statue was completed on a reduced scale in the eighties of the eighteenth century, together with a reproduction on a reduced scale of the skeleton which had been used in the making of the statue. After he had become professor, Fischer completed a myologic statue in life- size which was placed in the Academy of Graphic and Plastic Arts of Vienna. In 1803, this statue was cast in soft metal, and the smaller statuette, too, was finished in a more perfect form and rendered salable.

Against Fischer's wishes the president of the academy, Baron von Sperges, had a description of the statue printed. But when, as Fischer asserts, Johann Heinrich Lavater, in 1790, reprinted this description word for word and published the reprint, with engravings by Ploos van Amstel, over his own name as author, Fischer arranged a completely revised second edition of his explanations, which seems to have been published soon after 1 790, and finally a third revision, which was probably published about 1806. It seems that this last edition was republished without any changes after Fischer's death under the title:

Erkldrung der anatomischen Statue fiir KUnsUer. Von J, M. Fischer. Dritte durchaus verbesserte und vermehrte Auflage. Vienna: Carl Ceroid, 1838, 20 and 108 pp. without illustrations. At the same time the following work appeared :

Darstellung des Knochenbaues und der Muskeln des menschlichen Korpers, mit Angabe der Verhdltnisse desselben, auf zehn Kupfertafeln, Van J. M, Fischer. Vienna: Carl Ceroid, 1838, foL, 12 pp. and 10 copperplates in fol.

The first two plates, marked A i B, are probably new and contain outline representations of tlMy|| '^s proportions; the four fol-

lowing plates, marked I'^IVJlH the skeleton, with the

spear in its left hand; *' " -VHI, are linear

ANATOMIC ILLLSTR.ATION

JOHANN MARTIN FISCHER

323

representations of four diflferent views of Fischer's statuette. The text furnishes only an introduction and explanations. The representations of the skeletons are aU drawn and engraved by Jacob Merz (b. Buch on the Irchel in the canton of Zurich 1783, d. in Switzerland 1S07). The representations of the myolo^c statuette were made by Fischer himself.

Weigel: Nos. ao;6, 7859, S776^

JEAN JOSEPH SUE

Jean Joseph Sue, the younger, a son of the anatomist of the same name and Christian name, and father of the novelist, Eugene Sue, was himself an anatomist and a surgeon. As such he held the position of surgeon at the Ilopital dc la ChariU and was at the same time professor of anatomy and surgery at the medical school and instructor in anatomy for the artists at the Academy of Painting in Paris. It is believed that he died in 1831. He was the author of:

Elcmens d^anatoynie a V usage des peiutres, des sculptcurs et des amateur s^ Paris, 1788, large 4°; with 14 copperplates by Aubert after drawings by Thar sis.

In a manner his more general work also belongs here:

Essai sur la physiognomic des corps vivants, considerce depuis Vhomme JHsqu'd la plante; ouvragc oil I' on traite principalcmcnt dc la necessiU de cellc etude dans les arts d' imitation, des veritahles regies de la beaute et des graces, des proportions du corps Iiumain, dc r expression des passions, etc. Paris, chcz rautcur, ijg'jy 8°.

[Sue translated into French the Anatomy of the bones by the Scotch anatomist, Alexander Monro (16Q7-1767), and pubHshed it under the title: Traite d'ostcologie. Paris, 1759, large foL, in two volumes, of which the first contains the French text, the second and thinner volume the copperplates. These })lates represent whole skeletons, or single bones, the latter either in natural size or in sizes verv near the natural. Thev also represent the skeleton and single bones of the fetus. The workman- ship is very line, especially as regards the single bones. The thirty-one finished ]>lates are without any marking, each one being supplemented by an outline plate, with the necessary notations, thus making a total of sixty- two anatomic plates. The plates are preceded by a large alle- goric copper-title of splendid workmanship which, on earlier impres- sions, hears no indication of the artist or engraver, while later impressions ]ki\'c cn^ra\C(i on the left, below the margin: J. B. Pierre del., and pa>tc(l on at the right: X. Dupnis Sculp. Of the other plates only II, ill, 1\', Xr. XW'II, XXX, XXXI have the names of the artists; the artist's name is i^ixcn as /. Tharsis 'on Plates I\', XXIX), as Tharsis (on rialcs 111, XL. XXX) or Tarsis 'On Plates 11, XXVII, XXX). As cngra\crs arc named Jardiiiirr ' IMates II, III, XI, XXX, XXXI), M. Auhcri (Plate 1\. (iohiu ' IMalcs XX\II, XXIX). Cf. Haller: Bibl. (Uid!., 1 L, I 7^),  :;()5.

Sec al>o the section: Anatomic Color Prints," {). 264.

JUSTUS CHRISTIAN VON LODER

Justus Christian von Loder, physician and anatomist, was bom at Riga on February 28, 1753. From 1773 he studied at Gottingen, and in September, 1777, he received his doctor's degree in medicine. In 1778, he became professor of anatomy, surgery, and obstetrics in Jena. During the years 1780 and 1781 he traveled in France, England, and Holland, and in 1803 he became professor of anatomy at Halle. After the occupa- tion of this dty by the French, in 1806, he went to live at Konigsberg. In 1809 he moved to Petersburg and Moscow and became professor of anatomy and surgery at the University of Moscow. He died on April 4, 1832. The Russian government bought his anatomic collection for fifty thousand silver rubles.

The Bureau of Provincial Industries (LandeS'Industrie-Comptoir) ^ foimded in 1792 by Friedrich Justin Bertuch, of Weimar (i 748-1822), had already engaged a great many artists, and now facilitated the under- taking which we are about to discuss and which Loder began in 1794. Its object was the compilation in one work of all the best representations then known in all the different branches of anatomy, supplemented by representations of original preparations. The work was completely carried out and is known under the title:

Anatomische Tqfeln zur Beforderung der Kenntniss des mensch- lichen Korpers, (Also with Latin text instead of the German: Tabulae anaiomicae.) Weimar j im Landes-Induslrie-Comptoir, 1 794-1803, fol., 6 parts, plates and exposition, i part alphabetical index, or 2 vols., text (exposition and index) and 2 vols, of plates, Weimar, 1803, 1804, fol., Vol. I: Plates I-XC, Vol. H: Plates XCI-CLXXXII.

The work consists of the following parts: I, osteology with fifteen plates after Walter, Albinus, Sue, John Hunter, Cheselden; II, syndes- mology with ten plates after Albinus and Bonn; III, myology with twenty-six plates after Albinus, Zinn (the eye), Haller (the diaphragm), Gerlach and Monro (the pituitary gland), and Prochaska (the muscle fiber). The first six plates of this part are accompanied by outKne- plates. IV, splanchnology with thirty-ni plates after Albinus, William Himter, Ruysch, Haase, Ludw I "miiller (the sense of touch), Haller, Ruysch, Albinus, Duven • ( x>hm, Scarpa, Cotugno, Zinn, Walter, Rdl, Wrisberg (the tM tring, vision, and taste),

Santorini, Siebold, Chesdda|Jfl jidifort, Lieberkiihn,

Hedwig, Haller (the digestiiJH ^ Camper, Roderer,

Albinus, Haller, '* f ' • E er, Wagler,

326 ANATOMIC 1LLUSTR;\TI0N

Tolberg, Wrisberg (urinary organs, genitals, and fetus); V, angiology with sixty-two plates, on some of which the arteries appear illuminated, after Ruysch and Wolf (the heart), Haller (the arteries), Vicq d',\zyr (on the vessels of the brain), Walter and Janke (on the veins), Mascagni {on the I\-mphatic5) ; VI, neurology with thirty plates, three of which are supplemented by outHne-plates, after Vicq d'Azyr (the brain), Huber and Scarpa (the spinal cord), Meckel, Scarpa, Asch, Peipers, Andersch, Neubauer, Walter, Schmidt, Camper, Fischer, Reil, Monro, Haller, Albinus (the nerves). Each part contains also a considerable number of figures drawn from Loder's original preparations; an especially large number of these figures may be found in the sj'ndcsmologic part of the book, but none of the other parts is without some. Of the 143 figures on 1S2 plates, 1.122 are copies and 309 original drawings made after preparations. As tiraftsmen of the latter, the following are named: Johann Carl Bock, of Nuremberg, Starke, of Jena, and Jacob Rou.-i. of Jena. Only the lirst two men are also given as the engravers of some plates. The other engravers arc Johann Stephan Capieux, of Leipzig (b. Schwedt on the Oder 1748, d. Leipzig 1813), Johann Christian Ernst Miiller, of Weimar (b. Troisted in the grand duchy of Weimar, d. 1824), Friederich Miiller. of Weimar, Daniel Bcycl (b. Zurich 1760), Westermayr, of Weimar, Samuel Granicher, of Dresden {b. Zoffingen in the canton of Heme 175S, d. 1813 at Dresden), Volkart, of Nuremberg, Bock, Junior, of Nuremberg, Johann Friederich Schriiter, of Leipzig {b. Leipzig 1771. d. Leipzig 1836), Johann Nussbiegel, of Nuremberg (b. Nuremberg 1740), A. Weise, of Jena. C, Graf, of W'eimar, Friederich Kaiser, of Weimar (b, Ulm 1779, d. \'ienna 1819), J. B. Hossel, of Weimar. The figures are carefully selected and mostly very well drawn but all larger figures are reproduced on a smaller scale.

At the request of some buyers of the book a portrait of Loder was later inserteil, engraved by Johann Gotthard von Miiller, of Stuttgart, in iSoi. Another portrait, cnf^raved by Johann Daniel Laurens, of Berlin, may be found preceding Vol. XCI of the Allgcmeine deutsche Bibliollirk, Both arc done after a painting by Johann Friederich August Tisdilidn.

Si'c also Jiistu-s <.'hrUli(iniis a I.O'kr: Itiiicx priirpnralcrum iiliariimque rerum ad niialiimcn spirttiitlium, qUite in Miisco Caesiire,ie t'niversiliilis Mosquensis servanlur, \fU!juar, 1833.  !;irge S". (This work, which was never for salt in ihe book-trade, i-ontainsalso the text in Russi.in onlhc opposite piiRcs; thtrc are 4,451 preparations.)

Ili.*inriiK Karl Laurent j'; Etiniirriiiig, I'rkiimte iind Deiikbldtler zum Kranze der jojahri scn Jubelfda dt-s Med- Dr. J. C. v. Lodrr. Riga, 1828, 8°.

LEOPOLDO MARCO ANTONIO CALDANI

Leopoldo Marco Antonio Caldani, physician and anatomist, was born at Bologna on November 21, 1725, and died on December 30, 1813. He obtained his doctor's degree in medicine on October 12, 1750, and in 1758 became a pupil of Morgagni at Padua. In 1760, he took the chair of anatomy in Bologna, but soon went to Venice. He became professor of theoretical medicine at Padua, and, in 1771, professor of anatomy, succeeding Morgagni, and occupied these chairs till 1805. In his later years, he was aided in his anatomic and literary works by his nephew, Floriano Caldani, a professor in Padua. Together they edited the second large compilation which, like Loder's work, comprised the best anatomic representations of past periods. They are:

Icanes anatomicaef quotquot sunt celebrioreSf ex opiimis neotericorum operibus summa diligeniia deprotrUae ei coUectae. Tabulas sdegerunt ei nonnuUas ex cadaveribus ad vivum delineatas addere curarutU L. M. A, et Fl, Caldani, {Tabularum anaiomicarum Pars prima, Ossa et LigamerUa, Tab. 1-51.) Vol, I, — Icanes anatomicae ex opHmis, etc. collectae opera et studio, etc. {Tabularum anat. Pars altera, Musculi et Bursae mucosae, Organa sensuum et viscera. Tab. 52-134.) Vol, II, — Icanes, etc. {Tabular, anat. Pars tertia. Uterus gravidus, Embriones humani, Cor, Arteriae, Venae, Tab. 135-204.) Voluminis III. Sectio prima. — I cones, etc. {Tabular, anat. Partis tertiae Sectio altera, Vasa lymphatica, Cerebrum, Nervi, Tab. 205-264.) Voluminis III. Sectio altera. Vene- tiis, ex calcographia Josephi Picotti, 1801, 1804, 1810, 1813, large foL, 4 vols.

Iconum anaiomicarum explicatio. Pars prima. Partis secundae Sectio prima et altera. Partis tertiae Sectio prima ei altera, Venetiis, 1802, 1804, 1805, 1808, 1814, fol., 5 vols.

The latter consists of five volumes of which the second and third {Partis II. Sectio i. 2.) refer to the second volume of the plates {Pars altera) , the first, fourth, and fifth volumes to the first, third, and fourth volumes of the plates {Pars pri\ Partis tertiae Sectio i. et 2.), thus leaving two volumes of expositi for the second volume of the plates. In the Icones, each finished pla by an outline late,

with the exception of Himter's es in t third

volume, in which the outli th the

328 AXATOMIC ILLCSTR.\T10N'

ori^na.1 plates. In the iiiit volume, there b a large allegoric copper- title picturing a landscape, and the opening of a cadaver, without the name of the artbt and engra\er. and with two connected medallions, the ponraili of the two editors. This is followed by two plates, each of which b accompanied by an outline-plate. They represent a nude male body '.\pf)I!o Belvedere ■ and a nude female Ixxdy seen from the back and from the iidc. The first is drawn and engraved by Cajetano Bosa: the second is engraved by him. but drawn by Francesco Gallimberli. The anatomic plates begin with a histologic plate, from original preparations and after .\lbinus. Monro. Scarpa, and Cruikshank. Then follow repre- sentations of the bone* after Albinu;. the female skeleton after Soem- merring. the teeth after John Hunter, the ligaments after Floriano Caldani's work, which wUl be mentioncJ later. The second volume containii representations of the muscles after .\Jbinus. the diaphragm after Haller, the bursa mucosa from original preparations and after l/»der, the >kin from original preparations and after Ruysch. Leder- miiller, .Albinus. William Hunter. Haase. Ludwig. Loder. the eye after Zinn anil Soemmerring. the ear from original preparations and after Kuysf.h. Duverney, Cotugno. Albinus. Scarpa, the olfactory- organ from original preparations, and after Ruysch. Haller, Mayer. Scarpa, the tongue from original preparations, and after .\lbinus. the viscera from original preparations, and after Siebold. Santorini. Loder. Ruysch, Che^elden. Haller. Leveling. Sandifort. .\lbinus, Lieberkiihn, Hedwig, Hleuland. Walter. Schumlansky. the sexual organs and the fetus after John Hunter, '■andifort, Wri.sberg. Loder, Ruysch, Santorini. Camper. koderer, .\lbinus. Haller, Kolpin, Tolberg. The third volume comprises rcprLscntation> of the pregnant uterus and the embr}-os by William Hunter and Soemmcrring: iht heart from original preparations and after Ruysch, Haller, Wolf, and Loder; arteries and veins after Haller, Scarpa, Walter: the portal vein from an original preparation; the thoracic duct aflcr .Vlbinus. The fourth contains the lymphatics after Mascagni, the brain after \'ic<[ii'.\zyr, Gall, and Spurzheim. the nerves from original prcfKirations and after Meckel, Hirsch, .-Vsch, Lubstein. Bang, Scarpa, Waller, I-ihihcr. All the original preparations were prepared anatomi- cally by the younger Caldani and drawn from nature by Cajetano Bosa. Most of the anatomic plates were engraved by Francesco Ambrosi and Felicu /uliani. of Venice. \ few of the plates were engraved by Fer- rlinando de Martiis. Francesco dal Pedro, Pietro Zuliani, Giovanni Hattista Torcellano de Murano. Perini, and Hutafoco. All the plates are beautifully linished in the size of the originals.

LEOFOLDO MAKCO ANTONIO CALDANI 329

The two Caldanis were the authors of anatomic works, viz. :

Leopoldo Marco Antonio Caldani: Institutiones analomkae. Tom. I. II. Venetiis, 1787, 8"; Napoli, 1791, 8°; Lipsiae, sumtu Casp. Frtlsch, 1792, 8°; Italian by Castellani, Brescia, 1807, 8°, with 7 copperplates.

Leopoldo Marco Anlonia Caldani: Memorie lette ruU' Accademia di scienza, lettere ed arti di Padova, Padova, 1804 sq. 4°, with copperplates.

Floriani Caldani: Tabulae anatomicae ligameaiorum corporis kumani, Venetiis, ex calcograpkia Josephi PicoUi, 1803, large fol., with 11 finished and II outline-plates.

These were drawn from nature by Cajetano Bosa, engraved by Francesco Ambrosi and Felice Zuliani. A very excellent and complete work which has been wholly included in the Icones anatomicae, Vol. I. Tab. 41-51, is

Floriani Caldoni: Riflessioni suU' uso dell' anatomia nella piUura, Venesia, 1808, 4° — French translation by H. Kiihnholtz: Reflexions sur I'Analomie appliquie d la Peinture, Iraduites de I'ltalien et accompagnies d'un Avantpropos et de Notes sur le mime sujet. Montpellier: Louis Caste], 1845, 8°, 52 pp., without illustrations (contains many literary references).

r

TURKISH ANATOMY

The conception of a textbook of medicine containing anatomy with illustrations is a feature of modern times, in which people began to depart from the orthodoxy of Islam in many ways, and also in this connection. The Turkish Printing Office existed in Constantinople from the year of the Hegira 1139 (1726-27 a.d.), but was closed from 1755 to 1784, and turned out some sixty works up to 1819. In the year of the Hegira 1231 (181 5-16 A.D.), the Ulema Schani Zadeh (whose complete name is Schani Zadeh Mehemmed Ataullah and who had studied in Italy) published a medical work under a title which, translated, would be something like this:

Mirror of the structures in the anatomy of the parts of the hitman body. Printed at Scutari. Year of the Hegira 12 jj^ 1820 a.d., fol., with fifty-six coppeqjlates.

The work comprises about 300 pages of text and consists of three parts, viz. : I, anatomy beginning with the bones, then the muscles and the anatomy of the eye, the uterus, the ovum, and the fetus, finally the brain, the blood vessels, the nerves, and the glands; H, physiology and general pathology; HI, special pathology and therapy, concluding with pharmacology. The technical terms are mostly Arabic, often Greek or Latin. The poorly engraved illustrations are not drawn from nature, but copied from Occidental models. A specimen illustration is given in the book mentioned l)elow. For the publication, a special Khattischerif, a permit from Sultan Mahmud, was needed. The author had presented his work to him in the year of the Hegira 1231 (181 5-16 .\.d.). Through the French embassy in Constantinople, a printed copy of it came into the p()s>essi()n of the Royal Library of Paris.

These notes '.vero taken from 1\ X. Bianchi: Xoticr sur Ic premier ouvragc d'<iU'.i/(Utn'c I't dr f)irt!<( iiir impriwe en lure a CofistdJitiiiople en 1S20, intituli Miroir ties rorbs 'l<n!s rubitoniie de rhomnu\ envoye et ojjert par S. Exe. l\imbdss(uiciir de Friinec prr.s hi Suh!if)ie Porte ,7 /«/ hihliothei]ne da Roi. Sidvi du eatalogue des litres turrs, <ir<i!u\s el {)er:uins. ifn primes j Ci>)istd}itinnpt\ depuis ri}itroduetion de I'imprimeric en /~J^' J~ hisiu' <}i iSji). p. iris, inipr. L. T. Cellol, 1S21, S^, containing 40 pages and .1 lithographic sheets, i niece of Turkish text and a specimen of the illustrations (face and arm muscles).

GIOVANNI BATTISTA DE RUBEIS

Giovanni Battista de Rubds came from the patrician family De Rossi/ of Udine, and received an academic education, but turned to arts and studied first at the Academy of Arts at Venice, later under Ercole Lelli in Bologna (cf. p. 294). He afterward went back to Udine and gained fame as a portrait painter. He was bom about 1750 and died about 1810. Besides a treatise on portraits or the art of observing physiognomy, he wrote also a treatise on anatomy for the use of artists. Both were published in Italian, with the French translation at the side of the text, under the title:

Giovanni BaUista de Rubeis: TraUato dei ritraUi ossia traUato per coglier le fisionomie. TrcUkUo d'anatamia per uso dei piUori, Parigi, 1809, 4**; /. B. de R.: TraiU des portraits ou iraiU pour saisir la physiog- nomie, TraiU d^anatomie d V usage des peinires, Paris, 1809, 4^, with illustrations.

GIUSEPPE DEL MEDICO

Giuseppe del Medico was the author of a manual of anatomy for artists. Cicognara (cakU.) mentions it with particular praise and his book is thought to have been introduced at the Academy of Arts in Rome.

Anatomia per uso de^ pittori e scultori di, Giuseppe del Medico pro- fessore di chirurgicy RomCy MDCCCXL presso Vincenzo Poggioliy foL, contains eighty-four pages and thirty-eight copperplates. [Between pages 4 and 5 of the text is inserted an unnumbered page, a dedication alia insigne accademia di San Luca. The copperplates all have the explanations engraved on them and are either simply black (as Plates I- in, XXXIV, XXXV), or printed in two colors (as Plates XIV-XXXIII) with the bones black and the muscles red-brown, or in three colors, black, brown, and light-blue (as Plates XXXVI-XXXVIII). In some cases the brush seems to have been used for touching up. The illus- trations are, on the whole, good and correct as to anatomy; Plates I, II, XIII contain whole skeletons, apparently after Albinus, Plates III-XII bones. Plates XIV-XXXIII muscles. Plates XXXIV, XXXV two views of the Borghese Gladiator, Plates XXXVI, XXXVIII internal organs.]

There exist copies of the prints on colored paper, struck off from two separate color plates.*

' A copy is in the Surgeon General's Library at Washington, D.C.

331

JEAN GALBERT SALVAGE

Jean Galbert Salvage received his doctor's degree at Montpellier and was military surgeon with the armies in the field until 1796, later, in the same capacity, in the military hospitals at Paris. After many studies, he published a most valuable work which was adopted by the French government for use in the graduate schools, but which seldom appeared in the market and, therefore, is now rare. Its title is:

Anaiomie du gladiateur combaltant, applicable aux beaux artSy ou Traile des os, des muscles, du mecanisme des mouvemens, des proportions et des caracteres du corps humain. Ouvrage orne de 22 planches. Par Jean Galbert Salvage, docteur en medecine de la faculle de Montpellier. Paris, chez Vauteur, de I'imprimerie de Mame, 181 2, large fol., 10 and 64 pp. and 22 folio copperplates, mainly in black and red.

The title is preceded by two pages, a bastard-title, on the back of which the Parisian booksellers, Le Normant, Treuttel et Wiirtz, and Bance, Vaine, advertise themselves as the distributors of the work, and a dedication aux manes d^Agasias, fils de DositMe et citoyen d^Ephese, auteur de la statue du gladiateur (*'to the Manes of Agasias, son of Dositheus and citizen of Ephesus, author of the statue of the gladiator ). Then follows the principal title and four pages of introduction. The text begins with a detailed treatise on osteology and myology. Begin- ning with page 35, the other treatises mentioned in the title of the book follow. The book contains 21 plates besides the copper-title. They are all drawn by Salvage, and fifteen of them, the finest among the collection, were engraved by Bosq. The first and the nineteenth of the numbered plates bear the signatures, .V. Outkine and Oulkin, cer- tainly Xicolaus Outkyn (Outkin), the director of the Academy of Arts of Petersburg. The sixteenth and seventeenth are signed, Sciilpsit J. Woilfshcimer, fycrjccit Bosq. The twentieth plate is signed, Sculpsit Cor. pcrc^il Bosq: the eighteenth Dorez Sculpsit. The plates num- bered 1- XX are preceded by a Planchc d' instruction, which represents individual bones and a muscle and has no number. Consequently there ^irc  :i {)lales in the text, the twenty-second being the copper-title. Of the la>t t\venty plates, the first rej)resents bones and muscles of the head and the neck oi Aj)()iIo Fk'lvedere. The second })late represents, in the same way, another head and the eye; the third and fourth plates show

JEAN GALBERT SALVAGE 333

the forearm and the hand, the leg and the foot. Tlie following eleven plates show a skeleton of the statue of the gladiator and a complete muscleman, with the stiperfidal and deeper muscle-layers, viewed from four different sides. On the whole, these are well and correctly drawn, though showing some arbitrary treatment as to details, especially in osteology. These are followed by two plates which serve to illustrate

the mechanism of muscular motion. A third plate serves to Ulustrate body movements in general, a. fourth shows the proportions of the male, the female, and the child's body. The last plate is designed to present differences due to age and represents in finished figures the Apollo of Florence, the Apollo Belvedere, Silenus and the infant Bacchus, and the Famese Hercules, all without anatomy. The Planche d'instruction and the fifteen plates immediately following it are struck off from two plates so as to bring out the bones in black and the body contours and muscles

33* .\XATOinC ILLC5TR.\nON"

in red. similar to the method iuccessfully used before by J. H. Lavater ^cf . p. 3 10 ■ . The text aigraved up«m the pLites had been distinguished in a like manner Copies on veHnm couM be had at double the cost of the regular copies, or iIk francs, and with the counter -proofs, at 2qo francs. The ordinarv' copies cost 3c francs, and with the counter-proofe TOO francs.

[Of his worii on the Borshese Gladiator. Ottiried Miiller say^: "Xo work is better dtted to convey conveniently to the archaeiitogist informa- tion on the essentials of osteolcgv' and myology- ihan J". G, Salvage's AtnUomU du ^hidiaUur combmtant" ■ B'litdbuck ier Arck^lape der Kiuist. efiition 2. li'ij. § iiS. note 4'. Ci. Les-sin^' Liokj<m. §  ;i. and Amii- qwirucng Briefe. letters 35-3^ edition Goschen. Leipzig, \X 203; \oL V. 455  : Weigei: Kunnk-il'ilog o-q. r3;04.j

Ebert: Xo. icu;.

GIAMBATTISTA SABATTINI

Giambattista Sabattini, physician and professor of anatomy at the Academy of Fine Arts in Bologna, published a very valuable anatomy for graphic and plastic artists under the title:

Tavole anatomiche per li piUori, e gli scuUori di GiambaUisia Sabai- iini, doUore in tnedicina, e ckirurgia, professare d'atuUomia neUa Reale Accademia di belle arii in Bologna, membro deUa Commissione diparti- menUde di sanitd del Reno, mediaxkirurgo maggiore sostUuto nel grande Spedale della vikiy e morUj etc. Bologna, tipografia dei frateUi Masi, 1 8 14, large 4®, 87 pp. and 48 copperplates.

The latter show very excellent workmanship and anatomic accuracy and correctness. The first four plates represent the front and back views of a male figure, finished and in outline, with explanatory letters. The following plates have osteologic representations of special organs, with the myologic representations, also finished and in outline. Sixteen plates pertain to the trunk and the head, twenty-eight to the upper and lower extremities. There are altogether forty-eight plates, some of them having one figure, others with several figures. But they are num- bered from one to twenty-six because, beginning with the fifth plate, the outline representations always have the same number as the correspond- ing finished plate. They were all drawn by Giuseppe Guizzardi, and engraved by Antonio Gajani (bom at Bologna, a professor of the art of copper engraving in Modena). The work is rare, and one should take care that all plates are included in his copy, and guard against having some plates double and others missing, since it appears that trans- positions of sheets occurred. Each finished plate should always be accompanied by an outline-plate with lettering. The text contains only explanations of the plates, but, in the preface, the author promises the publication of a separate Tratiato teorico osieologico e miologico for the use of artists. This treatise, however, seems not to have been published, while an abridged and less expensive, but inferior edition of the anatomic plates appeared under the title:

Tavole anaiomiche per li Piitori e gli Scultori ricavaie dalV opera insigne del celebre Giamb. Sabatiini — disegnate dal rinomato piiiore Bolog- nese Gius, Guizzardi. Lavoro ridoito dall^ incisore Luigi Rados a sole // tavole, contenenii 20 figure osteologiche e 20 miologiche coUe rispeUive

33

336 ANATOMIC ILLUSTRATION

descrizioni nc' rumi, dedkuto a particolare ulilitd de' giovani Ariisli, Milano, presso Avlonio Bossi c Gio. Silveslri, s.a., oblong folio, 20 leaves all in copper.

The title is followc<i by two more pages of text: Piano deW opera anr] Discorso prdiminarc, and by seventeen engranngs. The first two represent the front and back views of the male body; the remaining fifteen plates each contain one or more myologic with the corresponding osteologic figures. Most of the plates were engraved by Gaetano Bonatti, except Numbers III and IV which were executed by Luigi Kados, an engraver of Parma.

IWcigt): Kumlkclalog, no. 1M265-66.I

GIUSEPPE BOSSI

Giuseppe Bossi, draughtsman and painter, is particularly famous for his drawings and has also become known for his great admiration for Dante and Leonardo da Vind. He made the first arrangements and all the preparations for Giacomo Rafiaelli's mosaic copy of Leonardo da Vinci's "The Last Supper" for the Belvedere at Vienna. He was bom at Busto Aiuzio, in the territory of Milaao, in 1776 or 1777, and died at the Villa Melzi, on Lake Como, in i8r6. After his death, was published :

Tavole analomiche disegnaU dal PUtori Giuseppe Bossi ora per la prime volta pubhlicale soUo la Direzione del Pittore Giuseppe Sogni, Professore d'elemenli di figura presso V J. R. Accademia di belle arti, e del Pittore Giovanni Servi, Aggiunto al Professore suddetio. Milano, presso la litografia Brison e Corbelia, s.a., large fol.; lithographed cover and title and 30 lithographed and Uluminated plates.

The different parts of the human body are represented almost in life-size and are very valuable, both from an artistic and an anatomic standpoint. The least valuable of them all is perhaps the first plate representing head, neck, and shoulder. Each myologic representation is supplemented on the following page, or, if space permits it, on the same plate, by an osteologic representation, showing the same parts in the same position. Thcextremities have been given the most conscien- tious treatment and take up all of the remaining fourteen plates. Most of the plates are signed, Giuseppe Bossi disegno dal vero, but the purely osteok^c plates (H, IV, and VI) are without this signature. Plate IV is signed C. Sommarioa dis. dal n -o, who is also the Uthographer of the cava. Gaffina is ^ven on most of the plates as the Uthographer. On many Carie Porto esegui or dis.  » la pielra. are added to Galtina's name. Giuscf^ Sogni was a Milanesi painter and was bom about 1800. dovmai Servi of \'enice was bom about 1795 and was a painter at

r Venice and Milano. On the following page an illustration has been iqmxiuced.

• -<Mn. at. 18167.1

ANATOMIC ILLUSTJUnON

KOECK

Koeck, a professor at the Academy of the Graphic and Plastic Arts at Munich, was the author of :

Anatomische Abbildungen des menschlichen Kifrpers fUr bildende KUnsttery with 12 executed plates; Munich, 1822, fol.

The plates are lithographs showing remarkably beautiful execution and finish. They represent bones, Hgaments, and muscles. The text contains only explanations of the figures. The scale chosen is not too small, and the selection recognizes the needs of artists. Owing to these facts and to the anatomic accuracy, the beauty of the drawings, and the inexpensiveness of the book, this atlas is one of the most useful works in its line.

[Christian Kock, who illustrated Sommerring's works, is apparently not the same man. He died in 1818.]

GEORGE SIMPSON

George Simpson, surgeon and a member of the Royal College of Surgeons of London, taught anatomy to a London society of artists, organized for the study of that phase of anatomy suitable to their needs (The Artists' Anatomical Society), and published, to this end, the following book:

The anatomy of the bones and muscles, exhibiting the parts as they appear on dissection, and more particularly in the tiling figure; as applicable to the fine arts. Designed for the use of artists, and members of the Artists* Anatomical Society. In tuv parts. Illustrated unth highly finisfied litho- graphic impressions. London: printed for the author, by J. Johnson, 1825, large 4'^, 13 and 141 pp. and 30 lithographed plates in 4^.

The first (osteologic) part of the work contains 13 plates representing dilTerent parts in natural size and a fourteenth representing the skeleton on a reduced scale. The drawings were made by Cooley and litho- graphed })y L. Haghc. The second (myologic) part contains 16 plates of which only the four representing the hand and the foot are in life- size, while others are flrawn on a different and smaller scale. The drawings made from nature are by William Henry Brooke (also Brook) and by John Taylor Wedgwood. They are lithographed by J. W. and C. Xewcombe, W. Fairland and R. Thomas Stothard. The three last [)hitcs re[)resent the entire muscleman after Albinus. All are finished in (rayon on India paper. The life-size figures are remarkably beautiful and true to nature, the smaller figures and copies less so. One short- coming is the fact that dillerences of sex and age have not been taken into consideration. The text is splendidly printed. The work is dedicated to the painter Thomas Lawrence (b. Briston 1769, d. London 1830).

JOHN FLAXMAN

John Flaxman, sculptor, was bom at York in 1755 and died at London in 1826. He left a number of anatomic studies treating of the skeleton, the muscles of the trunk, and the extremities. They show, in their sequence, a certain completeness which is carried out more fully in the myologic part than in the osteologic, but which, nevertheless, at the time of their planning, had not been thought of. Nor had these studies ever been intended to serve as a textbook of anatomy for artists. They were collected after Flaxman's death, arranged on 19 plates, and were given the necessary reference letters for the different bones and muscles. Two other plates, drawn by W. Robertson, with an explanatory text, were added to tiiem, and the whole collection published under the title:

AnaUmtkal studies of the bones and muscles, for the use of artists, from drawings by the hie John Flaxman, engraved by Henry Landseer; with two additional plates and explanatory notes by WUliam Robertson. London: M. A. Nattali, 1833, large fol., with a portrait of Flaxman, etched by M. de Clausen, and ai anatomic plates; 6 printed leaves.

The first two plates were drawn and lithographed (not engraved on copper) by Robertson and contain six whole figures, viz. : the skeleton and the muscleman, each from three different viewpoints. The pro- portions are good, and the drawing, although less accurate in the details, meets the needs of artists. The nineteen plates following these were drawn by Flaxman and engraved by Landseer. The first three (Plates III-V) are finished in aquatint and pertain to osteology. They represent the trunk with the head and a part of the extremities, as well as the pelvis in different portions and a difficult foreshortening. No completeness seems to have been intended. The sixteen plates following (VI-XXI) are done in the easy, unconventional style of chalk-drawings and pertain wholly to myology. They represent the head, trunk, and extremities in various positions, movements, and foreshortenings. Some of them seem to have been only studies for some planned work, yet this

lup is more complete. Flaxman's drawings are all unconventional,

^and true to nature. But to use them the artist must aheady

wledge of the anatomy of bones and muscles, with which,

,„ f — , plates by Robertson are intended to furnish

342 ANATOMIC ILLUSTRATION

him. The text contains nothing by Flaxman; it is rather an index by Robertson to the names of bones and muscles and the origins and

insertions of the lallcr. The work is splendidly gotten up and rare in Germany.

Cf. (F.iivrcs ih l-hsximn ^r.rch .iti Iroll p,ir Fr.-H, I'aris, 18—, 8^ Wdgfl: No. ij5^?.

[SIR CHARLES BELL

Sir Charles Bell, the author of an original and notable work on the anatomy of expression in painting, was bom at Edinburgh in November, 1774, the exact date of his birth being imknown. He died at Hallow Park, April 29, 1842. Early in life he gave evidence of ability as a practical dissector, anatomist, and surgeon, making his own beautiful drawings in his own inimitable way. His various essays on the nerves of the face, and his illustrations of these nerves under disease, are of the highest importance and deepest interest, and the greatness of the work can only be realized when compared with what was known, or rather not known, in his day of the physiology of the nervous system. His various systems of anatomy, dissections, and surgery, still stand unrivaled for fadlity of expression, elegance of style, and accuracy of description. The plates are all from drawings made by the author. The Library of the Surgeon General's Office, Washington, D.C., is in possession of a volmne of his original water-color sketches. His first publication was entitled:

Essays on the anatomy of expression in painting, London, 1806, 4**, with illustrations.

In this work he points the importance of a knowledge of anatomy to the artist and displays the error into which artists may be betrayed by an exclusive attention to the antique. He treats of the skull and form of the head, of the muscles of the face in man and in animals, depicts the several passions by a comparison of these, marks what is peculiar to man, embodies the idea of a living principle in the expression of emotion, and finally treats of the economy of the living body as it relates to expression and character in painting. The illustrations show some of the finest specimens of his pencil. A second edition, with additions, was published in 1824, 4°. The title was changed in the third and succeeding editions, to:

The anatomy and philosophy of expression as connected with the fine arts, London, 1844, 8°.

Many Latin quotations and several illustrations were left out and the work was practically re-written, so that this edition is really a new work. The seventh edition appeared as late as 1893.

Weigel: No. 18693.

Pettigrew (Thomas Joseph): "1 ^' s Bell"; Memoirs of Physicians, Surgeons y etc., London, 1839,

Corson (Eugene R.): Johns Hopl Iti 'e, XXI (1910),

171-82; XXV, 185-89. Tr. XVII. 'imd., 1914, Sect,

XXIIL 73-86.]

r

Br;RKH.\RD WTLHELM SELLER

ilvrir-i.'-: WThfrlrr. -yrL^r. m^'jjnisZ az,i pij3ji:«kt, w^5 born it hhi.'.z^. or. A^ril ii, 177';. aj>i ciei ii freHierz. -^c S^K^nbo- 27. !44i Ir.  ;><^i- he b^iarr-t pf^cctor in Wlrte^berz, ai>i frcc3 1SC7 nntil ibft f.V/'irjZ '*f rht jfiivtriitv fce ■»■£; r^^fess.'f of aaawcLy. pXn^aolog}'. a.-.'! • , r/i-.r. 'i^r^ In  : ■ : =- ht nftcairie pr',-:ts=.>r ■>: aaai>jc:y lod ph>"si- '/yy/,: --•'. ■:'.r':rv.7 'A tht Medico-Chirjrsi-raJ A-ia^iecy oi Dresjei. Of

Hi -BTorij the folii-sring lynjt ii in Hne with

'/'jr dii-7U=aon:

and TstmUhrer  :.?i B. W, Stiver. Heram- I'-Z'-h^n zoK A . F. GiinikfT. Professor, etc. Wiih 5 cf^perplates in Large iz^ml i'M'i and i lithozraphic plate- repre- r«r.i:r.2 the ^keieton and muailes of the h.'jT^: Leipz's: Arnold. 1S50. S' ao'i i'A.

.\t St-iler'a fleath only the m^i volume. conUiininz the dritlour copperplates and t-xiiianatKjnE. ha^l appeared in 1S26. while the other four had been engraved but were ■:till without numbers or text. August J-ritdrich Giinther Seller's pupil and a^iktanl for many years, director general of the ArmyMeilical Department and pro- ft^-or at the Medico-Chirurgical Academy '-U' tetyling Seller there.', undertook the difficult ta?ik of hnishing the work, adding to il ihu lithographic plate pertaining to thf hor-c. and the e-xplanatory text. The work now has nine large plates. Dietrich Wilhelm Lindau ih, Dresden 1779I, who later became famous as a genre painter in Rome, made the drawings for the cop-

J"

I r rii;diTii.h Schrutcr (h. Leipzig 1771, d. Leipzig 1836)

id ('liris(i:in i'.rnil stnl/el fb. Dresden 1792) did the engraving, but

BUREHARD WILHELM SEILER

345

others, not named anywhere, aided them in the work. The drawii^ for the lithographic plate was made by M. Krantz. J. E. Assmann finished it on stone. The first plate is histologic, representing the tissues of the body, and is a very remarkable composition not to be found any- where else, although it has little value for the graphic artist, who does not expect to become an anatomic artist and make anatomic repre- sentations. The second plate r^resents three views of the skeleton; the third the same views and positions in the muscleman. The fourth contains representations of the extremities, and the neck and head in various movements. The fifth shows three musclemen with the deeper muscle layers. The sixth con^sts of a few myologic figures of the trunk

and representations on a larger scale of the skull and the larynx. The seventh plate treats rather convincingly of the proportions, the skull- forms, and the differences due to sex and age. It also represents the body outline of the Venus dei Medici, the Meleager (Antinous), and the Apollo Belvedere. The eighth plate shows the contours of the Borghese Gladiator, the Dying Gaul in the Capitoline, the Laocodn without his

sons, the Satyr, Famese Hercules, ckiocciola), and of the Cymbal I inside the body uutHiie». The i the myology of the horse and, in larger scale, the head of the luni|j the beauty of the very call** ' atlas a very ua ' '

Crouching Venus (yenere della

all have the skeletons drawn

te represents the skeleton and

ry figiues on a somewhat

th of the material given and

r< itations render this

plastic artists. The

BURKHARD WILHELM SEILER

Buikhard Wilhelm Seller, anatomist and physiologist, was bora at Erlangen on April ri, lyyg, and died at Freiberg on September 27, 1843. In 1802, he became prosector in Wittenberg, ami from 1807 until the closing of the university he was professor of anatomy, physiologj-, and surgery there. In 1815. he became professor of anatomy and physi- ology and director of the Medico Chirurgical \cadcmv of Dresden. Of hn works the following one is in line with our distussion

liialomic dcs Menschen fur KUnstlcr mid Tiirnlelirer on B W Seller. Heraus- qe^cheH on i F (. utillicr Professor, etc. -^jc&^^^y^wj. With 8 copperphtes m large imperial

f /T ■i? '^/Vau ^"'"^ ^"'^ ^ litht priphic plate, repre-

enlin„ tht kclel m and muscles of thL hire Lcipzit, \rnoid. 1S50. 8° ind lol

\t '^Likr s death onh the first volume, ( nt unin_, tht first four copperplates and \phnitions hid appLired in iSj6, while tht othtr lour hid iKencngrived but were jtill without numljtrs or text, August triLdntJi L untJur tellers pupil ami isbilintt r m in\ Mirs ihrector general 1 the \rni\ MidiL il Dtp irtment and pro- le )r lithe MtdiLj Chirurgical Acailemy I ULLCL iing "^Likr there] undcrtoi)k the iitliLult li km hni hing tht work, adding it tht nth gr iphiL phte pertaining to tilth rt iml tht tv])! initjry text. The vv rk m)w hi nint I irge plates. Dietrich Wilhelm Lmliu 'b Dresden 1779), who liter bttimt fimous is a genre painter in Rome, made the drawings for the cop- perpUUt'--. Johann Frieilerich Schroter (b. Leipzig 1771, d. Leipzig 1S36) ami ("hristian Krnst Htiilzei (b. Dresden 1792) did the engraving, but

346 ANATOMIC ILLUSTRATION

text (i6 and 1S4 pp. S°) not only contains explanations of the plates but also presents varied information regarding the structure and functions of the body.

Die Gcbdrviiillcr uud das Ei dcs Meuschen in den erslen Sclrd'anger- schajlsmonalen iiach der Nalur dargestclll, with 12 copperplates, Dresden: Waither, 1S32, fol.

These twelve copperplates, two of them illuminated, and thirty-eight pages of text were published. The rest of the text is missing. The drawings for the plates were made from nature by Puschner of Dresden. The engraving was done by Johann Friederich Schroter, of Leipzig, Most of them represent microscopic subjects after investigations carried on for many years by Seiler himself.

Choulam (Lud\vig): NiiehTuhl von dcm Lebeii iiitd Wirki'n B. W. Seller's, etc. Witii portra.it and facsimile, Dresden, 1S44, smjiU fol.

Weigel: No. ijiti).

PIERRE NICOLAS GERDY

Pierre Nicolas Gerdy, professor of anatomy, physiology, and surgery in the Faculty of Paris and surgeon at the H6pital St. Louis and the Charit£, was bom at Locher (Aube) on May i, 1797. He edited:

AfuUomie des formes exttrieures du corps kumain, appliqule d la peifUure, d la sculpture el d la chirurgie. Avec un Alias, Paris, chez Bechel jeune, 1829, 8^ and foL; German: Weimar, im Lat^desindustrie- Comptoir, 1831, 8**, with 3 lithographic plates in 8®.

The book suffers from the opposition of the entirely different aims of the graphic or plastic artist and the surgeon. It shows on the other hand conscientious work, having particular reference to existing pictorial and sculptural representations. The plates of the German translation show an inferior workmanship and represent three complete bodies upon which the different parts and the muscles are indicated without anatomic exposure.

The work remained incomplete, as the author intended to follow this representation of the external forms of the body by an actual anatomy for artists.

EDUARD SALOMON AND CARL A. AULICH

Eduard Salomon and Carl A. Aulich, the former a physician, the latter an instructor in drawing for natural science and anatomy at the University of Leipzig, edited:

Anaiomische Studien fiir KUnsUer und Kunstfreunde. Mil einem einleiienden Vorworle von Veil Hans Scknorr von Carolsfeld. With 9 lithographic plates, Leipzig: Gebhardt and Reisland, 1841, fol.

This work is based on Houdon's anatomical plaster statuette. The osteologic and myologic plates are very praiseworthy, not so the skeletons which are drawn superficially, vaguely, and arbitrarily. The repre- sentations of single organs on the ninth plate, besides being useless to the artist (at least as they are drawn), are not wholly correct anatomi- cally. The printing of the finished plates is sooty. The text is copious, scientifically instructive, and not merely explanatory. Explanations are given separately. Schnorr was bom at Schneeberg in 1764 and died in 1 84 1 as director of the Academy of Arts of Leipzig, before the work had been finished.

347

FERDINAND BERGER

Ferdinand Berger, professor and instructor at the Royal Academy of Arts in Berlin, was the author of:

Ilandbiick zitm Gebratich Jiir das anatomischc Sludium des mensch- lichcn KiirpCTS bcsonders fur bildende Kiinstkr und DileUanlen der Kiiiist. Berlin: C. G. Liideritz, 1842, small fol., 15 pp., 10 copperplates and 2 lithographs in small fol.

All the illustrations were drawn and finished by the author himself. They include three skeletons and five musclemen after Albinus and four sketches of male bodies made from nature. A large number of post- humous sketches by Berger, partly studies in preparation for this work, partly other studies bearing on the knowledge of the human body needed by the graphic or plastic artist, are among the collections of the Medico- Chirurgical Academy at Dresden [Berger contributed to Schadow's work, Lclire vox den Kiioclien und Mitskcln, etc. Berlin, 1830, fol.)

JULIEN FAU

Julien Fau, doctor of medicine in Paris, edited two different anatomic works for artists :

Anatomie des formes exUrieures du corps humain, d I' usage des peintres et des sculpteurs. Avec un AUas de 24 planches dessinSes d'apris nature ei lithograpkUes par M. LtveiUi, ileve de M. Jacob. Paris: M6quignon- Marvis fils, 1845 (16 and 214 pp.), 8^ and fol. (24 lithographic plates), black and white and also colored.

The plates are very beautifully finished and comprise one plate of skulls of different nationalities; several different views of the nude bodies of a man, a woman, and a child, all drawn from nature, some of them supplemented by skeletons placed alongside of the bodies, with the body outlines; representations of the bones, and the muscles, the latter with the bones in some cases drawn in. Particular attention has been given to the various positions and flexions of the extremities. The last plate represents the myology of the Laocoon, without the sons, after Charles Clement Bervic's well-known print. This work has been translated into English, with additions, by the physician Robert Knox, and published imder the title: The anatomy of the external forms of man, intended for the use of artists, painters and sculptors, London, 1848, 8^, with an atlas of 26 plates in quarto; published in black and white and also colored. The second, smaller, and less expensive work by Fau is:

Anatomie artistique iUmentaire. Dessins d^apres nature par J. B. LtveilU, gravures sur.acier. Paris: M6quignon-Marvis, 1850, 8°, with 17 steel engravings in 8**, three of which are in small folio.

In this work the representation of the shapes of skulls, of the nude bodies, and of the Laocoon are missing, but representations of three beautiful skeletons, with the contours drawn aroimd them, have been added. The remainder deals with osteology and myology, although less exhaustively than in the previous work.

The same author had a young artist, Eugene Caudron, a pupil of David d'Angers, make an anatomic plaster statuette, 70 centimeters high, for the use of artists {nouvel icorchf) which is sold, white or colored, with a description and four pages of pictorial representations (the four views of the statuette), for 15 and 30 francs respectively (the descrip- tion alone costs 3 francs). Prior to this, Johann Martin Fischer's plaster

349

350

ANATOMIC ILLLSTR.ATION

Statuette fcf, section, p. 321) had preferably been used by graphic and plastic artists in Germany, in Spain, that of Caspar Becerra (b. Baeza 1520), in Italy, that of Luigi Cardi (called Cigoli or Civoli, b. EmpoU 1536, d. Rome 1613), and in France, that of Jean Antoine Houclon (b. Versailles 1741, d. Paris 1828).

[To the anatomic statuettes for artists, mentioned here, there should be added that by Ercole Lelli fp. 2q4). Lelli also made, especially for Bologna, anatomic reproductions in wax for anatomists, i.e., repro- ductions of healthy or diseased parts of the human body, and two myologic figures in wood for the anatomic theater in Bologna. For three years Giovanni Manzolini worked with him and turned out even more splendid anatomic prepa- rations in an especially prepared wax substance. After Lelli's death, in 1766, he worked by himself, but was assisted by his wife, Anna Morandi Manzolini. who gained even greater fame than he in this field and was visited by every tourist in Bologna, among them Emperor Joseph II. The large collection of anatomic wax preparations in the Specola of Florence was undertaken under the direction and after prepara- tions and drawings by Felice Fontana (b. Pahnavoli in Tyrol. April 15, 1730, d. Florence, March q, 1805). He employed especialh' for this work the ser\-iccs of the artist Clemente Susini. and improved the composition of the wax substance used. Toward the end of the last century anatomic wax preparations were made by the artists Giambattista Manfredini and .-Vlessandro Barbieri under the direction of the anatomist. Carlo Mondini of Bologna, Giuseppe Astorri is also given as the name of an artist active in this same specialty. In Germany, Heincman, of Brunswick, and his pupil Meves produced beau- tiful wax preparations of anatomy, of a rare detail and accuracy.] Weigel: No. 17767-08.

WORKS ON ARTISTIC ANATOMY

A. MORE GENERAL WORKS

[These were compiled by Choulant in an attempt to render this litera- ture complete.] They are either without illustrations, of small size and significance or were diflSlcult to get in Germany.

[WiUem Goeree: Natuurlyke en schilderkonsiige antwerp der mensch- kunde. Amsterdam, 1683, ^^> ^73^' S^> ^^ illustrations after Vesalius; the author was an artist and wrote for the benefit of artists; he also wrote:

Jnkyding lot de praktyk der algemeene schilderkansi. Amsterdam, 1704, 8®, and JnUyding tot de algemeene teykenkanstj Amsterdam ^ 1705, S^; German translation by Filip von Zesen, Hamburg, 1669, 8®; cf. Haller: Bibl. anat.y I, 310; Weigel: No. 9795, 12166.

Scuola perfetta Per imparare a Disegnare tutto il carpo Humano Cavata dallo studio, e disegni De Caracci. Nouamente data aUe stampe^ s.l. et a., 4®, with the copper- title, 48 copperplates, representing heads and parts of the head; Plate VII represents two skulls. There are also illustrations of hands, feet, torso, and sketches made from the nude; Plates XVIII-XIX animal heads; Plate XXXIV a street with houses. Some of the illustrations are reproductions of well-known paintings. The following artists' names appeared on the plates: Lucas de Urbino, Annibale Carracci, Michelangelo Buonarroti, Agustino(Carracci),Marius Cartarius; most of them being probably the painters of the originals from which the copies were made. The drawing and engraving are valuable; there is no text.]

Johann Carl Wilhelm Moehsen: Verzeichniss einer Sammlung von BUd- nissen, grosstentheils berUhmter Aerzte; sowohl in Kupferstichen, schwarzer Kunst.und Holzscknitten, als auch in einigen Handzeichnungen: diesem sind verschiedene Nachrichten und Anmerkungen vorgesetziy die sowohl zur Geschichle der Arzeneygelahrtheit, als vornehnUich zur Geschichte der Kunste gehoren. With vignettes, Berlin: C. F. Himburg, 1771, 4^, 12, 243 and 240 pp.

Contains very valuable reports on artistic anatomy and the history of anatomic illustration. The copper vignettes have no reference to these subjects. Very accurate and conscientious research work is characteristic of this book, as of all of Moehsen's works.

351

352 ANATOMIC ILLUSTRATION

Charles Monnet {Monet): £tudes d'anatomie a V usage des peintres par Charl. Monnely peintre du Roi, grav. par Demarteau, graveur du Roiy

Paris ?, large 4°, forty-two pages of copper engravings in red-chalk

manner. Cf. Weigel: Kunstkatalog, no. 19935.

The illustrations were drawn by Monnet in the style of sketches or crayon drawings, and were engraved by Gilles Demarteau (d. 1 776) . They comprise osteologic and myologic representations of no particular value.

Gottlieb Fricdrich Riedel: Abbildungen der Knoclien und Muskeln des menschlichen Kbrpers nebst einer Erkldrung und Benennung alter Theile in deutsch-latcin- und Jranzbsischcr Sprache fur junge Kunstler und Wundarzte, Dessau, 1783, fol.; new title: Augsburg, printed by Herz- berg, 1826, fol.

Containing three skeletons after Vesalius, two muscle-manikins after Albinus, and eight pages of text. The skeletons are engraved by Gottlieb Friedrich Riedel (b. Dresden 1724, d. Augsburg 1784), the musclemen are engraved by Johann Christoph Nabholz (b. Regensburg 1752, d. Leipzig about 1796). The anatomy is the reverse of excellent.

Bottmann: Cours d\inatomie a V usage des artistes, Paris, 1788, 12°; ibid., 1796, 12°.

This book has no illustrations. Cf. Cicognara: Catal.

[Alexander Cozens: Principles of beauty, relative to the human head. London, printed by James Dixwell, MDCCLXXVUI, large folio, 6 and 15 pages of printed EngHsh text; page 15 is followed by a title: Principes de beaute, considercs rclativement a la tcte humaine. Par Alexandre Cozens, Londrcs, im prime par Jacques Dixurll, M.DCCLXXVIL, and the title of the French translation on fifteen newly numbered pages; at the end are 17 folio copperplates in brown representing parts of the head and coni])lete heads, without proportional lines and anatomy. All are signed: Alexander Cozens inven., F. Bartolozzi sculp. Each illustration oi a complete head is accompanied by a transparent page on which the hair, omitted on the plate itself, is especially rei)resented. This makes it possible to see the head with the hair by placing the transparent page oil the plalc. and without hair by looking only at the copperplate. All the plates ^how beautiful sketcliing of characteristic heads.]

(iamclin: Xouvcau rccucii (i\)slcoloi;ir cl de myologic a V usage des pciJilrcs cl sen! /)lcurs, dcssinc (I\if>rcs nature, pour rutilitc des sciences ei tics iirls, Fouiousc, 1 70(), lari^e fol., with co])j)eri)lates.

The author was a French [)ainter livin«j; in Carcassone.

Bosio: Trailc i'lhnoilairc des regies du dcssin, Paris, chez Vauteur cl clicz filler . lUi J X ' iSoi ^ large 12°, 1 18 pp., including 17 copperplates.

WORKS ON ARTISTIC ANATOMY 353

The author was a pupil of David. The book treats only of the human figure and deals with osteology, myology, and proportions.

Charles Etienne Gaucher: Traile d^anatamie d Vusage des artistes. Paris ?

The author was a copper engraver and connoisseur, bom at Paris in 1740, died there in 1803 or 1804. He was also the author of an Essai sur la gravure.

[Tammaso Piroli: Raccolta di Studj come Elementi del Disegno tratti daP AfUico da RafaeUo e Michelangelo. Con aggiunta di alcune Tavole Anatomiche. II tuUo publicatio ed inciso in 40 Rami da, etc. Vanno 1801. In Roma presso VAutore, s.a., fol., Weigel: No. 19317.

Johann Christian von Mannlich: Versuch fiber die Zergliederungskunde fUr Zoglinge und Liebhaber der bUdenden KUnste: with 8 copperplates, MUnchen auf Kosten des Verfassers und in Commission der Lindauerschen Buchhandlung, 181 2, imperial folio, 6 pages of text and 8 copperplates of the same size as the pages. The text contains the explanation of the copperplates and a few general remarks, technical and historical; the copperplates represent front, back, and side views of the skeleton, besides the muscles of the trunk and individual limbs. The drawing throughout is very beautiful and true to nature. The skeletons are done in simple sharp lines with little crosshatching; the muscles in crayon style. Four myologic plates are signed: N. Strixner sculp. y although they are not otherwise distinguishable from the other plates. Albinus' illustrations served as a foundation for the skeleton, Houdon's statuette as a basis for the muscles. Sexual diifferences are nowhere considered. The author was the director of the Munich Galleries for Graphic and Plastic Arts. Weigel: No. 20633.]

Johann Christian Rosenmiiller: Prodromus anatomiae artificibus inservientis, Lipsiae, 1819, 4®, 14 pp. without illustrations.

A Prodromus in which the author, professor of anatomy in Leipzig (1771-1820), presented the plan of a course of anatomy for graphic and plastic artists. The work itself was never published.

Franqois Chaussier: RecueU anatomique d Vusage des jeunes gens, qui se destinent d VHtide de la chirurgie, de la midecine, de la peinture et de la sculpture. Paris, 1820, 4°, with illustrations — Edition 2: Planches anatomiques d Vusage, etc., par Dutertre, Paris, 1823, 4®.

Chaussier was bom in Dijon in 1 746, and died in Paris in 1 828. As pro- fessor of medicine he lived first in Dijon, later in Paris. The purposes of the book are too numerous to render it a publication particularly appropriate to the needs of artists. The prints of the first edition are also by Dutertre.

354 ANATOMIC ILLUSTIL\TION

Carl Guslai: Adolph Theodor Fbrster: Quid anaiomia praesiet artificiy dissert, inauguralis, Berolini^ 182 1, large 8°, 75 pp., without illustrations.

The author was a physician and an instructor in anatomy at the Academy of Graphic and Plastic Arts in Berlin. The dissertation contains no new matter.

Leopoldo Uguccioni: Elementi di anatotnia esterna, Milano, 1829, 8°, with 21 copper engravings and lithographic prints.

It is of little value, either from an artistic or an anatomic standpoint.

Jean Baplisle Sarlandiere: Anatornie methodique on Organographi^ liumaine en tableaux synopliques, avee figures. A Vusage des universiUSy des academies de peinture, etc. Deux Parties aire ij planches, Paris, 1830, fol, Latin: Anatomia methodica, etc., Paris, 1830, 183 1, fol.; with illustrations in black, 30 francs; with colored illustrations, 40 francs.

Fhysiologie de faction musculaire appliquee aux arts d'imitation,

Paris, 1830. 8°, 48 pages and i plate with 8 figures.

The author was a physician, born in Aix-la-Chapelle in 1787.

Ilalma-Grand: Quelques considerations sur les connaissances anato- miques applicables aux beaux arts, Paris: Dufey, 1830, large 8°, 7 and 47 pages, without illustrations.

The author was professor of anatomy, surgery, and obstetrics in Paris and urges some knowledge of physiology for graphic and plastic artists. He treats most exhaustively of human physiognomy.

Johann Gottfried Schadoiv: Lehre von den Knochen und Muskcln, von den Verhdltnissen des menschlichen Kdrpers und von dem Vcrkiirzcn, In JO Tajeln zum Gebrauch bei der Akademie der Kiinste. Berlin, 1830. fol.

• Polyrlet oder von den Maassen des MenscJien nach dem Geschlechte

und Alter niit Afii^ahe der icirkliclien Xaturi^rosse nach dem rheinldndischen Zollstockc. Berlin, i.S:;4, 4"". and fol. With German and French text and 2() outline-plates.

- - S iitional physio<!^}iomieen oder Beobachlungen iiber den Unter- srhied drr (ir.sirhtsziij^e und die dussere Gestallung des menschlichen Kopfes. Als J'orlsclzuni!^ des Wcrkes von Petrus Camf)er, Berlin, 1835, 4° '^^^^^ ^^'v 'vilh (icrnian and 1' renc h text and K) f)Utline-]3lates.

J . Lordiil: Essdi sur r iionolo'<[ie }nedicaU\ on sur les rapports d^utilite qui (Wisioil oitrr i\ni du drssiji rl riiudc de la mcdecine. Montpellier, riuz iruvr I^irot. iS:,:. S"". i() and  :()0 pa,L!;e>.

In 1S22 the medical farull}- of MontjU'llier was presented with a ri< h collection of -kctdies of all xhools, l)\' Xavier Atger (d. 1833). •^ince iSj() the cil\" of MontjH'llier has also owned Baron Francois Xa\ier lalire's nui>>euni. a (olleclion of paintings. [The historic painter

WORKS ON ARTISTIC ANATOMY 35 S

Francois Xavier Fabre was bom in 1766 and died in Montpellier in 183 1.] The book mentioned above tries to show how both these collections and the graphic arts in general, may be utilized in the study of medicine. In a special part (pages 49-142), it treats of the history of anatomic iconology and introduces a great many important notes pertaining to the general history of art. The book contains no illustrations. Its author was professor of physiology in Montpellier.

JE. F. Verhas: Anatomie appliquie aux beaux ariSj d Vusage des Acadimies de dessin, sculpture ei peinture. OnUeedkunde toegepast op de beeldende kunsien^ etc., Bruxelles, 1838, large fol.; 24 lithographic plates with French and Belgian Text.

The author was professor at the Academy of Art and Architecture in Termonde. Cf. Weigel: No. 8455.

[Costaniino Squanquerillo: Trattaio di anatomia piUorica con analoga iUustrazione. Roma, tipografia delle belle arti, 1841, A sptse di Filippo Lustrini, fol.

The printed titie is followed by one blank page, sixty-four pages of printed text, and one lithographed titie representing a skeleton and a muscle-manikin holding a plate on which a male and a female body are shown witii tiieir measurements; below is Utiiographed: TraUato di anatomia pitiorica Fatio da Costantino Squanquerillo Roma MDCCCXXXIX. The Utiiographed titie is followed by 64 litho- graphed plates of which Nos. I-LIII represent the bones and muscles of man, Nos. LIY-LVII internal organs, Nos. LVIII-LX proportions of the human body, Nos. LXI-LXIV bones and muscles of the horse. Plate LIII is without the artist's name, on the remainder C. Squanquerillo is given. Rosi is given as lithographer on six of the plates, Wieller- Martelli on eight, Martelli on twenty-six of them, and Battistelli on twenty- three; all were lithographed in Rome. Bones and muscles are given better than the internal organs. The lithographed title does not give the names of the artists.]

J. A. Wheeler: Handbook of anatomy for students of the fine arts. With illustrations in wood, London, Samuel Highley, 1846, 8°. With 10 pages of woodcuts. [The illustrations are done after Albinus on a very much smaller scale and compri skeletons, musclemen, bones, and muscles. The 16 pages of text con 1 yr explanatory terms printed by Bentley, Wilson, and Fley, ] published earlier under

the title: Hand-book for shtdi a description of the

skeleton and the external musd with illustrations

on wood, London, 1838, 8®;

3S6 ANATOMIC ILLUSTRATION

Anton V071 Perger: Anatomische Stvdien des menscfilicken Korpers fur bildende Kunstler. Vienna: Carl Geroldy 1848 ^ large 12^; 8 and j6 pages. Without illustrations.

The author, the son of a painter and engraver, and himself trained in the art of painting, presents in this book a general view of the human figure and its proportions, detailed treatments of osteology and myology, and only the most essential points of the rest of the body, including also something on physiology.

Antonio Maria Esquivel: Tratado de anatomia pictorica, Madrid, 1848, 4°.

Carl Schmidt: Proportionsschliissel. Neiies System der Verhaltnisse des menschlichen Korpers. Fiir bildende Kunstler , Anatomen und Freunde der N atiini'issenschaft; with 3 lithographic plates, Stuttgart: Ebner and Seubert, 1849, S° *^^^ oblong folio.

The first plate contains two views of the male body, two views of the skeleton and a few smaller illustrations. The second represents a skull and head and also the hand and its bony structure. The third gives only measurements. The author bases his theory of the propor- tions on the points of support in motion. He was a historical painter and his opinion, as expressed on page 16, that the proportions of the mature female body differ from those of the male body only in the pehds, is erroneous.

Carl HeidelojJ und Philip p Walther: Der kleine Anatome oder Hand- buch des jigiirlichcn Zeichncns zum Gcbrauch der Vorbereitungssckulen und fiir LicbJiabcr dicscr Kunst, Nuremberg: Ricgel and Weissner, 1850, 8*^, 18 pp. and 20 copperplates; the plates are lithographic.

This contains Albinian skeletons and musclemen, on a greatly reduced scale, also the head and extremities similarly reduced. Drawings of the external forms added are without anatomy. The illustrations of heads and extremities are the best. HeidelotY calls himself '^ Royal (Airator": Walther signs himself as a painter and copper engraver and an instructor at the Commercial and Industrial School at Nuremberg. llic roNCT shows Albrccht Diirer and Titian in their studies, both as •omplctc  :l,L;urcs. The text furnishes only ex|)lanatory terms.

^CfUiracUrcs des lii^nrcs dWlcXiUidrc Ic Grand ct de Zenon le Stoicien, ccltiiri's par la nialcrinr par Ir Dr. A. Dcchambrc. Mdnoire lu, pour la premiere parlie, (i IWeadduie des heaKX arts {Institut de France) le 22. Mai iS=;2. i^iris. iS:^2, lari^e 8""; a treatise on two antiques in Paris, 35 pages, I lithographed plate representing a bust in 8°, and two small woodcuts printed in the text. W'eigel: No. 1931Q.

WORKS ON ARTISTIC ANATOMY 357

Robert Knox: A manual 0} artistic anatomy, for the use of sculptors , painters, and amateurs, London, Henry Renshaw, MDCCCLII, 8°.

Twenty-eight and 17s pages with many woodcuts in the text, drawn by Westmacott representing skeletons, bones, muscles, and ligaments of single organs, proportions, national skulls, illustrations after antiques, such as Venus, Niobe, Hercules, Centaurs, and Lapithae, a bust of Memnon from the British Museum. The workmanship is excellent; printed by Thomas Harrild, London; Weigel: No. 193 16.

Great artists and great anatomists, a biographical and philo- sophical study, London, 1822, 8°,

Contains an exhaustive biography of Georges Cuvier and Geof- froy St. Hilaire, a comparative biography of da Vind, Michelangelo Buonarroti, and Raphael, and a treatise on the relation of anatomy to the graphic and plastic arts; Weigel: No. 1807 13.

Henry Warren: Artistic anatomy of the human figure. With 23 Illus- trations, Drawn on Wood by the Author, and Engraved by Walter G. Mason. Ars probat artificem. London: Winsor & Newton, 1832, 8**, 64 pages.

The woodcuts represent the skeleton, the skull, bones and muscles of single organs; printed by Schulze, London, cf. Weigel: No. 18712.

Auszug aus Paul Zeiller^s geburtshiilflichem Hand- A Uas, A bbUdungen fiber den Bau des weiblichen Skelets fUr Schiller der bildenden Kunst. MUnchen, im Verlage des Verfassers, s.a. , large 8°. Six lithographed plates representing standing female bodies, from the front and back, and skeletons in the same positions with the body outlines sketched around them and the different parts numbered in red; Antinous and Venus with the skeletons sketched in. This book was published in 1852; the author was a preparer of anatomic specimens in Munich; Weigel: No. 18714.

/. /. Naue: Mimisch-Phrenologisches. Die Phrenologie im Ver- hdltniss zur bildenden Kunst des Allerthumes und der Jetztzeit, with 14 lithographic illustrations, on two lithographic octavo pages; Cothen 1853, 8**. Weigel: No. 19322.

George Combe: Phrenology applied to Painting and Sculpture, London, 1855, 8°, Weigel: No. 20631.

E. Earless: Lehrbuch dmr j  ;. i ihaltend die

Gesetze fUr organische Bildm§fm ^tell ^g i ' mensch-

lichen Gestalt im AUgemeinmm ^ < t \; with

illustrations after origiiial 4K| > S"", Weigel:

No. 21017.]

J

3S8 ANATOMIC ILLUSTR.\TION

[B. ADDITIONS ON THE PROPORTIONS OF THE HUMAN FIGURE

Pomponii Caiirici Ncapoli / tani de sculplura. / Vbi agitur / De Syme- triis, I De Lineameniis. / De Physiognomo7iia. / De etc, / De Claris Sculptorihus. / Ac plerisquc aliis rebus scitu dignissimis; colophon: Floral tide, VIII. Cal. Janiiar. / M.D.IIII, small 8°.

Forty-eight pages printed in italics, with signature, but without catchwords and pagination; page 41 (sign, fii) is blank, page 40a: Errorcs. Was published in Florence by Philip Giunta December 29, 1503; is rare; cf. Ebert: No. 8 191. Was reprinted in Norimberg., apud J oh. Pctreiuni (1542) 4° cf. Weigel: No. 21 021. It was formerly highly valued by students for the theory- of proportions, but is without illustrations.

Erhart Scbon Unndenvcissung dcr proportzion vnnd stcllting dcr posscn, I licgcnt vnd stchent abgcstolcu icic man das vor augen sicht / in dcm puchlcin durcli Erhart schon vonn Xorcnnberg F fiir die Jungenn gcscllcnn vnnd Jungenn zu unnt herrichtung die zu dcr Kunst liebthragcnn vnd / /;/ dann truck gcpracht. 1538; below this the initials, E. 5., inter- laced. The colophon: Gcdruckt zu Xiirennbcrg durch / Christoff Zell bcyn Roscnhad. Small 4°.

Comprises in all 21 pages, counting the title, and contains many woodcuts prmted in the text illustratmg the proportions of the human body, with figures and mathematical diagrams. The book was repub- lished in 1540, 1542, or 1543. Cf. Heller: GcscJiichtc dcr Holzschncidc' kunst, page 116: Haller: Bibl. analoni., I, 192.

Ilcinrich Lautcnsack: Dcsz Circkclsz vnd Kichtschcyts, auch dcr Per- sped ilia, vnd Proportion dcr McnscJicn vnd Rossc, kurtzc, doch griindtliche vndcnccisung, dcsz rcchtcn gcbrauchs. Mii vicl schoncn Figuren, allcr anfahoidoi Jugcndt, vnnd andcrn licbhabcrn dicscr Kunst, als Cold- schmidoL Mdlcr}i, Bildhauiccrn. Slci)nnctzc}i, Schrcincrn, etc. cigcntlich fiin^cbildcl. vornials ini Truck nic gcschcn, sondcr jclzundcrs von neuurn fin 1(1'^ '^c'^rhcn, Durch etc. Gcdruckt zu Frankfurt am Mayn bey Egenoljf Fnuncl. Jn yrrlci^uni; Sijnoiiis Sc/himbcrgcrs. Jm Jahr, M.D.C. XVIII, L()l()j)li<)]i: Gctlruckl zu Franckfuvt am Mayn, Jm Jahr 161S, folio.

Contains 4 and 54 pai^a's witli nian\' woodcuts |)rinted in the text; ilu' third ])art of the hook dealing with the ])roj)orti()ns begins on page ^zb and contains nian\' woodcuts, whicli. Iiowrvcr. are smaller than Diirer's. ( )n paL'c >!'/ tlu' text on tlic Dronortiojis of the bodies of horses beirins, illustrated 1)\' three woodcuts. It has been luiblished before at Frankfort oil the Main 1)\- C. Rabe. S. I'\'yera])end. and H. Lautcnsack, in 1564, folio. W'ei^el: No. S545, 10427. Jhe author, on the^title-page, calls Idniself a i^^oldsmith and |)ainter of I'Yankfort on the Main.

WORKS ON ARTISTIC ANATOMY 359

Jean Cousin: Livre de pour ir attire, Cantenant par une facile instruc- tion, plusieurs plans et figures de Unites les partiees separies du corps humain: ensemble les figures entieres tant d*homes, que femmes, et de petits enfans: Veues de front, de profit et de dos, avec les proportions, nUsures et dimensions d*icelles, etc. Paris : Jean Leclerc, 1608, oblong folio.

Thirty-seven pages with woodcuts. Counting the printed parts there are in all 40 pages; the cuts are supposed to have been drawn on the block by Cousin and cut by Leclerc. Was published later under the title : La vraye Science de la Pourtraicture. Reprlsentant par une facile, etc. Paris: Guillame Le B6, 1656, oblong folio. Weigel: No. 19497, 19498.

Filippo Esegrenio: Li primi elementi delta simmetria ossia commen- surazione del disegno delli corpi umani e naturali — al giovamento delli studiosi di questa nobil arte, s.l. et a., 4^. In Latin: Facillima methodus delineandi omnes humani corporis partes. Ex typographoeio Remon- diniano Veneto, folio, 24 beautiful copperplates; in the Italian edition the author calls himself Pittore ed Antiquario,

Crispino del Passo: La seconda parte delta Luce delV arte, dove sHnsegna la proporzione del corpo d^uomini e donne, etc. Amsterdam, 1664, folio. — La terza parte del designare^ continente diverse posture defemine nude, tanto grasse che mediocre, etc. Amsterdam, 1664, folio.

The first part of this work consisting in all of five parts, was published Amsterdam, 1663; the second part contains twenty-five academic figures and eleven plates on perspective; the third part contains two plates illustrating the human prop>ortions and thirteen nude female figures.

Girard Audran: Les proportions du corps humain misuries sur les plus belles figures de VAntiquiU, Avec 30 planches, Paris, chez Audran, 1683, folio. — G, Audran, graveur du Roi, les proportions, etc. Paris, chez Chireau, graveur, MDCCLXXXV, fol.

Contains 30 copperplates in folio, with measurements of the pro- portions; the last four plates crosshatched; 4 pages of printed text.

Des menschlichen Leibes Proportionen, von denen Vortref-

flichsten und allerschonsten Antichen genommen, und mit Fleisz abgemessen durch Mr. Audran Professeur, etc. Anitzo den Kunstliebenden zum Besten, ins Deutsche iibersetzet, Jn Verlegung Joh. Jac, oun Sandrart set, hinterlassenen Erben. NUmberg, gedruckt bey Christian Sigmvnd Froberg, s,2L., folio.

This German translatia||l * lished in 1689, with 26

folio copperplates and 4 pitfH T copperplates were

engraved Sy Sandrart himidH .ed, perhaps

without place and da ' 7.

36o ANATOMIC ILLUSTRATION

Les premiers Elemens de la Peinture pratique. Enrichis de Figures de Proportion measurees sur V Antique, desinees ei gravies par Jean Bapi. Corneille, peintre de I'Academie Royale: Paris, Nicolas Langlois, 1684.

Small 8°.

Is said to be rare but useful, on account of its concision. Weigel: No. 6813.

Georg Lichtensteger: Die aus der Arithmetic und Geometrie geholten Griindc der menschlichen Proportion, Nuremberg, 1 746, fol.

The author was a copper engraver and art-dealer in Nuremberg; cf. Haller: Bihl. anat., II, 407.

Vorstellung der Gebeine und Muskeln des menschlichen Korpers.

Wobei dieselbcn in Hirer natilrlichen Farbe dargestellet, und in Teutsch, Lutein isch und Franzosischer Sprache tabellenjormig beschrieben sind. Nebst Einlcitung von dem, was Uberhaupt von den Gebeinen und Muskeln zu merkcn 1st. Deme auch cine eigcne Beschrcibung der Proportion einer acht Kopj groscn Figur und der Uebereinstimmung seiner Theile, beige/ iiget warden. Kunstlcrn, Wunddrzten und Liebhabern zu Dienst, herausgegeben und verlcgt von, etc. Gcdruckt bey J oh. Jos. Fleischmann, Anno lyy^, jol.

Comprises 10 printed pages and 16 copperplates engraved by G. Lichtensteger; only the first plate without number pertains to the theory of proportions, all the others are myologic, and some of them colored. On Plates I and III we read: Nic. Fried. Eisenberger ad Nat. del. et sc, Georg Lichtensteger e.xcudit. Norimbergae.

Tec ken bock der Pro port ien van 7 menschelijke Lighaam Geinventeerd en Gctcckcnd door Jacob de Wit. This is engraved on the allegoric copper- title, while the printed title that follows reads: Les proportions du corps humain. De pro port ien van hct mcnschlyk ligcliaam geinventeerd en gctcckcnd door Jacob de Wit. Te Amstcldam, by W. Vermandel en J. 11'. Smit. MDCCXC. Large 4^

Contains 16 pages of Dutch and French text printed side by side. Not countini^ the copper-title, there are twelve plates. The copper- platc> are fjni^raved by Jan Punt and represent figures showing the ])roporti<)n> of man, woman, and child, and especially of the head, also those of the Farncse Hercules and Aj)ollo Helvidere. It was published [jeiV)re without place and date, Amsterdam 1747, large oblong folio, with I  ;; ])iates. iA. W'eii^el: Xo. 21016.

./(/;/ Slclla: Mcsurc ct proportion du corps humain, Paris: Daudet, s.a.: T 7 ])lates in outline.

I-yam^ois Atuic David: Proportion dcs plus belles figures de Vantiquite, ■h'compaguc dc Icur description par Winckclmann, Paris, 1798, 4°.

WORKS ON ARTISTIC ANATOMY 361

C. A. KaUiauer: Zeichenhuch; 10 pages. Proporiionen mensch- licher Figuren von ihm selbsi radiri, Vienna, 1804  ? large folio.

D, R. Hay: The geometric beatUy of the human figure defined, to which is prefixed a system of aesthetic proportion applicable to architecture and the other formative arts, Edinburgh and London: William Blackwood, 1851, royal 4^

Contains 16 and 68 pages and 16 copperplates in folio, representing geometric constructions and illustrations of the male and female skele- tons, and muscle-manikins, with the lines of proportion, after Hay's system. They are all drawn by the author and beautifully engraved by W. Forrest. Page 68 has a woodcut printed in the text, drawn by Houston from a living female model and provided with Hay's lines of proportion. Weigel: No. 18687. In French: La beauU geometrique de la forme humaine. Avec 16 planches gravies en taille douce et une figure dans le texte. Edinburgh, 1851, 4^.

On the science of those proportions by which the Human Head

and Countenance, as represented in ancient Greek art, are distinguished from those of ordinary nature, Edinburgh, royal 4**.

Carl Gustav Carus: Die Proportionslehre der menschlichen Gestalt. Zum ersten Male morphologisch und physiologisch begrUndet, With 10 lithographic plates, Leipzig: F. A. Brockhaus, 1854, large folio.

Contains 4 and 23 pages and 10 folio plates drawn by Meyer and Krauz, lithographed by Hanfstangl, representing the human skeleton, the development of the ovum of the rabbit, a normal figure of the human body, from the antique, such as Silenus with the young Bacchus, Venus of Aries. Cf. Symbolik der menschlichen Gestalt, with 150 printed figures, Leipzig: 1853, 8°; edition 2, Leipzig, 1857, 8°, by the same author. Cf. Zeising, pages 93 et seq.; Weigel: Na 19321, 19918.

A . Zeising: Neue Lehre von den Proportionen des menschlichen Korpers, aus einem bisher unerkannt gebliebenen, die ganze Natur und Kunst durch- dringenden morphologischen Grundgesetze entwickelt und mit einer voll- stdndigen historischen Uebersicht der bisherigen Systeme begleitet, with 177 woodcuts printed in the text; Leipzig: Rudolph Weigel, 1845,8**, 22 and 457 pages.

The system is based on what mathematicians call the golden mean and is chiefly used in connection with the human body, but sometimes also for other illustrations of nature and art; cf. A. Zeising: Aesthetische Forschungen, Frankfort on the Main, 1855, 8°.

Jos. Bonomi, sculptor: The Proportions of human figure. With six illustrative outlines, London, 1856, 8°. Weigel: No. 21015.]

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APPENDICES 363

from there, passing beaeath the urinary bladder, to the lower interior of the abdomen; a second goes to the liver, the third to the spleea. iw the heart, the diaphragm is si^gested as a double membranous

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364 ANATOMIC ILLLSTRATION

abdomen, extending, with its blind end, even slightly beyond it. One would be inclined to take it for the gall bladder if it were not expressly marked Lien. Below this structure is the stomach, a sic only moder- ately expanded. The use of two lines for its upper curvature is probably meant to suggest a pachydennatous margin. The stomach is shown extending in its full length from back to front, so that the entrance of the oesophagus is at the back and the expansion into the intestines is toward the front. The intestines are represented as convolutions below the stomach, of which the upper layer is called Parju inlcslina and the lower layer Magna inlestinn. They terminate posteriorly in the some- what curved rectum; the anus lies in front of the lowest vertebrae, at a distance equal to the length of the same. Behind the stomach and extending below it, but above the intestines, lies the liver, represented as a tuft with many folds as if composed of long tongue-shaped leaves with pointed apices; in its greatest length, the liver extends from top to bottom. Between this cluster of leaves and the apices of the leaves protrudes a saclikc body, with an obtuse lower end, marked Pel. Pos- terior to the liver is shown the left kidney, bean-shaped and with its upper end slightly larger than the lower. The greatest length extends from top to bottom; it appears to be composed of an oblong nucleus and several coats, and is marked: Rcnes sen locus iibi scmiiium congeries. At the lower extremity, in front, is shown a vesicular structure, very large and terminating, toward the front, in a short narrow canal, evidently the urinary bladder, although it is markeil Urelcres. Through all the vertebrae passes a narrow canal terminating in the anus and beginning in the upper portion of the heari, with a leaf-shaped body whose apex, turned slightly downward, lies behind the forehead and represents probalily the brain.

Plate \l. The lung, with ihc trachea entering from the top and con.'>isting of nine rings; the highest ring and the three lower ones are somewhat longer than the rest. The lung consists of six leaf-shaped structures with pointed apices; lo the trachea are attached the bases of the leaves, each one of which, like the leaf of a tree, has a midrib and veinlets branching from it.

Plate VIII. Intestinal convolutions, called fntcslinorum majonim imdiio. They are the large intestines.

Plate X. The stomach with very narrow oesophagus entering from the left; at the right is the thick expansion into the intestines. The upper cur\e terminates in a rather straight line, while the lower one is strongly convex.

APPENDICES 365

Plate Xn. The spleen, at least what is entitled Lienis imagOy is an oblong, slightly narrower at the top than at the bottom, with its sides only moderately curved.

Plate XIV. The heart. At the top the trachea enters, as an abso- lutely straight canal, provided with seven rings at its upper end, but smooth from thence to the bottom. From this lower part three canals branch off at the left, curved and growing somewhat thicker in their descent.

Plate XVI. The small intestine, in horizontal convolutions, lying over one another instead of being interlaced, as with the large intestine.

Plate XVIII. The urinary bladder, in its greatest length extending transversely from one side to the other, uniformly round, tapering to an obtuse end at the top and the bottom; title: Ureterum imago.

Plate XX. The two kidneys connected by an absolutely straight canal originatmg from both hila, and showing a small circle drawn in its center. The kidneys are represented fairly true to nature.

Plate XXIV. The gall bladder in the shape of a large, bulging, narrow-necked bottle.

Plate XXVI. The liver comp>osed of seven long leaves with p>ointed apices and veinlets, converging at the bottom in a common stem, apparently hollow.

The remaining plates contain for the most part entire figures, among them two female figures, with designations for the many canals, which are assumed to be the conductors of primary humors and of the natural warmth, and which form the foundation of sphygmology. The lower part of the trunk is always very modestly covered with drapery so that the external genitals of either sex are never seen.

At an earlier period, the Pole, Michael Boym, a Jesuit and missionary in China and Siam, had compiled a work on Chinese medicine from native sources, in Chinese and Latin. The Latin translation was put together, it is alleged from fragments, by the above-mentioned Cleyer, who sent it to the Jesuit, Philipp Coplet. Thus originated a book with the following title: Clavis medica ad Chinarum doctrinam de pulsibus, autore Michaelo Boymo, Huius operis ultra viginti annos iam sepulU fragmenta hinc inde dispersa collegit et in gratiam medicae FacultaUs in lucent Europaeam produxit Andreas Cleyerus. A quo nunc demum mUtitur toiius operis exemplar, e China recens allatum et a mendis purgatum, procuratore Philippo Copletio, sine loco, 1686, 4°, 144 pages and 6 copperplates in quarto pertaining to sphygmology, and not anatomic.

366 ANATOMIC ILLUSTRATION"

The same text with the copperplates is also contained in Miscellanea curiosa sive Ep/icmcridum Acadcmiae Naturae Curiosorum Decuria 11. Annus IV. (1685) Norimb. siinipt. W. M. Endkri, 1686, 4°. The appen- dix shows that the first-mentioned edition is nothing but sheets taken from the Ephemertdae and separately bound. The only anatomic illustration is on page 144. a small woodcut in the text representing the pericardium or the involucrum cordis, as a bag with a stem or a canal entering at its upper broad end.

The well-known surgeon Fabricius von Hilden (1560-1643) is said to have owned a Chinese manuscript with anatomic illustrations which he had received from China (Haller: Bibl. anal., I. q, 13S). In the complete edition of his works, however, nothing is said about it. In Description dc I'empire de la Chine, etc., Vol. Ill (La Have, 1736, 4°), by the Jesuit, Duhalde, one may find on pp. 461 ff. a representation of Chinese medicine. Recently F. A. Lepage treated this subject in a separate work in Recherches liistoriques de la medicine des Chinois, Paris, 1813, 4°. But both descriptions are without illustrations.

Through t!ie agency of Dr. G. Schultx. prosector at St. Petersburg, four genuine Chinese plates acquired by the Russian mission in Peking, were obtained for the library of the Medico-Chirurgical Academy, and since they are beyond any doubt originals, an exact description of the illustrations follows:

'I'he plates, each 0.75 meter high and o  :i9 meter wide, have been printed on one >idc of very thin lis.sue paper, with somewhat gray ink, apparently by means of wmid blocks. For the sake of durability they were mounted on cardboard at St. Petersburg. On the figures them- selves there is a great deal of Chinese writing in various sizes; a small part was translated by the well-known missionary, tiiitzlalT, later English commercial agent, during a brief stay at St. Petersburg and will be given below.

The first plate contains the profile \ icw of the trunk and head of a human body, without ihc arms, legs, and genitals. It resembles the figure represented on the first of Cleyer's plates, exxept that it is reversed. On ihe original plate is shown the right side of the face and the body, while Cleyer's plate shows the left side. Cleyer's figure was probably put on the copperplate just as it was found on the original plate and therefore appeared reversed on the print. Other dilTerences must prob- ably be blamed im the artist; the original plate has only twenty-two verlelirae, uf whith only the highest Is very long while the lowest equals the re.-t in .■-i^e: the mouth is of regular shape and small, the oesophagus

APPENDICES 367

narrower than the trachea (while with Cleyer the latter is narrower), on the trachea thirteen broad rings are indicated. The upper end of the heart into which the trachea, very much narrowed, enters is shown turned upward and slightly to the right; one of the canals arising from it leads into the right kidney and from there, following the course of the spinal column and passing beneath the urinary bladder, descends to the lower part of the abdomen; from whence it ascends to the front and widens into the lower anterior and empty part of the abdominal cavity, which lies in front of the urinary bladder. With Cleyer, it pro- ceeds as a tube up to a ball or aperture, lying beneath and separated from the urinary bladder. The second canal, proceeding from the upper part of the heart, leads to the liver, the third into the organ which Cleyer calls the spleen, but which, judging from its position in the original plate — ^it lies on the right side of the abdomen and very near the front — and also judging from its shape, might be the gall bladder. The anus lies near the lower end of the last vertebra, while on Cleyer's plate it lies away from it. In the center is also shown the body which, toward the bottom, has the shape of a sac and might be taken to be the gall bladder; it bears here also two Chinese characters. Only the right kidney can be seen; the anastomosis of the duct descending in the back is not obtuse, as with Cleyer, but sharp-edged and pointed and seems to be an attachment rather than an anastomosis. The urinary bladder is a sac tapering to a point at the bottom; there is no indication of a canal as shown by Cleyer.

The second plate represents a full front view of a complete human figure and corresp>onds with Cleyer's second copperplate. Over the middle part of the body is thrown an apron. The whole figure shows only the canals in which the blood, the natural warmth, or the primary humors are supp>osed to flow, and the places for feeling the pulse. Note- worthy are two rounded, trilateral excrescences, on one side above the forehead p>ointing slightly outward, to which canals lead; and the sternum, which is represented very distinctly and on which the manu- brium and the two parts of the metastemum can be very well dis- tinguished. The body of the sternum itself consists of seven pieces; the ribs and intercostal spaces are shown in outline only; four false ribs are distinctly brought out. The umbilicus is indicated by a small rounded slanting shield with writing; nothing is seen of the genitals; fingers and toes have long nails.

The third plate represents a back view of a whole human figure with an apron over the loins and corresponds with Cleyer's third copperplate.

,68 ANATOMIC ILLUSTR.\TION

Here, also, the two lateral excrescences are shown on the top of the crown of the head, bearing the same Chinese characters as on the pre- ceding plate; the vertebrae are represented as round bodies, of which there are twenty-four, the lowest one being very small (wdth Cleyer they are rectilinear structures). The scapulae are without acromial processes, the nails on the fingers are very long, those of the toes are shorter. In the region of the kidneys there are two roundish shields.

7'he fourth plate shows a whole human figure, with an apron over the loins. It is a view of the left side of the body. The left arm is placed on the hij), the right arm is bent at the elbow-joint and is covered with a wide sleeve so that only the ui)turned hand at the neck can be seen; thumb, index, and the little finger are stretched upward; the middle finger is bent over toward the upper joint of the thumb; the fourth finger is bent l)ack into the palm of the hand. The nails are very long on both hands and short on the left foot; on the right foot they are covered by a shoe. On this plate, as on the tw^o preceding plates, nothing anatomic is represented, only the imaginary canals and places for feeling the pulse. This plate corresponds with Cleyer's fourth copperplate, except that the latter is reversed, so that the body is seen from the right side.

This makes it certain that Cleyer had these, or very similar plates, before him and that he had them copied on a reduced scale of a little less than one-third their original size. Many things, however, especially in the re|)resente(l canals, had to be omitted. Xor were any pains taken to reproduce them on the copperplate with the use of the mirror, so that they are all re\er>e(l. All the Chinese writing of the original plates is also left out.

Ihe pa^>a^e translated l)y (iutzlaff was taken from the fourth plate, the one ju>t dcr^cribed 'the lateral view", and there constitutes the title:

The }K.iri i> the monarch of the whole Ijody. 'Ihc lung is ihc communicating priini|tlr \\hi(h ruK-s over all 1 he- nuniht'r> ([)rinu' minister). The liver is, so to sj)eak. ihe  ;^<rural lor I he >lralej^'i( l)ran( h. I lie inie is the principle that always ica'K lo r'piahilii y and whi' h ( ause^ «lei i-i(in and acts a^ the handmaid of joy and na|>pinr->. Ihc ^pUt ii f/';). a depart nient ol' the >tomach. is like a granary which j)ro'iii< t- ific uw 1 \ p( > ot' ta>!e ar]<i ^i^c-^ I he p<»'Aer to feel them, 'i'he large (long '■') iii'c^i na > arc 1 lie ^re a! \ia(iiiil in w hi* h e\ er> I hing i> elianged. The small (short .) wih-iiin- ar( the ri< h rcupuiii- whiili throw out the tran^f()rmed substance. The rvi<!iic>> ar<-  ! he -t rcn^ihcnM^ prin( ipie wheiue all lirmru->> proceeds. The urethra ■=' /n;  ;,' i-, ,1 tjiaimel ilir<»!;i^ii uhnh the \\ater i> (onducted. The Idadder is a

'•nnii.ii ilnid'i. When our tempc-ralure changes we can shed

'^ mv of the>e two saps (namely tears and

APPENDICES 369

•n). The heart is the lake of the marrow and of all that concerns the brain, the top down to the lowest part, and controls the kidneys, the five di£Ferent tines and the six inner organs, the hundred kinds of marrow and the nine aper- i, the arteries and the veins, which are all connected with each other like joints, bile b the lake of the central humor between the two milk receptacles which are

wo principles of life, both of the male and the female, and the source of every-

I living. The diaphragm lies underneath the lung and the heart and extends et curtain to the vertebrae, covering the coarser humors in order to prevent them . evaporating and ascending. All humidity enters into the bladder and the waste er into the large intestines, from whence it is excreted through a viaduct between arge and small intestines. The red field (the heart) comprises six joints (depart- ts), but the pulse of the kidneys has seven joints (or, the pidse of the kidney is seventh joint). At the side of these seven joints is the upper heart and this is loor of life, etc.

ar GUtzlaff, who dictated this translation rather hastily and vrho him-

admits that he was unable to interpret many characters. Another

•logist will probably interpret many portions quite differently and

perhaps know how to account for the symbolic and allegoric terms.)

II. SCULPTURE AND PAINTING AS MODES OF ANATOMICAL ILLUSTRATION

By

Fielding II. Garrison and Edward C. Streeter

The earliest known hand-drawings in manuscript representing details of human anatomy (from the twelfth century down to the time of Leonardo da Vinci) are of the most rudimentary and diagrammatic character and, for several centuries, reveal nothing but servile adherence to tradition. Before the advent of Leonardo, the finest figurations of anatomical structure were by-products of the advancement of the plastic and graphic arts. The question, ^'Did anatomy do anything for art?'* has been conclusively answered by the late Dr. Robert Fletcher, in two essays of unrivaled scholarship, viz., Human Proportion in Art and Anthropometry (1883) and Anatomy and Art" (1895). I^ Fletcher's view, the concept "artistic anatomy" should be replaced by *' artistic morphology," its true content being physiology and external pathology, rather than the science of musculature. Our problem is: Did art, in the^sensc of sculpture and painting, do anything for anatomy  ? What such processes as free-hand drawing and engraving did for anatomy has alreaflv been exhaust ivelv considered bv Choulant himself.

Detailed investigation of this subject is of recent date. It has two aspects: (i) anatomical illustration without (didactic) intention, (2) anatomical illustration with intention. Most artistic productions bearing upon our subject fall into the former class.

Far back in prehistoric time, early man seems to have concerned him- self with flelineation of the surface anatomy of the human body, particu- lar! \- flurini^ the glacial periods, when increased cold confined him to the ca\ cs. Rcj")resentalions of man and animal in the shape of carvings and statuettes in l)()ne and ivory, scul|Uures in alio rilicvo, line engravings on stone unci bone, and mural paintings in polychrome, abound in all the ca\ cs of the Old Stone Age ( Paleolithic period). Sculpture preceded enuraxinii: and painting. The earliest known representations of the human timire have been found in the deposits of the Middle Aurignacian ])erio(l 40000 lOooo v,a\'). In i()o8, Szombathy discovered, deep in the locs>, at W'iilendorf, on the left bank of the Danube, a Umestone statuette ()\ a woman, about 4] inches high, representing a nude female figure of

Statiette fkou Willenuorp (Mid, AuHicsAL'iAN Period)

APPENDICES 371

massive proportions, known as the "Venus of Willendorf."* The gigantic breasts and buttocks (steatopygy) of the primitive woman are thrown into strong relief, the head is bowed over the breasts, so that the face is indistinguishable, the arms, ornamented with bracelets, are folded over the breasts, but the feet are missing. The hair is arranged in a cascade of curls, like the coiffure of later Egyptian and Grecian women. The physical habitus is distinctly negroid, that of Maupertuis' "Hottentot Venus,*' and probably the effect, as Osbom says, of eating large quantities of fat and marrow, in the sedentary life and confine- ment to caves incident to this glacial period. Other sculptures of the Crfi-Magnon artists, such as the ivory Venus of Brassempouy and other statuettes fashioned out of the teeth of animals from Laugerie Basse and Mas d'Azil, the female figurines in soapstone and talc (one a figura- tion of pregnancy) from the Grimaldi caves near Mentone,' the female statuettes of Sireuil and Trou Magrite, are described by Osbom as prototypes of modem cubist art. The posterior steatopygy is absent, but the gigantic breasts and haunches are blocked out in truly cubist fashion. At Laussel, M. Gaston Lalanne found four bas-reliefs of the human figure sculptured on limestone blocks. Of these the most remark- able are a nude female figure, 18 inches high, with large pendent mammae and exaggerated haunches, holding a buffalo horn in the uplifted right hand; another female figure with the cowl or capuchin headdress of Brassempouy; and a figure of a well-formed, vigorous man, minus head, feet, and hands, apparently in act to bend a bow or hurl a spear.^ The latter, in sharp contrast with the female figure, is nowise corpulent, but suggests the straight flanks, narrow hips, and serviceable musculature of the athlete par excellence. Thus the passion for uncompromising realism in sculpture was already characteristic of Paleolithic man. The line engravings on schist and bone, representing horses, reindeer, bison, bears, rhinoceros, chamois, antelopes, birds, and plants, are also unmistakably lifelike, and the parietal decorations in polychrome, executed by Mag- dalenian man (16000 B.C.), and found on the walls of the cavems of the Dordogne and the Pyrenees, have the same startling realism. These mural paintings frequently convey all the semblance of "/^ mouvementy*^

' For a photograph of which see Szombathy, Kor.^Bl. d. deutsch. GeseUsch. f. Anlhrop.f Bmschwg., XI (1909), 87, or Osbom, Men of the Old Stone Age^ New York, 1916, p. 322.

■S. Reinach, V Anthropologies Paris, IX (1898), 26-31, 2 pi.

• G. Lalanne, ibid., XXIII (191 2), 129-49, 4 pi. Recently, P. Schiefferdecker in Arch.f.

Antkrop.y Braunschweig, N.S., XV (1916), 214-29, gives a different interpretation of the last figure. He believes that the athletic man is not engaged in handling weapons but in protecting a woman from the aggressions of another man.

72 ANATOMIC ILLUSTRATION

the ambition of modern artists. The fore and hind legs of galloping animals, such as those of running stags engraved on an antler from the cavern of Lorthet (Hautes Pyrenees), are exactly as we find them in our instantaneous photographs, an action unknown to all animal painters of later times.' The most striking of the rock paintings in red and black in the Spanish cave at Cogul (Lerida) represents a sacral dance of nine women around a phallic figure.^ The women have pendulous breasts, narrow waists, flaring haunches, knee-high, bell-shaped skirts of recent fashionable type, and mantillas over the shoulders. The women depicted on the rock-shelter wall of the Alpera cave (Sierra Chinchilla)-* are stcatopygous, with exposed breasts, flaring hips and bell-shaped skirts, strongly suggestive of the physical habitus and national costume of the Spanish fuajn or gitana. The same bell-shaped skirt is again found in the remarkable post-Neolithic figurines excavated by Sir Arthur Evans in the palace at Knossos (Crete), representing the primordial Mother- Goddess and her votary. The breasts in these finely executed figures are again exposed and anatomically correct in execution. The anatomy of similar human figures on Cretan and Mycenaean seals and signets is far cruder in representation. The Babylonian mother-goddesses sculptured in alio rilicvo (Vale Collections) are comely figurations of the nude, usually representing the act of suckling, vague in outline but of gracious charm. The Egyptian paintings are commonly executed in profile, and with suflicient clarity of outline. In the bas-relief of the tcm]>le at Sakkarah in u|)|)er Egypt (1500 B.C.), the fact that the harp- players are l)lin(l, while the singers are not, is wonderfully conveyed by a sini])lc indication en profil (Hollander). Earlier Egyptian statuary, from the Sj)hinx to such fii^^urcs as the Scribe and the basalt head in the Louvre, or the l)r()nze ladv in the Athens Museum, reveals remarkable ru^i^cd -kill in rei)resenting the human face and form, dwindling into mere academic ele<^anee in the figures of the Middle and New Empires. All the^e li.^ures. of whatever period, exhibit Lange's "law of frontality," i.e., lhe\ are al\va\s rej)re>ente(l as gazing directly and rigidly forward, u>uail\' motionless, hut even in walkini;, static, in that they rest solidly on the -oles ol ihe teet.'

Perlian^ the earlie>t anatomic al models constructed were the ancient Jial)\ Ionian  !i\ers in baked day. subdivided into squares and studded

' Sec- .'^. KciiKH li, Apollo, N'l'W \'(»rk, n^o;, }>{). ^-7.

^ H. Hn nil aiui J. Cahrr A^^uihi, l.Wntiiropiilogif, Paris, XX (igog), 17.

^ n. Hri'uil, W Serrano (iomc/, and J. CahrO A^uila, ibid., XXIII (1912), 556.

^ S. Kciniuli, Apollo, New \'urk, 1907, p. 20.

APPENDICES 373

with prophetic inscriptions. Although these were used tor purposes of divination (hepatoscopy), yet the nomenclature of the inscriptions and the configuration of the parts already implies considerable knowledge and study of didactic anatomy. The lobes, the gall-bladder, bile duct, hepatic duct, the porta hepatisy processus pyramidalis, and processus papillaris are all distinctly outlined, as Stieda has shown, and these specimens, viewed merely as examples of anatomical illustration in three dimensions, are far superior to the five-lobed livers of medieval tradition, as given in the Tabtdae anaiamicae of Vesalius. Similar models have been found on ancient Hittite sites in Asia Minor. Stieda describes an ancient Etruscan liver in bronze from Piacenza (third century B.C.) and another in alabaster from Volterra. All these models represent the sheep's liver.* The lore of Babylonian hepatoscopy is considerable. The figures of dancing girls, hewn out of solid rock in the temples of India, Ceylon, and the East Indies, are already splendid representations of the surface anatomy of muscular action.

The crown and flower of achievement in artistic representation of hmnan surface-anatomy is that of Greek sculpture in the classic period, as Berenson says, "the creations of men with almost imrivaled feeling for tactile values, movement and the relation of the two." Here, in the words of Fletcher, "Art was far in advance of medicine. The noble works of Phidias and his contemporaries and successors were in existence long before the time when Hippocrates began the work of rescuing medi- cine from the priests and made his first imperfect sketch of anatomy." In the earlier period, sculptures in high and low relief, like those on the shields of Achilles (Homer) and Hercules (Hesiod), preceded the carving of statuary in wood and stone. Of early sculpture, such figurations as those from the temples at Selinimt (Palermo) and Gartelza (Corfu) are grinning grotesques en face, suggesting the fantastic carvings of Japanese art. The earliest specimens of statuary, such as the Artemis of Delos (620 B.C.) or the Hera of Samos (580 B.C.), were evolved from the crude wooden images of godhead {^bava), stiff, rigid columns, without separa- tion of limbs or eyes, which apparently derived immediately from the aniconic idols of post-Neolithic man. Of these the Nik6 of Delos (Athens), the Apollo of Tenea (Corinth), and the twin figures (Cleobis of Biton) of Delphi (sixth century B.C.), while still serio-comic in facial expression, have considerable anatomic i t» . h the Egyptian

statuary, these upright nude figures again '*law of

«L. Stieda, "Uebcr die ftltestcn bildlichcn I "

Wiesbaden, XV (1900), 673-720, i pi.

374 ANATOMIC ILLUSTRATION

frontalily," gazing tHrectly forward, singularly alike in pose, the attitude in both being exactly that of "attention" in our "school of the soldier." In the ApoHo, the pectoralis major, deltoid, biceps, and rectus abdominis muscles are thrown into relief, the musculature of the forearm, thigh, and calf of the leg is well modeled, as also the bony conformation of the wrist and ankle; the flanks, hips, and prepatellar region are unmistakably masculine in character, suggesting already a keen, accurate vision for the surface anatomy of the body. Some observation of the workings of facial musculature is evidenced in the faint smile. The hair is worn long, falling in wavy cascades of curls, as in the coiffure of Aurignacian women. The musculature of the back, the gluteal, soleus and popliteal muscles are well differentiated in the rear view, and Hyrtl's dictum that grace and poise in statuary depend, in the last analysis, upon the sculp- tor's exact or intuitive knowledge of underlying bony structure is already borne out in these figures. The bronze statues of Harmodius antl Aristogeiton (Naples) by the Attic sculptor Antenor (510B.C.I. repre- senting two gigantic figures in the attitude of combat, have the same anatomical merits, the muscles being thrown into shaqj relief by the movement of the figures. The decorative ligure-paintings on vases of this period are mainly grntestjues, suggesting Persian or other Asiatic affiliations.

Greek art in the time of the Persian Wars (500-479 B.C.) was that of a perioii of transition. The temples erected to the gorls were built of marble, instead of wood or limestone; the dilTerential characters of sex and the external a])pearances of the joints and veins were better featured on the vases, and linear perspective was mastered by Cimon of Cleonae (Pliny). Sculpture, however, lagged behind, and was still in the tenta- tive, experimental stage, feeling its way toward perfection. Molding in bronze was more highly specialized, since the reflection of the light, absorbed by translucent marble, requireil closer attention to surface details. The alhletic bronze .\polloof Lord Strangford (British Museum) brings out the pectoral muscles, ihe ribs, and the masculine character 01 the hips and lower extremities with great clarity. The special details of bronze statuary, in which the artists of Aegina excelled, in particular the armor, weajions. and hair, were made separately and fastened to the figure. Similar details in bronze antl lead were also attached to the marlile figures. l"he finest examples of flguration in marble in this jicriod arc thdsc which adurned the east and west gables of the Doric temple of .\|ihaia al .\et;ina, acquired by Ludwig I of Bavaria after their disciivury in i.'^n, ,ind restored by Thorwaldsen. Excavations made by

Apollo of Tesea (Corlsth) 6

APPENDICES 375

Adolf Furtwslngler go to show that this temple was erected after the battle of Salamis (480 B.C.), in which the Aeginetae bore away the palm for bravery. Of the thirteen figures on the western gable, ten remain; of the eleven larger statues on the eastern gable, only five. These decorations consist of a central figure (Athena) with symmetrical arrange- ments of warriors in combat on either side. The poses of these athletic figures afford the best opportunity for the exploitation of muscular anatomy. The kneehng Hercules, on the eastern gable, for instance, in act to discharge an arrow from a bow, reveals remarkable empirical knowledge of the effect of bending the knee and etbow-joints upon flexure and extension of the muscles of the extremities. The prostrate wounded warrior at the corner of the eastern gable, lying on his side in a semiprone posture, displays the same tendency. The figures are all nude, not that warriors actually exposed the unprotected frame to the enemy in this way, but because nudity was the "festal costume at the athletic games from 700 B.C. on. When we reflect that Greek sculptors acquired their knowledge of the surface-anatomy of the body, the effect of rest and motion upon its musculature and its underlying bony frame- work, not from dissection, but from empirical observation of athletes in action during games and military exercises, the achievement seems all the more wonderful.

In the period between the Persian Wars and the age of Pericles, Athenian sculpture and architecture progressed by leaps and bounds, and the Attic drama attained its height. The temples of the gods, destroyed by the barbarians, were rebuilt in a spirit of piety and sincere gratitude. The temple of Zeus at Olympia (completed 457 B.C.) and the Siphnian and Athenian treasuries at Delphi were erected in this period. The metopes of the Olympian temple, particularly the friezes representing the twelve labors of Hercules and the battle between the Centaurs and the Lapithae, were executed with great power and distinct realism as to musculature and other details. In the compositions of the great sculptors of the period — Calamis, Myron, Phidias, Paeonios, Alcammenes, Polycletus — greater artistic freedom was attained, par- ticularly in the expression of momentary attitudes. Calamis, Myron, and Polycletus worked in bronze as well as marble. The chryselephan- tine statues of Athena by the Athenian Phidias (born circa 500 B.C.) were celebrated in the writings of Pausanias and others, and the sculp- tures of the Parthenon — the metopes in alto rilievOj the friezes in basso rilievOy and many of the figures in the round of the pediments (now famed as the Elgin marbles) — were either modeled by him or executed under

376 ANATOMIC ILLUSTRATION

his direction. Of these, the Moirae, the Theseus, the Poseidon, are splendid examples of massive modeling from the half-draped and undraped nude. The characters of his seated Zeus in the temple of Olympia are sensed in the majestic head in the Carlsberg Glypothek (Copenhagen). The Marsyas and Discobolus of Myron are remarkable for bold mov^ement, and here the "law of frontality '^ is totally abolished. The Aphrodite of Myron was admired for its grace and beauty. The winged Olympian Nike by Paeonios (454 B.C.) is a splendid semidraped nude.

Polycletus, the Peloponnesian rival of Phidias, whose Amazon (Vatican) and other statues introduced the new motif of resting the weight of the body on one foot, was only excelled by Phidias in grandeur and excelled him in finish. His Doryophorus (Naples Museum) was called the Canon," on account of its just rendering of human propor- tions. The wonderful power of first-hand observation of anatomical structure possessed by the sculptors of the age of Polycletus is evinced in a torso from the metopes of the friezes of the Argive Heraeum at Argos. This figure represents a nude warrior youth in violent contest with an Amazon. In the groin is a curious hernia-like protrusion, which, as Waldstein {)rove(l by dissection and by throwing a well-developed athlete into the same posture, is nothing less than the forcibly contracted peclineus muscle, not visible in repose, being hidden at the bottom of Scarpa's triangle. This muscle, which was highly developed in Greek athletes, has escaped the attention of modern sculptors, as also a well- defined line running from the groin to the ilium, which is found in all antique statues of the athletic prizemen.'

The pupils of Phidias, the gem engravers and the painters (Polyg-

notusi rq)re>ent the last stages of the transition from the splendid

dignity and rci)()se \cl/ios) of the older masters, the static expression of

])i"iysical i')()wer. to the newer pathos, which convex'ed the impression of

])ain i)\- nuiscular contraction of the bod}' and face. The older artists

a\()iilcd the expression of acti\e emotions,

l-'or the ^'()(1n a|)j)rovc The <lc[)th and not the tumult of the soul.

i\uh()>. pas>ion, and movement were the newer ambitions of the Peri- clean and po>t Peric lean seuli)tor> Cephisodotus, Praxiteles, Scopus, and P\.-ippus. and parlicularly of the j)ainters. Zeuxis, Parrhasius, and Apelle>. In the beautiful draped Irene of Cephisodotus (Munich). the intluenee of Phidias is still api)arent. The Hermes, Kore, and

= sir ("h.irir> W aid^tcin, 'ihc Ar\:^iic Ihrarum, Ho-^ton, 1902, p. 186, pi. 30 and 34.

^*-:^-

TH£ Xik£ OF PakjM'^ Uirea 41011,1.}

TilK DoRVPHOltUS OF PuLYCLEtUS (FiFTH ChNTIKV H.<.)

APPENDICES 377

Cnidian Aphrodite of Praxiteles, the .^[x>xyomenos and Medicean Venus of Ljrsij^us, the Milesian Venus in the Louvre have still immortal repose, suggesting physical dignity (anima) rather than passion and movement (animus). The heads of the Tegaean Temple (Athens) and Heracles (Florence) of Scopus express passion and suffering, while the Borghese warrior of Lysiiq>us (Louvre) is thrown forward in a violent attitude of combat. The sculptures of the Alexandrian period (323- 146 B.C.) were mainly character studies executed for the Roman con- querors. The Famese Bull and the Laocoon (Vatican), both of the Rhodian School, are supreme examples of the expression of pathos and emotion by means of violent muscular movement. The Samothracian Nik6 in the Louvre, the Niobe in the UflSzi (Florence) , and the Demeter of Cnidos (British Museum) are majestic expressions of the draped female figure. The Dying Gladiator in the Capitoline Museum and the Dying Giant (Berlin) are the best-known examples of the School of Pergamus. The sculptures of the newer Attic School, such as the Venus Genetrix and Felicitas of Ajcesilaus, show greater elaboration of detail, but have little to say as modes of anatomic illustration, the actual Roman sculptures even less.

In the ancient Greek world, it was customary for those who had escaped some disaster or who were desirous of averting it to dedicate to a god an iv&ffrifia or votive offering in token of gratitude or anticipation of favor. These anaihemata were usually statues or images of objects, the latter sometimes graven upon a stele. In the temples of Aesculapius, these eX'Voto images were suspended by those who had recovered from illness or wounds, through the cures rendered by the god during the rite of incubation or temple-sleep. In the Roman civilization, the cult remained the same, and was carried over into Latinized Christianity, even through the Middle Ages. The Roman votive offering was a donariutn or oblation, such as the clothes of the shipwrecked person in Horace, suspended on a votive tablet to the god of the sea. The ex-voio figurations in the medical cult represented all parts of the body — heads^ eyes, ears, arms, legs, hands, feet, female breasts, male and female genera- tive organs, viscera or a torso of the chest or of the opened abdomen with the inclosed viscera.' Most of these objects are rough and faulty in execution, and of little moment as examples of anatomical illustration. The best are unquestionably those representing coils of intestines. The oldest medical ex-voto known is a stone object from Mycenae (600 B.C.),

'See £. Hollloder't Plastik und iieditin, Stuttgart, 1^12, pp. 175-235, and Sudiu^, Beilage t. AUg. Zsckf., Au|(sberg, 1901, No. 140; Zschf. f. Bdaeol., V (Beriio, 1913-13), 461-67.

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APPENDICES 379

rudimentary and -sometimes inaccurate. The trachea is a definitely seg- mented tube, the lobes of the lungs were known, also the position of the heart between them; the stomach and coiled intestines were frequently well represented; the existence of the spleen, kidneys, bladder, uterus, vagina, and external genitalia is clearly indicated, but the liver is repre- sented as three-lobed and no trace of the oesophagus is found. The intestines are frequently delineated as a mere wriggling line in two dimensions, like the trail of a serpent, but of the so-called budelle, or coiled intestines in three dimensions, admirable specimens exist in the Museo nazionale and the Museo dei Fermi at Rome. These are comparable with the isolated intestinal coils in Vesalius {Fabrica, 1543, 361;

I5SS, 562).

Apart from the medical donaria, there are a number of ancient marble sculptures which, from their nature, we may assume to have been employed for medical instruction. That such specimens of anatomic illustration may have been conceived and executed with didactic inten- tion may be inferred from a note in Pausanias concerning the bronze skeleton at Delphi, dedicated to Apollo by Hippocrates. Such skeletons were more often as not, larvae, i.e., images of dried skin and bone with the bones thrown into relief, as in the medieval Dances of Death; but the miniature skeletons in bronze from Imola, described by Lovatelli (iSqs)} ^^^ ^ exact in execution that there can be little doubt as to their probable usefulness in teaching anatomy. The marble skull in the British Museum (London), said to have come from the grotto of Tiberius at Capri, is thought by Treu' to belong to a late period. The most remarkable of these sculptures with presumable didactic intention, is an unusually well-executed marble torso in the Vatican, representing the thorax, with clavicle, sternum and the twelve ribs.' Nothing is known concerning the provenance of this fine torso, beyond the state- ment of Visconti (to Charcot) that it was found, along with various inscriptions relating to medical slaves, in an evil quarter of Rome, near the Via Aestensis.^ The scientific accuracy of representation suggests didactic import. Helbig regards it as a donarium. Braun and Alex- ander believe that it was fashioned after an anatomical preparation, in Charcot's phrase, *'une sorte d'anaiomie plastique a Vusage des midecinsJ'

«Trcu, De ossium kumanorum larvarumque a^ud anliquos imaginibus, Berlin, 1874, died by Alexander.

• Hollj&nder, op. cit., p. 187. Charcot and Dcchambrc, Gat. hebd. de mid., Paris, IV

(1857), 513-18-

s Charcot, op. dt., p. 515*

380 ANATOMIC ILLUSTRATION

Stieda regards it as an ornament of a tomb.' Visconti attributed it to

the age of Augustus, but it may belong to a very late period, since similar figurations of the chest are still used as votive offerings in Tyrol and Southern Germany. Another marble torso in the Vatican, first described by Charcot and Dechambre,' was excavated on the site of a villa which is said to have been the residence of the physician .^ntonius Musa. It represents the exposed thoracic and abdominal viscera. The heart lies vertically in the central plane of the thorax, as in Galen's description, and is therefore the heart of the lower apes. The left lung has two lobes, the right three, as in various apes, and representation of the stomach and intestines is faulty. As the anatomy of this spUimrhnologie en marhre" is inferior to the anatomy of Galen, Charcot attributes it to an earlier period. Veit' describes an Etruscan ex-volo from \'eii, a female torso in baked clay, acquired from the effects of Count Vespignani. the director of the papal excavations made at Veii under Pius IX. A spindle- shaped opening in the abdomen contains the exposed thoracic and abdominal viscera, the heart, lungs, three-lobed liver, stomach, intes- tines, and bladder, in succession downward, with spleen and kidneys on the side. This, Stieda states, is more complete than any other Etruscan situs 'jisccnim. From the character of the coiffure of wavy hair, reaching to the shoulders, which was the fashion in the time of Julia Domna, wife of the emperor Septimius Severus (193-211 a.d.), this ex-voto has been attributed by the archaeologist Bulle to the period of Galen (131-200 .4.D.).* Gustav Klein points out that this visceral representation corresponds closely with some of the bloodletting mani- kins of the Middle Ages and with the pictures in Mundinus.' It is, therefore, within the range of possibility that these visceral representa- tions in marble and baked clay may have been ultimately transferred to paper to become the originals of the earliest known anatomic illustrations in two dimensions, as seen in the hand-drawings of the Middle Ages.

In tKis connection, an interesting question arises, namely, as to the provenance of the figurations of skeletal and visceral anatomy in the medieval Hooks of Hours.

In ancient Eg>pt and in the later Roman period, small skeletons in wood or metal were used as Epicurean memento mori devices at feasts,

' G. -AlesandtT. ap. tU.. pp. iqi-oi-

' Charcot and Dethamlirc. ofi. I,, pp. SI3-1S. Alc.xamitr, nf. til., pp. igi-gj. 1 J, Veit, "Utbtf [■■in WeiheraLlicnk aus Vcji," Sil:iin^ib. d. phys. mcd.Soz. zu £rlangrtl, XXXVI (i.0O4l lyos), 4J-4('-

" Veit. op. cil., pp. 44-46. i Veit, op. cit., p. 44.

APPENDICES 381

reminders of the brevity of human life. Those engraved on the silver wine cups of the Boscoreale treasure in the Louvre (first century a.d.), some of them representing the "shades" of departed philosophers, are tmusually realistic in execution. But as Lessing (1769)' and latterly Parkes Weber" have shown, the skeleton was never used by the ancients to represent death itself; these serio-comic figures were merely employed at banquets with the usual carpe diem intention. Among the ancient Greeks, Death was figured as Thanatos, a winged black-robed figure with a drawn sword, or associated with Hermes Psychopompos, the conductor of souls to Hades, with Hermes Psychostates, the weigher of souls, or with the winged sirens on vases and sarcophagi. On various clay oil flasks {lecyihi) in the British Museum and elsewhere, Sleep (Hypnos) and Death (Thanatos) are represented as bearing away the body of Sarpedon to Lycia {Iliad xvi. 671-83).^ Dancing and tipsy skeletons abound even on vases and wine cups of the Mycenaean period; all have an unquestionable Epicurean significance. In the Ars Moriendi or the Holbein "Dance of Death," similar skin and bone devices occur (the Hauiskeleii of the Germans), but these now signify Death as the medieval King of Terrors. In the same period appeared the Horae Canonicae or Books of Hours, which are illustrated not only with spectral skin-and-bone skeletons of the Holbein type, but also with corpses showing the dissected viscera. Now, even as the fearsome Holbein skeletons have no possible kinship with the amiable serio-comic skeletons of the Graeco-Roman period, so it is fair to assume that the eviscerated figures in the Books of Hours had some other provenance than the marble and terra-cotta donaria of that period. With anywhere from ten to seventeen centuries intervening, the gap in time seems too great for any bridge of tradition. The inevitable conclusion is, then, that the dissected figures in the Books of Hours were derived from contemporary anatomical drawings in manuscript.* The following reasons may be given for this inference. In the first place, artists and physicians who followed dissection became associated through the fact that (in Florence at least), the painters formed a subsection of the Guild of Physicians and

' Lessing, Wie die Alien den Tod gebildet: cine Untersuckung^ Berlin, 1769.

• F. Parkes Weber, Aspeas of Death and Correlated Aspects of Life (etc.), 3d ed., New York, 19 1 8, pp. 27-40.

» For which, see F. Studniczka: Die grieckische Kunst an Kriegergrdhern^ Leipzig, 1915, PUteVIIL

• W. M. de Voynich and F. H. Garrison, Ann. Med, History^ New York, I (191 7-18),

225-30.

382 ANATOMIC ILLUSTRATION

Apothecaries (Streetcr),' whence it is reasoniiljlc to assume that the miniature painters of the Books of Hours were also acquainted with dissecting and dissectors. Afiain, the traditional dissected figures of the Books of Hours are remarkaljly like those in the anatomical MSS and the earliest printed and illui'trated books on anatomy, the so-cailed graphic incunabula, and, in both, the eviscerated corpses and the skeletal larvae alike have sometimes between their outstretched legs, quaint little jesters, with caps and bells. The inference is plain.

The thirteenth CL-ntury was the age of cathedrals, stained glass windows, illuminated manuscripts and missals, and beautiful carving in stone. The work of the liomanesque architects and sculptors, deriving, as it did, from Roman, Byzantine, and Arabic traditions, was composite and decorative, but otherwise stiff, conventional, and unreal. The flowering of Gothic art in the thirteenth century was as spontaneous and natural as that of ancient Greece. This art was essentially realistic, in that it sought a direct reproduction of nature, as in the carved flowers and foliage of Reims Cathedral, the carved figures of angels, saints, prophets, Christ, and the Virgin which adorned the cathedrals, the gisanls or recumbent male and female figures on the tombs of the nobility, or the painted and gilded statuettes and bas-reliefs in wood and ivory. These figures of the Gothic imagicrs, such as the Amiens Christ He beau Dieii d'AmicHs) or the Prophet of Reims, are all serene and beautiful. The pose is gracious and dignilicd, the skill in representing the contours of the human body underneath thin drapery is wonderful, the grotesques of Romanesque art crop out only in the gargoyles of Gothic cathedrals; but the prejudices of the age forbade alike the figuration of the nude and the study of anatomy by dissection. The science of the imagkrs was therefore a science of draped figures. This Gothic naturalism exerted a powerful influence upon Italy, in the Apulian school of sculptors and the Florentine school of painters. The pulpit of the baptistery at Pisa, carved by Xicctjlo Pisano in ufjo. reveals the same wonderful skill in the representation of complex drapery, and introduces a new motif, the jiartly drajied Christ upon the cross. Ciniabue, the teacher of Giotto, worked in mosaic, after fhe Byzantine fashion. Giotto followed Niccold Pisano and the Gothic gla.ss-painters of France, whose brilliant coloring is easily sensed in the paintings of the earlier Italians. As Berenson points out, Giotlo was the first great artist to realize the third dimension fdepth antl solidity) in painting, ijy giving tactile values to retinal sensa- tions. Just as the infant acquires its knowledge of depth and solidity

' E. C. Siredcr, Bull. Johns Iluptins Uiisp., Baltimore, XXVII {1916), 113-18.

APPENDICES 383

by the sense of touch, so these early Florentines strove to get out of the two-dimensional flatland of the Byzantine mosaics into that great field of figure painting in which the semblance of reality and movement is conveyed by "functional lines/' i.e., purposeful lines which are **life- conmiimicating, life-confirming and life-enhancing ' ' (Berenson) . Tactile values, that is, the reverse of inexpressive "dead lines and "dead surfaces," were to be translated into movement, and this realism was attained, in the end, by deliberate science, in particular mathematical and anatomical science. Gradually the Florentines underwent a drill in such disciplines as the chemistry of colors, the mathematics of com- position, the geometry of perspective, the illusions of chiaroscuro, the mechanics of motion, and the science of human anatomy. The principles of human proportion were closely studied by them. Practically all the early technical treatises on the science of perspective and the science of bodily proportion, except Diirer's, issued from Florence (Streeter).

In Giotto are found the seeds of these several developments, among other things, the Florentine flair for anatomy — a, vast abortive inquiry into the physical make-up of man. Once aroused, this interest was never to lapse or fall from the circle of hving art, although it was seriously hindered and crossed at various times by the church, as, for example, by Savonarola and again in the period of the CathoUc Reaction. It should be noted that it was not Giotto's higher gifts that brought so many into communion with his artistic aims, but his compelling natural- ism, his projection of reality into pictorial illusion. Gently with Giotto came the impulse to measure, to explore, to exploit the form, to the end of making more true to nature, more "express and admirable'* the pic- tured world of life in movement. In close and incessant study of human kind, artists searched out all the experiential modes of expressing the inmost soul by the outward gesture, for this was their mitier. And although the Trecentisti turned away the challenge of fact with rather soft answers, there abode in them at all times, Giotto's love of verisimilitude. •

Reorganization of the study of nature, then, was the issue of Giotto's teaching. The spirit of inquiry into nature incited human nature in its deepest essence to push on to the discovery of man. Artists felt that incitement, in a special sense, for the human form was their supreme decorative principle, in the shaping of which they would convey reality and utter fidelity to fact. It dawned upon the minor masters following Giotto, that Nature was the specific for Art's malady, that things of the mind which have not passed through the senses, are vain things and injurious." But this they knew only in part. They lightly accepted

384 ANATOMIC ILLUSTRATION

nature-study as inevitable, avoiding the tlutcous observances. The outcome of Giottcsque schooling, however, was the final abandonment of "intuitional" drawing, the refinement of plastic modeling by shading and defining the separate surface planes and a firmer accentuation of the supporting skeletal system, in each carefully observed figure. Giotto's intimate assistant Stefano {i3oi?-5o), called the "ape of nature," attained to such a pitch of realism in representing the branching veins of the arms, that his pictures were studied by the barber-surgeons about to do bloodletting. Buffalmacco, Daddi, Giottino (son of the "ape of nature"'), Orcagna, Giovanni da Milano, Antonio Veneziano, and Ambrogio di Baldese mark distinct stages in the movement toward Renaissance naturalistic forms. Still greater gains in the struggle for the mastery of form are recorded in the sculpture of this early period. Naturalistic treatment of the vital plastic problem, the cause hotly supported by Cennini in theory, and in practice by a majority of the Florentine workers in the serious figurative arts, found ready acceptance in Umbria, Lombardy, the Marches, even inhospitable Siena.'

A conscious search for form thenceforth characterized art on the Arno. The study of the human figure, objectified and separated from the dross of ciogmatic mysteries, held most weighty claims upon artistic genius. Even as envisaged by artists of the trecentist tradition, this study par- took somewhat of that intensive quahty and independent trend which is the peculiar, yet typical, issue of the union of devouring eye and por- traying hand. Now in Italy, eye and haml were rigorously trained for the perfect and final apprehension of form and action, three quarters of a century before the appearance of any printed work on descriptive anatomy or the mechanics of motion which could be of slightest use to an artist. In the interval, the artists, impatient to master e.\ternal myology, the skeleton, the joints, even "the risings of the nerves," did pioneer work by immediate independent preparations and dissections. These  :trtful prosectors performed so well in the field of external myology, and went so deeply into studies of function of the skeleto-muscular system, that they aroused the ire of the professional anatomists. The fact that artists were herein forestalling the school anatomists, appears on a superliciai view, to upset the I'ausanian theory of art which literally traces animation, proportion, and detail in painting and sculpture to the progress of geometry, mechanics, arithmetic, and anatomy,

• fke Giovanni di I'aob's (i4a3?-ail "John ihe Uaplist," Tiul Sachs Coll., Cambridge, Mass. V'tcllietla'* (141;- 1 "Cristo resotUi" lironit. Kann Coll., Paris; and his paintings in the hospital ut Siena. See uiso rrcscocs of Domcnlco di Bartolo and the work of Vechietta'a follower, irantesto di Giorgio.

APPENDICES 385

In Florence, the circle of true instruction ran on to Antonio Veneziano, who taught Stamina, who in turn taught Masolino. Thus the last of the Giotteschi touched hands with the first Quattrocentisti. Art straightway became more curious and attentive to form, more accommo- dative and explicit in expression. The unclouded drawing of the nude figure in Masolino's '^ Baptism of Christ," in the baptistery at Castiglione d'Olona, and Masaccio's epochal frescoes in the Carmine at Florence signalize the return to the Greek conception of form and, at the same time, a return to nature. Leonardo once remarked that Florentine art entered a decline after Giotto, "until Masaccio showed by his perfect works how those who take for their standard anyone but nature — the mistress of all masters — ^weary themselves in vain." Of Masaccio's frescoes in the Brancacd Chapel, Berenson says: "I never see them without the strongest stimulation of my tactile consciousness. I feel that I could touch every figure, that it would yield a definite resistance to my touch, that I should have to expend thus much effort to displace it, that I could walk around it." With such an ambition as this, with the keen desire to realize depth in space, to convey the illusion of mass underneath the external configuration of the body, with the passion to express the muscular basis of bodily action by surface indications, the Florentines took up dissection, as also the mathematics of perspective and proportion, as a necessary part of their training.

It should be noted here that the painters had early been incorporated in the great " Guild of Physicians and Apothecaries."* ** Being beholden for their supplies of pigments to the apothecaries and th^ agents in foreign lands" on their own petition they had become enrolled members of that guild in 1303. This guild relationship endured for more than two and a half centuries, furnishing innumerable points of magnetic contact between Science and Art. The artist members (known from 1349 on, as **The Company of Saint Luke") stood on a most familiar footing with the apothecaries "who buy, sell, and deal in colors and other materials needed by artists" {spetiarii^ qui emuniy vendunt et operant cohres ei alia ad membrum pictorum memoratum) , Many a "discipulus" from the apothecary shops rose from color-grinding to eminence in the schools of painting. Masolino was not the first of these, nor Cosimo Roselli the last. These dusty backshop prentices who ground colors for the master apothecaries were in daily contact with the medical part- ners of the shop {medicos in apotheca) whose consulting rooms adjoined.

» La Sorsa, UArte dei Medici ^ Speziali e Merciai. Molfetta, 1907. E. Staley, Guilds of Florence. London: Methuen.

386 ANATOMIC ILLUSTRATION

The artists, too, who came there perforce for pigments and other materi- als, found the shops alluring places in which to loiter and renew acquaint- ance with their fellow-guildsmen, the apothecaries and physicians. Thus through close guild and trade relationships easy intimacies arose between men of the two callings. The physicians were not only the sponsors for the artists in the guild's multiform functions, but their natural patrons, protectors, and collaborators. Hence, when the tide of realism in art rolled over north Italy, adherents of the two branches of the house of St. Luke (painter and beloved physician) could have collaborated, with brilliant effect upon Tuscan art and science. On the whole there was but Uttle concerted action of this kind, and we are put to some trouble to explain the situation on the ground of any fundamental lack of accord. The earUer anatomizing artists, urged on by the grim requirements of formal technique, expected little, and derived little support from physi- cians in working out their peculiar applications of anatomy to problems of form. Artists concentrated their interests upon the skeletal and muscular systems. Professional school anatomists before Vesalius had failed to elaborate these systems in any detail whatsoever. Even Berengar confesses scant interest in matters of external myology, because of the difficulties in the way of prosection:

Note, reader/ that I have made very little comment on the muscles of the body, and that I have concerned myself very sparingly with this system; mainly for the reason that, in the ordinary dissections made before the scholars in the schools, the majority of the muscles cannot be demonstrated. To expose these structures to view properly, extremely long and painstaking labor is required, as well as a suitably appointed room {ita locus accommodatus ^ a place arranged just so).

And yet the smallest mortuary chamber, cubicle, or side chapel in the charnel house sufficed the artist — a cellar or burial pit — it mattered not, when he went down to make essay of the ** science of the sepulchre." A large share in matters of scientific moment was taken by Paolo Ucello (1397-1475), whose zeal for the house of science had all but eaten him up. He typifies the adventurous temperament of the time. He lacked the largeness of intelligence, the godlike comprehension, the vast variety of attainments of men of the universal stamp like Brunelleschi, Ghiberti, Donatello, Orcagna, Luca della Robbia, and Leon Baptista Alberti. His talent was expended in design, in genre, in geometric development of the laws governing perspective and foreshortening. His passion for literal delineation of the near and present and inquisitive attitude toward exact science, he passed on to scores of unknown indus- trial craftsmen in Florence, whose unremembered labors enabled later

• Carpi Commentaria .... super Anatomia Mundiniy Bologna, 1521, p. 516.

APPENDICES 387

painters to proceed from a basis of exact science to the far nobler pursuit of ideal beauty. Men of Ucello's following hewed close to the line; the Carrand Master, the artist of the **Ten Nude Men*' in the Stockholm Collection, the creators of those unattributed gems of naturalistic repre- sentation now gathered in the UflSzi, the Louvre, London, Berlin, Vienna, Venice, Dresden, and in private hands, flooded the **botega of Ucello's day, with a tide, full and flowing, of chalk and wash drawings, pen and silverpoint. These studio sketches and cartoons reveal, to the least prick- ings of the paper, the full reach of Florentine technique in drawing the liv- ing model. They register most patently the crescent interest in anatomy.

Despite earlier hints of the existence of this ^^corporum inius curio- sitas^^ among workers in the plastic arts, the followers of Donatello were apparently the first to undertake the study of human anatomy, in the modem sense of a sustained serious discipline for artists. That Donatello (1386- 1466) himself assisted at an actual anatomy, at least from the spectator's bench, we need no better proof than his forceful rendering of such a scene in his ** Anatomy of the Miser's Heart," one of his Paduan' series of bronze tablets illustrating the miracles of St. Anthony. The almost cruel naturalism and searching myologic detail in Donatello's sainted peasants proved a source of torment to lesser craftsmen, leading them along paths of purely objective inquiry to the dissecting room. His pupil Antonio Pollajuolo (1429-98), pupil also of Ucello, was the virtual beginner of artistic anatomy in Italy. "He dissected many bodies to study the anatomy," says Vasari, **and was the first to investigate the actions of the muscles in this manner, that he might afterwards give them their due place and effect in his works." His drawings created a clear space for the new teaching. His engraving of the "Battle of the Ten Nude Men" electrified the town. His painted themes, in which Hercules generally takes the leading r61e, are anatomies of stressed movements, bizarre energy, unimaginably fierce and vengeful power. And the sources of all this sinewy, exuberant phrasing of life spring from immediate and prolonged manipulations of the dead. Pollajuolo had established altogether novel modes of approach to the intimacies of form, and could say with Browning: "The life in me abolished the death in things. " This quickening impulse soon made itself felt in all the schools, pagan and pietistic, realistic and conven- tional, and crossed the Alps northward with Diirer on his return home.

Andrea del Castagno (i396?-i4S7) "lover of the difficulties of art" {ammatore delle difficultd deW arte) certainly helped to incorporate the

' W. Bode, DonaleUo in Padua, Paris & Leipzig, 1883, Plates X and XI. See also St. Anthony setting a broken leg in the same series.

ANATOMIC ILLUSTRATIOX

teaching of Masaccio in respect of figure-draughtsmanship, and may have anatomized to attain that incisive point and apposite modeling which is so striking a characteristic in his work. Although he did not matriculate in the Guild of Physicians and Apothecaries until he was fifty-five, he became a lusty exponent of the new plastic conceptions furnished by proportional analysis and dissection. He is a strict uncom- promising reahst, bound to his model, in a!! narrowness, believing that to embellish is to falsify. His interest in character, in ethnic t>'pe, is intense. Postmortems by him would surely be expressed in terms of some new declension for he engaged new appetencies for the task, viewing the thing thus from the ethnic angle.

Ucello, Castagno, Baldovinetti, whose great pupil was Verrochio together with Piero della Francesca, whose great pupil was Signorelli, brought in flowing wells of refreshment to Umbro- Florentine art, to join the racing tumult of waters set free by Pollajuolo. or to spread abroad in other directions. The Medici made a special point of encoura- ging Tuscan artists with scientific leanings. Thus, to impart a fillip to Verrochio's more academic interest in human anatomy, was he com- missioned to restore an antique statue of the flayed Marsyas which glorified the gate of the Medici gardens— given the mutilated red-marble torso, by sheer "tour de force" to reconstruct the missing parts. The which he did with consummate skill, utilizing the white veins of stone as the proper superficial veins of the limbs. Verrochio (1435-S8) was the first to make practical use of casts of the living body and ecorclie posture models, for use in schools. These marvelous flayed ligurines, exhibiting all the superficial muscles in action, accurately moulded in wax, terra- cotta, plaster, carved from marble or cast in bronze, formed a fresh series of essays in artistic anatomy. Verrochio's bronze ecorclies certainly were calculated to excite the admiration, emulation, and despair of his contemporaries, the same contemporaries who criticized the naturalism of the horse in his great Colleoni statue for its literal translation of the anatomy of the animal as seen riissectcd. In this sculptor, bronze worker, goldsmith, builder, and painter, the "true-eye," exjiressed in his very name, meant analytical vision, the firm, poised, robust character of a born teacher. Small wonder that Leonardo lingered on in appren- ticeship to this man, for years alter his admission to the guild, imbibing sound method of science along with ideals of drawing, of modeling, of 1 composilinn in line and plane.'

■ i SiriTi, \ak- fniv.tsLty I'rcss, ii)i6, chap, iii.

APPENDICES 389

The progress of naturalism was continuous and triumphant; tmder such champions of reality it was destined to spread far and wide over Italy and finally over Western Europe, in the swift seasons of the diaspora of Florentine science. The new art, grotmded on actuality, pleased the princes, and, at the same time, conunended itself to the honest and honorable intelligence of the bourgeoisie. In Italy, the people, in wider commonality, had come to share the artist's passion for unadorned truth. There, the verities reigned, through popular choice. "The desire of seeming wise on matters of form, with which every man of us b bom" was there recognized as the last treachery of the artistic hand and soul.

The old Ars et Mysterium in the canons of painting no longer obtained — at least, there was no longer the mysterious content in the teaching. "Beauty is measured and proportioned by geometrical acau'acy." This rule, repeated on all hands, doubtless led to trials of "presumptuous and paltry technical skill" (Ruskin's wrathful char- acterization of this trend), yet it led straight on to the creation of immortal works, symbols of the highest connotation, most profound experiential expression, attained by man in his glad runs through the amazing imiverse.

Among those who ran the whole gamut of experience, endowed with the universal mind, mark Piero della Francesca, who became a great master in the exact sciences before he became one in the arts. "He understood all the most important properties of rectilinear bodies better than any other geometrician " (Vasari). He wrote a treatise on perspec- tive, for centuries accredited to a mythical Peter of Bruges. He trained in "propariiani et proporiionalUd'^ the great Pacioli, companion in studies mathematical of Leonardo da Vinci. His studies of the undraped figure are splendidly realized, effective, and living portraits of the body. His frescoes at Arezzo set him apart as one of the foremost masters of figure expression. His treatment of the resurrection theme at Borgo San Scpolcro proved for all time that "Nature could not invest herself in such shadowing passion of line without some instruction" (to adapt lago's \i\id phrase). On the whole, considering Piero*s extant >rks and his known preoccupation with matters of pure science, the pr( imp- tion of fact is that he anatomized. He was, in spirit, more sc itific, and in his art, more narrowed and bound to nature, t ly of t great

Florentines with the exception of Leonardo. His Umbri folk t and spiritual heir, Luca Signorelli (1441-1523) ex ed n in art

with astonishing verve and abandon. Lut 1 severe ^ I 1 tural design and modeling, as seen in his " Edw 1^1,75) w

390 ANATOMIC ILLUSTRATION

in Berlin, changed, in the following thirty years, by some subtle increase in vehemence of execution, into an utterly different thing, or at least a modally different thing. His frescoes in the cathedral at Orvieto whirl the beholder into regions of Dantesque impressiveness and solem- nity. These awful walls are charged with great, primal perfervid pres- ences, executed on a heroic plane; the elder brothers of Michelangelo's Sistine conceptions. Signorelli was a restless experimenter; his handling of \ital plastic problems, without diminution of the sense for pictorial illusion, is instinct with a vigor and intensity which is almost satiric, sardonic. Luca even nerved himself to paint the body of his own dead son. That he painted for painters is readily seen.

Of MeJozzo da Forli (1438-94), another pupil of Pierodella Francesca, although much could be said, we will mention only his "Pesta-Pepe or apothecary's assistant braying in a mortar with the muscles of a Hercules^ — a panel which originally must have served as a druggist's shop-sign. It is done in a vein too dashing to allow of comparison with that piece of neat quick fashioning of the outward form by his master Piero — the "Ercole" from Borgo San Scpolcro, now in Mrs. Gardner's collection — yet the derivation is plain.

Other Umbrians, as Fiorenzo di Lorenzo together with his pupiis Perugino and Pintorricchio, never quite succumbed to the spirit of Floren- tine science, although admitting its prepotency. They drew their St. Sebastians with anatomic refinements which were borrowed, rather than the outcome of individual research. Raphael, too, misprized science while in Urbino and under the influence of these men. yet it is well to remember that his first teacher Timoteo Viti, who had quitted the Bolognese studio iif Francia in 1495. in that studio had seen much of the great anatomist AchilHni, the life-long friend of Francia. Raphael had a genius for assimilation and in his Florentine period (1504-8) imitated Leonardo and Michelangelo, drinking deep of the Pierian spring. There is much to give color to the rumor current at his death and credited throughout the two centuries following, that Raphael had imitated Leonardo and Michelangelo even to the point of preparing materials for a work on artistic anatomy.

Padua ]xissL-ssL-d much work of unique merit from the hands of early Florentine masters, and was susceptible to their moulding influence. Giotto 11300). under the eye of exiled Dante, raised the standards of universal beauty in the frescoes of the Arena Chapel; Donatello labored at I'adua from 1443 to 1453; Ucello was there also at some time in the same decade, and Fra Fiiippo Lippi worked there in 1434. Squi

APPENDICES 391

head of the native school m which andent Roman sculpture and the new Florentine models received equal attention, consciously adhered to the naturalistic mode. He and his scholars lived on terms of some intimacy with the physician Michele Savonarola, in whose brother's house the school was maintained. Squarcione's school took on a tre- mendous significance through the genius of his chief pupil and adopted son, Andrea Mantegna (1431-1506), the most influential artist in North Italy during the early Renaissance. Mantegna's earnest and intense search for reality is seen in the figures of the Eremitani frescoes. His study of the "Dead Christ*' in the Brera Gallery is accepted as the extreme and sovereign instance of realism, the direct inspiration of Tintoretto when he painted his '* Finding the Body of St. Mark" (like- wise in the Palazzo di Brera) and of Rembrandt's "Deyman Anatomie," in the Rijksmuseum. Next to Mantegna, Cosimo Tura (1430  ?-9s), fotmder of the school of Ferrara, and Vincenzo Foppa, central master of the Lombard and Bresdan region, strove to disseminate most widely the fruits of Paduan disdpline.

In studying the early art of Venice, with the view of determining anatomical content and direction, one pauses over Vivarini's long- proportioned figures with exaggerated articulations, and Carlo Cri- velli's (i440?-after 1493) scientific interest in tendons and muscular attachments. There is excellent matter in the London and Louvre sketch-books of Jacopo Bellini, and in the work of his sons and their incomparable school-following; in Giorgione (1478-1519) and Titian (1477-1576) whose perennial devotion to the nude was expressed in many a gorgeous Venus, Danae, Europa, Antiope. When Rubens was executing his Prado copy of the "Rape of Europa" he wrote that this Titito to him stood forth as the first picture in the world. To Titian's mind, the St. Sebastian panel of the five-winged altarpiece for the Bishop of Pola, was pre-eminently the best delineation of the figure of which he was capable. The Rhenish follower of Titian, Jan van Calcar from the duchy of Cleves, illustrated the "Fabrica" of Vesalius, fifty- two years after the first anatomical book illustrations for Ketham's 'Tasdculus" had been prepared by Mansueti(?), or some member of the school of Gentile Bellini.

The versions of Venus by the mountaineer Palma Vecchio are rugged and healthy (Dresden and Cambridge), contrasted with the more ideal loveliness and greater refinement of Giorgione's (Dresden) and Cariani's (Hampton Court). Giorgione's most important follower was Sebastian del Piombo {circa 148 5-1 547) who became the loyal slave of Michelangelo

392 ANATOMIC ILLUSTRATION

in Rome about 1510. Del Piombo far outstripped his fellow- Venetians in zeal for anatomy, yet he was reined in by a certain laziness and disinclination to dissect.

Beyond the Alps also, are multiplied examples in sculpture and painting of accidental modes of anatomic illustration; beginning with Burgundian and Languedoc sculpture, and Flemish and Rhenish paint- ing. The "Adam and Eve" on the Ghent altar by Jan Van Eyck {circa 1390-1441); the "Thief on the Cross" at Frankfort, work of the Master of Flemalle [active. 1420-38); "The Descent from the Cross" by Roger \'ander Weydcn (1400-1464) now in the Escorial; these intro- duce a long series of masterpieces in the naturalistic Northern manner which found expression later in such works as the " Neptune and Amphi- trite" by Jan Gossart (1516) and the purely anatomical pen sketches of Peter Brueghel (1525-69). In Germany. Albrecht Durer painted the figure according to the strict canons of proporti(in which he himself laid down. His '".Viam and Eve" in the Prado (1507) executed on his return from Italy, easily transcemls the efforts of Lucas Cranach and other contemporaries, who repeatedly tried to parallel the performance. The school of Durer deserves special study from the angle of the cult of science, and because of the very close relations existing between mem- bers of that school and the mathematicians and physicians of Nuremberg, Augsburg, and Strassburg. It should be mentioned too, that Cranach, in addition to his active school directorship at Wittenberg, directed a prosperous drugshop there for many years. In Germany, as in Italy, art continually kibcd the heels of medicine. We may not stop to examine the complex of these relationships, interpenetrating and important as they are. Burgkmair, Shauffclein, and Grien should be studied, with all their kin and kind. The '"Hercules and .\ntaeus" and the "Allegory of Music "by Hans Baldung Grien give the suniiiialion of Diirer's mensural method of plotting the unveilcii human tigure. Perhaps the most acute and telling masterstroke of realism ever set within the limits of a narrow panel is the "Dead (.■h^i^t" by Hans Holbein, The Younger, painted in 1521, now in the museum at Basel.

To return to Florence, it would seem first and last that the one li.\ed trysting place for art and science lay in that region round about the Arcispedale  :^anta ilaria No\ella, scene of the labors of Domenico Veneziano, Piero della Francesca, Andrea del Castagno, Alessio Baldovi- netti, and (.ihirlandaio. In the "Liiy Pharmacy," hard by the hospital. was born Cosimo Rosclli (i4_iq-i507) sound craftsman, founder of a prolific school which welcomed the teachings of the new anatomy. His J

APPENDICES 393

ablest pupils were Piero di Cosimo (1462-1521) and Andrea del Sarto (1486-1531), keen students of anatomy, according to Vasari. A critic might interpolate thus: Vasari in his Lives of the Painters is prone to overemphasize these interests, for he was a kinsman of Signorelli and a pupil of Michelangelo. But we can generally check his statements made in this vein, by the direct evidence of drawings and other material remains left by the artist in question; in the case of Piero, the UflSzi drawing of a dead man's head is sufficiently convincing. Andrea del Sarto, in turn, taught artistic anatomy in his own school, beyond cavil of doubt. It was from him that Pontormo learned, and Franciabigio, and Rosso Fiorentino, who furnished the bulk of the illustrations in the anatomy of Charles Estienne (published by Simon de Colines, Paris,

iS4S).

Men of the central Italian tradition went serenely on, subtly rechar- ging themselves with the primary inspiration of the supreme masters, Leonardo, Michelangelo, and Raphael. This triumvirate had hastened the spread in widest commonality of that dominant idea of Leon Baptista Alberti, namely, that artists should study nature in a truly scientific spirit. What ardors and endurances for science, what trials in the fiery furnace, had these three not passed through — Leonardo in par- ticular! Florentines well remembered how, in the year 1505, the city had gone down in entire submission before Leonardo's divinely drawn cartoon for "The Battle of the Standard and the competing cartoon by Michelangelo, "The Surprise, by the Pisans, of Florentine Soldiers Bathing in the Arno." "One of these cartoons was placed in the Medici Palace and one in the Pope's Hall; and while they could be seen there, they were the school of all the world" wrote Benvenuto Cellini. So decisive was the display, by these establishers of dissection, that there was no room thenceforth for faulty drawing of the nude figure in action. Many men in Florence, Milan, and Rome knew of Leonardo's favorite project to publish exhaustive researches in human and comparative anatomy — a project crushed under the Tarpeian weight of his materials, amassed in thirty-three years of intermittent dissection and gathered in one hundred and twenty volumes of drawings and descriptive notes. Of his fifty dissections, the first series was performed in the Arcispedale Santa Maria Novella at Florence, next at Milan at the Ospedale Mag- giore and CoUegio dei Fisici, with Delia Torre, and finally (1514-15) at the Santo Spirito at Rome. There his work had been brusquely inter- rupted by command of the Pope, on complaint of a German, and he accepted the invitation of Francis I to live in France. It was during

394

ANATOMIC ILLUSTRATION

his second stay at Milan that he made notation in his MS: "This winter of the year 1510 I hope to complete the whole of this anatomy." But we tind him still dissecting four years later in his sixty-second year, in the winter of 1514-15. the winter on whose last December day Andreas Vesaiius was brought into the world. Whether Vesalius saw or did not see the work of his great precursor, before the dispersal of these scientific treasures by Melzi's unblest son, remains a vexed question. Granting that Vesalius made use of even some small part of Leonardo's scheme, then may we say that the progress of science is not as faltering and dis- continuous as, on the surface, it appears to be at this point in the history of anatomy. The influence of Leonardo upon practical anatomy is decisive; he steps into a place of intolerant central glory.

Less esoteric and secretive in this matter than Leonardo, Michelangelo wielded a tremendously direct influence upon the practice among artists of preparatory anatomies. Upon this question the young giant fell with world-shaking impact, creating a seismic disturbance over the whole field of art. He ruined his health in feverish dissections covering a period of sixteen years. Condivi, his pupil, says of him:

Desiring to karn from nature herseif he set her up  !>efore him as the true example. There is no animal whose anatomy he did not desire to study, much more, that of man. so that those «  ho have spent all iheir lives in that science, and who make 3 profession of it. hardly know so much of it as he-.

Condivi's closing comment is more than the mere personal puffery of extravagant admiration; it is true, not only of Michelangelo but of numbers of others in ami out of his immediate following. Listen to Vesalius. Having just spoken uf an anatomy performed on a Florentine patrician, there comes this peevish outburst:

.As for those painters and sculptors who ilocked around me at my dissections, I have ni^ver allowed myself to gel worked up about them to the point of feeling that I was less favored than these men. for all their superior airs.'

Montorsoli may be regarded as most adept in anatomy, in the group of ilichelangclo's fellow-workers. In all probability it was he who executed the figures of the healing Saints Cosimo and Damian. flanking the Mcdicean tomb. His statues are essays in anatomy. At Genoa, at work on a great statue of the admiral -Anilrea Doria, we find him con- sorting with members of the medical guild in the cloisters of Santa Maria della \'igneis, and doing certain dissections there. From Rome, Sebas- tian <le! I'iombo writes to Michelangelo: "I pray you remember to bring along some studies for me: faces, legs, body or arm, which I have 1546, p. 104,

APPENDICES 395

wanted, as you are aware, for so long a time." This appeal illustrates Bode's view:

Michelangelo's overpoweriDg and extraordinary genius hegan to dominate plastic art before the sculptors had attained to full knowledge of the laws of the anatomy of the human body. Andrea Sansovino, already, in his later works is wholly dependent on Michelangelo, in particular the frescoes of the Sistine Chapel; and this is still more the case with Andrea's pupil, Jacobo Sansovino, and the rest of the Florentine sculptors of that period, scarcely one of whom was able to develop upon his own individual lines.'

Yet one of the neatest fcarchi figurines in existence, a gem of consummate modeling of a dancing male figure, excorialo a cuti, has very recently been attributed to Jacobo Sansovino. It will bear comparison with the crouching icarchi attributed, with little trace of reason, to Michelangelo. Another admirer of the great man, creator of the "Perseus," Benvenuto Cellini, always insisted in his writings that the essential thing in art was, '* thoroughly to understand how to paint the nude." Cellini's diary also throws much light upon the points of contact between artists and physicians, for at Rome he was intimate with Berengario da Carpi (in whom he finds a commendable knowledge of design), and shared his Paris residence for eight years with the Florentine anatomist Guido Guidi (Vidius), one of the teachers of Vesalius, and a son-in-law of Ghirlandaio.

In deliberate rivalry with Michelangelo, strove Baccio Bandinelli, a pupil of Leonardo's friend, the sculptor Rustici. When Sebastian del Piombo painted the huge portrait of Bandinelli,* he put in his hand an expressive symbol of the sculptor's art, a cartoon of two nudes of highly developed musculature done in red wash or chalk. Under Bandinelli and Jacobo Sansovino studied Ammanati, whose ineffectual strivings only served to show all workers in the round how vain was their effort to recapture the Titanic conceptions and execution of Michelangelo. When for their nudity Bandinelli's *Adam and Eve' were removed from the high altar in Florence and when the aged Ammanati sent his abject apology to the Academia del Disegno expressing his * acerbissimo dolore e pentimento' for certain nude figures on Florentine fountains, and the custom of adding zinc drapery loin cloths became widespread — then the reaction against anatomy and the nude may be said to have set in."^

^Florenline Sculptors of the Renaissance, London, 1910, p. 11.

• Finway Court Coll.

• Balcarres, The Evolution of Italian Sculpture, London, 1909, chap, iv, "Anatomy and

the Nude," el passim.

396 ANATOMIC ILLUSTRATION

There remains the flayed figure of St. Bartholomew by Marco D'Agrate in the cathedral at Milan,' marking the summit of misplaced and tasteless brilliance in this direction, inspired by that analogous earlier work, by Giovanni Battista da Sesto at the right hand of the portal of the Certosa Pavese. There remain, too. the assiduous labors on anatomic preparations and myologic models, of the two artists Ales- sandro AUori and II Cigoli. the latter of whom unhinged his mind from loo close application to dissections. As iate as 1660 the French sculptor Pierre Puget' (who spent seven years in Genoa) wrote to his patron Louvois, "I am also meditating a group of Apollo flaying Marsyas, in order to represent a kind of anatomy, a thing highly appreciated among sculptors and painters."

To turn again to painting. The \'enctian colorists magically indi- cated the outline of the figure by varying gradations of tone. The figures in Giorgione's "Fete Champetre" are color surfaces for the play of light. Tintoretto often lost the graphic pattern of the figure entirely, in a welter of chiaroscuro and confusing illumination. These crepus- cular mysteries of light fortunately failed to sway other minds in the same liegree. Correggio (!4()4-i534) showed the highest virtuosity in exquisite modeling of the human figure. His "Leda (BerHn) is out- lined in fluid, air-bathed tones; his "lo" (Vienna) and '"Danae" (Borghese) reveal extraordinary delicacy in melting gradations of form and color, bathed in sifting light and almost visibly flowing air. These creations (beloved of gods and men) are separated by <liameters of the solar system from the parvenu nudes of Lucas Cranach. Following the death of Michelangelo (1564) came the Mannerists, who need not detain us, for they studied nature no longer; they studied instead, the wilfulness and arbitrary choice of form in Michelangelo's later cartoons. From their vapid exhibitions of muscular anatomy misunderstood, pass to the eclectic school of the ("arracci. at Bologna, where a sound system of anatomy was taught by charts, models, and dissections, preparatory to drawing from the nude. The sombre Ribera (158S-T656I painted the flayed St. Bartholomew many times with horrible truth and power. Indeed, when his first "Martyrdom of St. Bartholomew" was exhibited to the Xeapolitan crowd from the balcony of his father-in-law's house a riot ensued. Kibera handled this congenial theme with dark ferocious competence, easily excelling his masters Ribalta and .\gostino Carracci (Sutherland Gallery, "St. Bartholomew"). We have an etching,

' Sec La Siiilliira nel Diwmo ili Milano, -Milan, i<)oS, p. 1Q3.

■ See ■' JIarsyas," Meln)p. Mus., X.V.; consult .I/hi. Bull., Vol. XIV, March, 1915.

APPENDICES 397

from his hand, of the same grewsome theme. Ribera's drawings bear witness to his deep interest in anatomy; he doubtless knew every line of Michelangelo's St. Bartholomew in the *Xast Judgment/' holding forth his skin in one hand, and grasping the knife, symbol of his martyr- dom, in the other. Velasquez (1599-1660), the first to work in oil, painted the nude all too seldom (National Gallery, '* Venus and Love") whereas Rubens (i 577-1640) seldom missed an opportunity — his female nudes are literally legion, rampant in every collection in Europe.

Like the Laocoon, the sculptures and Sistine frescoes of Michelangelo represent the culmination of a period, the period of physiological and psychological anatomy, which was empirically studied and triumphantly mastered by the Greeks and acquired its scientific foundation in the anatomical drawings of Leonardo da Vinci. All that the plastic and graphic arts could convey of the sensation of reality, the emotional realization of volume, weight, and movement by representation of the violently twisted musculature of the male body and the purposeful deformation of its parts, is rendered in these immortal works, some- thing which no mere static photograph, say of wrestlers in violent conflict, could ever simulate. What is summarized by Michelangelo could only be sensed in a continuous motion picture of such actions, reeled off at slow tempo, for physiological analysis. In Rubens, the rhythmic organization of tactile volumes and the rendering of the sensation of stress and movement conveyed by the modification and deformation of volumes impinging upon one another, reached its highest develop- ment. In the long intervening period between Michelangelo and Rodin, between Rubens and Renoir, accurate representation of the nude was confined mainly to the soft, rounded contours of the female body, i.e., to surface anatomy. This preoccupation was due, in part, to the eman- cipation of art and artists from the early medieval prejudice against the plastic representation of the body in naturalibus, so evident in Gothic art, and latterly to the ever-increasing exaltation of the fair sex in the successive periods. **The nude human figure," says Berenson, "is the only object which in perfection conveys to us values of touch and particularly of movement. Hence the painting of the nude is the supreme endeavour of the very greatest artists; and when successfully treated, the most life-communicating and life-enhancing in existence."' But the true vehicle for the surface representation of muscular anatomy and its underlying bony structures is the male body. In the female body, which is physically and physiologically an **adiabatic system"

' Berenson, The Central Italian Painters of the Renaissance^ New York, 1897, pp. 77-78.

398 ANATOMIC ILLUSTRATION

or storehouse of energy, not specially intended for violent motor activity, the musculature is usually flabby and little developed, except in athletics or strenuous occupations. Artistic representation of its suave contours is usually effected by accoimting for the depositions of subcutaneous fat, which set in at puberty and usually go on increasing up to the change of life. Coimtless variations have been played upon this theme, the recital of which is part of the story of modem painting.

The history of modem painting, one of the greater glories of modem France, is briefly as follows: In the early part of the nineteenth century, a definite and determined reaction against the erotic pictures of Boucher, Fragonard, and Greuze was ushered in by Vien and apotheosized by David. Austere, prudish, insipid themes from Greek and Roman his- tory became the fashion. The classical tradition of the mUhade David was continued by Ingres, a superlative draughtsman, whose pencil sketches make him, in Huneker's phrase, the greatest master of pure line who ever lived." With the advent of Gr^ricault and Delacroix, French art broke away from the stiff formal tradition, with its historical or literary subject-matter. G^ricault was almost the only artist in the nineteenth century who dissected, and he dissected even the viscera. With G6ricault and Delacroix came two of the fundamental postulates of modem painting, viz., unrestricted freedom in the choice of subjects and the feeling that color rather than line is its true means of expressing form, volume, depth, light, air, and motion. Emancipation from formal or literary subject-matter was largely due to the Spanish artist Goya, who boldly took his themes from the varied life about him, painting almost every conceivable subject, and, in his diabolical etchings, revived the intensely dark backgrounds of Rembrandt and Hals. From Goya stemmed Gustave Courbet, who was reviled all his life for his daring choice of unconventional subjects and who was one of the earliest of the great landscape painters of France. From the Spanish tendency came also the caricaturist Honore Daumier, whose gloomy backgrounds again suggest Rembrandt and Goya, and whose nude studies of bathing and wrestling scenes introduced a tendency of colossal importance in recent painting, namely, the rendering of mass in motion, of the sensa- tions of tactile volume, contour, weight, and muscular exertion by the sheer and rugged blocking out of dark tones against the light. It is the physiological anatomy of Michelangelo rendered in a new medium. Another product of the Goya tradition was Edouard Manet, who exhausted all the possibilities of unconventional subject-matter (** After Manet, there was nothing new to paint'*), who eliminated nonessentials

APPENDICES 399

to the point of elliptical portraiture of the face, but who, with all his feeling for surfaces, never achieved form, depth, and volume in three dimensions. With Manet, came the great landscape painters of the Barbizon School and, inspired by the English Turner, the Impressionists, better termed the Luminists, who sought to represent sunlight, heat, wind, and flowing water by means of color alone. The Impressionist movement culminated in Paul C6zanne, who strove to represent form, subjective solidity, and movement itself by the juxtaposition of planes of color. As Berenson says, C6zanne gave tactile values even to the sky.* These new devices were, most of them, utilized in triumphant synthesis in the last paintings of the aged Paul Renoir, defined by Wright as " among the greatest pamtings of all time." The summit having been attained, decadence at once set in. C6zanne and Whistler had been influ- enced by the Japanese. Matisse reverted to the flat two-dimensional art of Persia. Out of African negro sculpture and its angularities came Picasso and the Cubists, who discarded color in favor of block repre- sentation in two tones and volume in favor of multilateral vision, or the simultaneous presentation of many aspects of the same object ("Nude Descending a Staircase"). The Futurists, meanwhile, aspired to

• • empathy" or the identification of the spectator with a series of succes-

sive or simultaneous actions supposed to be represented in the picture ("Dynamism of an Auto"). This was the "cosmic tarantella," the chaotic Walt Whitman view of nature, which Berenson derides as the logical opposite of true art, the essence of which, from the time of the Greeks, has been selection. Finally, in the work of the Synchromists, all subject-matter in the shape of recognizable objects was eliminated in favor of experiments in juxtaposition of primary colors, and the sterilizing process was complete. Viewed historically. Cubism and Synchromism are technical experiments toward the purification of painting as the art of conveying sensations of form, volume, and move- ment by means of color alone.* In sculpture, Falguidre followed the traditions of Canova and Houdon; Rodin revived the muscular anatomy of Michelangelo.

The effect of the purifying process upon anatomical representation in painting and sculpture was characteristic.

To a surprising science of anatomy, acquired by dissecting, the great Florentine artists added their own intuitions about the dynamics of

' Berenson J The Central Italian Painters of the Renaissance, New York, 1897, p. loi.

• This argument has been derived, in the main, from Willard Huntington Wright's

Modem Painting (New York, 191 5), which does for modem French painters what Berenson 's volumes do for the Italian painters of the Renaissance.

• o ANATOMIC ILLUSTRATION

)ainting. The success of Giotto, Masaccio, Michelangelo, in conveying the physical sensation of solidity and of violently opposing forces was inherent in their genius, a matter of intuition alone. Their knowledge of anatomy was great, but only Leonardo had any physiological knowl- edge of the interplay of antagonistic muscles. To purify painting by the scientific study of color, to render the sensations of light, volume, solidity, weight, and movement by the orchestration of color alone, was the ambition of all truly modern painters, from Daumier to Cezanne; and Cezanne, as Wright sa\s, '* halted at the gateway of great composi- tion," because, like Gaugain, he took up painting too late in life. Under these conditions, representation of the nude became less a matter of anatomic knowledge and study than of color instrumentation and dynamics. The nudes of Daumier have actual mass, weight, and solidity; like his caricatures they were ^' great pieces of rugged flesh which had all the appearance of having been chiseled out of a solid medium with a

dull tool The drawing came afterw-ard as a direct result of the

tonal volumes. (Wright). Manet's *' Dejeuner sur THerbe," on the other hand, is only a two-dimensional affair of brilliant surfaces. One of the few modern female nudes in which musculature is apparent, it is none the less as flat as a pancake. In the nudes of Renoir, tangibility, bulging volume, the sensation of mass and weight, as in a Hving body, are achieved by means of color alone. C^ezanne's rough croqiiis of nudes in motion look, many of them, like the drawings of a madman — an artist's experiments in the dynamics of vision. The sketches of Bakst are a wild carnival of Ic momcmcnt in two dimensions. And all these men had their f()rel)ears. Renoir derives from Correggio, Rubens, Boucher, and the rock sculptures in the Indian grottoes; Daumier from Rembrandt and (ioya; Rodin from Michelangelo; the block representa- tions of the Cubists from the figurines of the Cro-Magnon artists, from ne^ro scul])ture, from Diirer's anthropometric diagrams. The study of the nui>rulature of the back in Courbet's " Femme de Munich is ^inirularly like certain can\asses of Rui)ens. The reclining and semi- recuiTibcnt figures n\ Michelanuelo. Correggio, Titian, Tintoretto, and olhtT Italian^, a po>e which for three centuries was a motif in books of anatomic ilhistration from Hercn^ario da Carjn to Ciautier d'Agoty, wcTc rc'j)eate(l \)\ \'ela>c|ue/ and re->ume(l by Houcher, Fragonarcl, Goya ("Maja nuda 'i, Courhrt, and Renoir. Meanwhile, alongside of the con- scious effort to ])urify j)ainting b_\ making it a matter of color dynamics alone, otluT tendencies >j)rang up. (iaugain. Degas, Rops, Toulouse- Lautrec, >tudie(l the nude from curious angles, ethnic, social, latterly

APPENDICES 401

pathological, and here Fletcher's dictum that the true content of "artistic anatomy" is physiology and external pathology becomes singularly apposite. Gaugain's studies of Tahitian men and women are genuine contributions to ethnology,* like Greek statuary, Holbein's English faces, Lucas Cranach's slant-eyed Wittenberg maidens, Rubens' negro, Raebum's Scots, Goya's Spaniards, Defregger's Tyrolese, Zom's Swedes, Alfred Stevens' Belgians, Reinhold Begas' Prussian girls, Sargent's Nilotic woman, Sichel's "Miss Fai," or Zuloaga's "Marcelle Souty." The predilection of Correggio, Andrea della Robbia, Andrea del Sarto, and Rubens for naked bambini has afforded solace to scores of modem German artists, notably in Moritz von Schwindt's cartoons for frescoes in the Royal Palace at Munich. Rodin's "La Belle Heaulmidre" reproduces all the horrors of Villon's ballade, and the jaded ugliness of prostitutes has been vulgarized by Rops, Forain, Louis Legrand, and Toulouse-Lautrec. Durer's "Four Naked Women" and Rembrandt's nudes engendered, in fact, a whole school of modem pictures, in which the female body is seen as deformed and ruined by advancing age, maternity, change of life, grinding toil, vice, or prostitution. Degas, who shut himself up all his life to paint ballet girls, race horses, and milliners, achieved the culmination of this tendency in his pictures of ugly women bathing in tubs. Personally, in his "benevolent malice" and reconcilement to the boredom of life, he was the artistic counter- part of the novelist Huysmans, of the catlike temperament, described by Arthur Symons as "courteous, perfectly polite, almost amiable, but all nerves, ready to shoot out his claws at the least word."

Perhaps it is only a stupid book that someone has mentioned, or a stupid woman; as he si)eaks, the book looms up before one, becomes ahnost monstrous in its dullness, a masterpiece and a miracle of imbecility; the unimportant little woman grows into a slow horror before your eyes. It is always the unpleasant asi)ect of things that he seizes, but the intensity of his revolt from that unpleasantness brings a touch of the

sublime into the very expression of his disgust He speaks with an accent as

of pained surprise, an amused look of contempt, so profound, that it becomes almost pity, for human imbecility.

Such have been the tendencies of recent painting of the nude, the apotheosis of the ugly and the disagreeable, running strangely parallel with the substitution of the photograph and the dissected cadaver in place of hand-drawings for the teaching of anatomy. Our thesis,

» Fletcher (Art and AtUkropometry, p. 8) notes the "autotypic instinct .... the tendency of man in jsainting or sculpture to reproduce the type of race to which he belongs and the extreme d^culty with which he depicts the type of other races." This subjectivity is nowise true of Gaugain's Polynesians. They are true objective ethnic studies.

402

however, is to the effect that genuine anatomic illustration arose not in didactic hand-drawings made by physicians, but without didactic intention, in the sculptures and figure paintings of the great Florentines, in immortal beauty comparable only with the statuary of the Greeks and the Gothic imagiers.

In the words of Berenson:'

What brought about this change? In the first place, the Serpent, that restless energy which never allows man to abide long in any Eden, the awakening of the scien- tific spirit. Then the fact that, by a blessed accident, much, if not most, of this lakened energy was at first turned not to science but to art. The resuh thereof 15 Naturalism, which I have defined elsewhere as science using art as the object of i studies and as its vehicle of expression. Now science, devoting itself, as it earnestly d at the beginning of the fifteenth century, to the study of the shapes of things, did not lake long to discover thai objective reality was not on the side of the art then practiced. And, thanks to the exisiencc at that moment of a man not less endowed with force to react against tradition, than with power to see^ — a power. I Ijclieve, unparalleled before or since — thanks to this one man, Donatello, art in an wrenched itself tree from its immediate past, threw to the winfls its whole medieval Slock of images, and turned wilh ardour and zeal to the reproduction of things ■

research was discovering them lo be

Created by Donatello and Masaccio, and sanctioned by the Humanists, the ne canon of the human figure, the new cast of features, expressing, because the figure arts, properly used, could not express anything else, power, manliness, and stateliness. presented to the ruling chusses of that lime the t>T>c of human being most likely to win the day in the combai of human forces. It needed no more than this ti the triumph of the new over the old way of seeing and depicting. .\nd as the ideals of effectiveness have not changed since the fifteenth ceniur>', the tyjies presented by Renaissance art. despite ihc ephemeral veerings of mere fashion and sentiment, still embody our choice, and will continue to do so, at least as long as European ci\ilizatio keeps the csseiuially Ifcllenic character it has had ever since the Renaissance,

, New Vurk, 1907, (

, 6G.

III. ANATOMICAL ILLUSTRATION SINCE THE

TIME OF CHOULANT

By Fielding H. Garrison

When Choulant's History was published, about the middle of the nineteenth century (1852), modem scientific medicine had gained its stride, and was already moving swiftly toward the goal of a well-organized body of real knowledge, capable of continuous growth and development. The period was a brilliant one in respect of original discoveries and inven- tions, and the publication of Schwann's Cell Theory (1839) ^^^ of such anatomic treatises as those of Henle (1841), Hyrtl (1846), and Pirogoff (1852) established new departures, little known to Choulant, such as histology, morphology, the study of anatomy by means of frozen sections, the pursuit of topographic and cross-section anatomy as ends in them- selves, the use of photography, lithography, electroplating, and other reproductive processes. While the pencil and the brush were freely utilized in illustrating such textbooks as those of M. P. C. Sappey (1850-64), Henry Gray (1859), Carl Gegenbaur (1883), Leo Testut (1889-91), and Karl von Bardeleben (1896), or in such surgical topog- raphies as those of J. F. Malgaigne (1859), Carl Heitzmann (1876), Luther Holden (1876), George McClellan (1891), or Bardeleben (1894), direct photography of imusually good specimens or preparations gradually gained a footing. Jakob Henle (1809-95), ^ ^ Hand- buck der systemaiischen Anatomic (1866-71), illustrated by himself, introduced the new idea of architectural drawings, in plan and elevation, giving only so much of a structure as is necessary for its comprehension. Wilhelm His, Joseph Leidy, Joseph Lister, and many others made their own drawings. The soft gray wood engravings used by Henle and Gray set the pace for a long period. The new sciences of anthro- pology and ethnology, with their many photographic albimis of crania' and of the physical habitus of diflferent races, in particular such treatises as those of Heinrich Plossonwomen(Z?(wJrd6) and children (Z)a5/iCinJ, 1877),

'Notably those of American Indian (1839) and Egyptian crania (1844) by Samuel George Morton (1799-1851), of Russian crania by Carl Ernst von Baer (1859), of Swiss crania by Ludwig RUtimeyer and Wilhelm His (1864), of Finnish crania (1878) and Swedish crania (1900) by Magnus Gustav Retzius, of Bohemian crania by Ludwig Matiegka (1891), of North American Indian crania by Rudolf Virchow (1892), of ancient Swiss crania by T. Studier and E. Bann worth (1894).

403

404

AN'ATO.MIC ILLL'STRATION'

gave .1 new impetus to iirtistic anatomy- Direct photography of the nude was employed in illustrating scores of books on this subject, notably in the works of Carl Heinrich Stratz and the anatomic treatise of Julius Kollmann ( iS66). The day of massive, expensive atlases of wood, copper, steel, and mezzotint engravings is over. Even historical treatises on anatomic illustration, such as those of Duval and Cuyer (iSgS) or Weindler (1908). merely reproduced the classical pictures of the past by means of photography.

It remains to give some Ijrief bibliographic account of distinctive examples of anatomic illustration since the time of Choulant, Those selected and subjoined seriatim, in chronologic order, do not by any means constitute an exhaustive list, but are to be taken as illustrative and repre- sentative of modern work in technical anatomic illustration and artistic anatomy; most of these are illustrated in the ordinary woodcut process employed by Henlc and Gray, or in electrotype or zincograph. Hence, descriptions of the books are given in a few instances only. Where a complete bibliographic description of a work is not given, the original edition has not been accessible.

lLLUSTR.VrED TRF-.VTJSICS ON GENERAL AN.\TOMV

GoDMAX, John D. (i7i>4-iS,;o1. Anatomical investigations, comprising descriptions "^ of various fasciae of the human body. Philadelphia: H. C. Carey and I. Lea,

iS;4, S°. xiii+i4+(,u pp.. 10 pi.

One of thi^ eiirlicst original invcstiga linns by an Amtrrican, the unfortunate and short- lived Marybnii anntumist, Illustratfil with 7 copperplates, from drawings hy J. Drayton, Rembrandt Peale. Lesueur, small in si^e and of no outstanding merit. , Com ribut ions to physiologii*al and pathological anatomy; containing

obscr\-alions madi.' at the i'hiladdphia .Anatomical Rooms. Philadelphia:

H. C. Carey and I. Lea. iS.'s, 8°.  !«) pp., ,) pi. Oi.'Ai.\, JoNKS (1705-1S51). The elenicnis of anatomy. London, 1818, 8°. . ,\naiomii:;d plates. Division I. 'I'hc Jlusdes. London, 1839, fol. 2 v.,

100 pp., 5 pi.

A\i> Wilson, W. J. Ekassius. .\ series of anatomical plates; with references

, , and physiological comments, illustrating the structure o( the different parts of

the human body. London, 1836-4'. fol- ' v. Wilson, Sir Willum James Er.^smus (iSot;-34). I'raciical and surgical anatomy.

Lomlon; Longmans, Green (cl <il.). iSjH, S". 492 pp. N— -. The anatomist's vadc mecum: a system of human anatomy. London:

J. Churchill, 1S40, ■S. xxiv. 395 pp., 1 pi. He.Vi.k,, Jacob (.iSoq-Sj). Allgemcinc .\naiomie. Lehre von den Mbchungs- und

Furnibestandlheilen des mcnschlichen Kiirpers. Leipzig; L. Voss, 1841,

I,. 5 pi. (Form.> Vol. V'l of Soeiimekkojg, S. T., Von Baue | liljihen Korjicrs. Leipzig, 1S41.)

APPENDICES 40s

Henle, Jacob (1809-85). Handbuch der systematischen Anatomie des Menschen.

Braunschweig: F. Vieweg und Sohn, 1856-73, 8**, 3 v.

The most scientific treatise on anatomy in its day, by the professor of anatomy at Gdttingen, the great master of histology. Illustrated by its author after the method employed in his blackboard demonstrations, viz., the elliptical "architectural drawing/' which gives only so much of a structure in light and shade as is necessary for its compre- hension, and freely utilizes plan and elevation in demonstrating the relations of structures in cross-section through different axes and planes.

. Anatomischer Hand- Atlas ziim Gebrauch im Secirsaal. Braunschweig,

1871-76, 8**. 6 Hefte.

MoKTON, Samxtel George (1799-1851). An illustrated system of human anatomy, . special, general, and microscopic. Philadelphia: Grigg, Elliot & Co., 1849. / v/ xix+i7+64a pp.

MouAT, Frederic John (1816-97). An atlas of anatomical plates of the human 4^ body, with descriptive letterpress in English and Hindustani. Calcutta: Sanders & Cones, 1849, fol. i p.l., 64 pp.

f. Smith, Henry Hollingsworth (1815-90). Anatomical atlas, illustrative of the ^ structure of the human body; under the supervision of William E. Horner. Philadelphia: Lea & Blanchard, 1849, 8^. 186 ff.

Froriep, Robert (1804-61). Atlas anatomicus partium corporis humani per strata >.

k^ dispositarum, imagines in tabulis XXX, ab Augusto Andorffo delineatas 1

ferroque incisas exhibens. Weimar, 1850, fol. 5 fasciculi. '

Saffby, Marie Philibert Constant (18x0-96). Anatomie, physiologic, pathologic des vaisseaux lymphatiques consider6s chez Thomme et les vert6br6s. Paris: A. Delahaye et E. Lecrosnier, 1874-85, fol. 136 pp., 48 pi.

. Trait6 d*anatomie descriptive. Paris: V. Masson, 1850-64, 12**. 3 v.

2d ed. 4 V. Paris: A. Delahaye, 1867-72.

Atlas d'anatomie descriptive. Part I ; ost6ologie, arthrologie. Paris : V.-A.

Delahaye et Cie. iii pp., i 1., 38 pi. with text on back of plates.

Turner, Sir William (1832-1916). Atlas of himian anatomy' and physiology. f^ Selected and arranged under the superintendence of John Goodsir. Edinburgh : W. & A. K. Johnston, 1857, fol. i p.l., 8 pi.

Gray, Henry. Anatomy descriptive and surgical. The drawings by H. V. Carter. ' The dissections jointly by the author and Dr. Carter. London: Longmans, ^ Green & Co., 1859, 8**. xxxii-l-754 pp.

The standard modem textbook of the English and American medical student, dedicated to Sir Benjamin Brodie, now in its twentieth edition (19 18). The drawings, by H. Vandyke Carter, are of unusual merit and of great didactic value.

Leioy, Joseph (1823-91). An elementary treatise on human anatomy. Phila- delphia: J. B. Lippincott Co., 1861, 8**. 663 pp. 2d ed. Philadelphia: J. B. Lippincott Co., 1889, 950 pp. By the greatest of American anatomists and biologists. Written for students (2d ed.,

1889) and illustrated by the author himself. The illustrations are small but exquisite in

execution and are, many of them, after Henle's idea, confined to only so much of a given

structure as is comprehensible to the student.

\

y

406 ANATOMIC ILLUSTRATION

PiKOGOFF, Nikolai Ivanivuch (iBco-So). Chinirgische Anatomic der Arterien-

staemme und Fascien. neu bearbeitet von Julius Szymanowski. Leipzig und

Heidelberg: C. F. Winter, 1861, 8°. iv+!43 pp„ 50 pi.

Illustrated with colored lithographs by C. Stbmiedel from drawings by F. Schlater. Heitzsiasn, Carl. Die descriptive und topograph ischc Anatomie des Menschen.

Wien: VV. Braumiiller, 1870, S°. Kii+3j2 pp. Hyhtl, Joseph (i8ii-<)4). Die Corrosions- An atomic und ihre EfRcbnisse. Wien:

\V. Braumulier. 1873. 4°. viii+2S3 pp., 18 col. pi.

The classical work on the corrosive method. Begins with a history of the development of the process by Ruj-sch and his predecessors, Bidloo, Cowpcr. and Lieberkiihn; the technic of corrosion and its results in demonstrating the finer details of anatomic structures. The colored lithographic plates, from drawings by C. Hcitzmann, are of the finest order, repre- senting the tympanum. lachrymal apparatus, bronchi, portal vein, bile ducts, kidney, and other structures, with blood vessels. WiTKOwsKi, GuSTAVE JuLES .\. (1S44 ). Anatomie iconoclast ique. Atlas com-

pl^mentaire de lous les ouvrages trailant de Tanatomie et de la physiologic

humaines, compose de planches dfcoupees, coloriees et superposees. Paris:

1874-88, fol. ij parts.

Consists of life-size superposed plates of the human body, followed by others representing the principal organs.

GODLEE, Rick MAX John. An atlas of human anatomy. London: J. & .\. Churchill, ' 1877-78, 8°. 196 pp. fol. 20 I, la p!.

Vo.v Klelv, Carl Heisrich. Tabulae anatomicac osteologicae. Cincinnati:

Lithographic Company, iSSj;, 8°. 3 p.l., jj pi. Gecenbal'R, Carl (1826-1005). Lehrbuch der .\natomie dcs Menschen. Leipzig?

W. Engelmann, 1883. 8°. xvi+gS^ pp., 1 1.

Illustrated ivith 558 partly colored woodcuts. Br-^une, Christian- Wilhelm (1831-q.;). Das Vencnsystem des menschlichen

Korpcrs. Leipzig: Veit & Co., 1884, 8° and eleph. fol., 2 pts. viii-f-;^ pp.,

4 col. pi.; 24 pp., 4 col. pi. Wi-VDLE, Bertram Coohill .^lam. A handbook of surface annlomy and landmarks.

London: M. K. Lewis, 1SS8, S°. x (t l-) + i34 pp. Testi'T, Jean Leu (1840 ). Traite d'.tnalomie humainc. Anatomic descriptive;

hisiohigic: devdoppemeni, .\vec la collaboration pour I'hislologie et I'em-

br>-ologic de G. Fcrre el L. Viallclon. Paris: O. Doin, 1S89-92, 8°. 3 v. 0*VE\, EiJMUSD. .\ manual of anatomy for senior students. London: Longmans,

Green & Co.. 1890, 8°. viii-(-5i6 pp. McClella.v, Geiirge. Regional anatomy in its relation to medicine and surgery,

Philadelphia: J. B. Lippincolt Co., iSyi-gj, 4°.  ; v.. xxii (i l.)+4j6 pp.;

xvi-f-414 pp., 97 pi. PtiRHIER, I'ALL (1853-19071, Charpv, a. (c/ <i/.). Traite <

Paris. 1893-1903, r»y. 8°. 5 V. MuHHis, He\kv. a treatise on human anatomy by various

, London: J, & A. Churchill, iSgj, 8°. 1,310 pp.

APPENDICES 407

Basdeleben, Karl (1849 )> and Haeckel, Ernst. Atlas der topographischen

Anatomie des Menschen fiir Studierende und Aerzte. Jena: G. Fischer, 1894, 8**. XX, 55 1., X, 128 pi. (with 128 woodcuts), i pi.

CuYER, £douard. Atlas-manuel d'anatomie 616inentaire, d6montr6e k Taide de planches colorizes, d6coup6es et superpos6es. Paris: J. B. Baillidre & fils, 1895, vi (i l.)+56 pp., 27 pi.

Spalteholz, Werner (1861 ). Handatlas der Anatomie des Menschen. Mit

UnterstUtzimg von Wilhelm His bearbeitet. Leipzig: S. Hirzel, 1895-1903,

8^. 3v.

Illustrated with 750 parti-colored lithographs. Translated into English by Lewellys F. Barker [1900-1903].

ToLDT, Carl (1840 ). Anatomischer Atlas ftir Studierende und Aerzte, unter

Mitwirkung von Alois Della Rosa. Wien und Leipzig : Urban und Schwarzen- berg, 1 896-1 900, 8®. vi-l-718 pp., 230 pp.

JanoSIk, J. Anatomicky atlas, v. Praze, 1897-1902, 8®. Based upon original dissections.

Gerrish, Frederic Henry. A textbook of anatomy by American authors. Edited

I by . Philadelphia and New York: Lea Brothers & Co., 1899, roy. 8®.

917 pp.

Illustrated with 950 engravings in black and colors.

Krause, Wilhelm (1833-1910). Handbuch der Anatomie des Menschen, mit einem Synonymenregister. Leipzig: S. Hirzel, 1899-1901, 8**.

Cunningham, Daniel John. Textbook of anatomy. Edited by . Edinburgh

and London: Y. J. Pentland, 1902. 8**. xxi-|- 1,309 pp.

Illustrated by 824 parti-colored wood engravings fmin drawings by J. T. Murray, W. C. Stevens, and William Cathie.

SoBOTTA, Johannes (1869 ), Altas der deskriptiven Anatomie des Menschen.

Mtinchen: J. F. Lehmann, 1904, 4®. viii (2 l.)-|-399 pp., 19 pi.

L Taylor, Edward Henry. A treatise on applied anatomy. London: C. Griffin & ' Co., 1904, 8**. xxvii-l-738 pp.

Rabaud, fixiENNE (1868 ). Anatomie 616mentaire du corps humain. Paris:

Schleicher freres, 1899, roy. 8**. viii -|- 98 pp., 4 superimposed pi.

. Atlas anatomique du corj)s de I'homme et de la femme. Paris: Schleicher

freres et Cie., 1905. 4°. 7 superimposed pi., 8 1.

Broesike, Gustav (1853 ). Anatomischer Atlas des menschlichen KOrpers.

Berlin: H. Komfeld, 1900-1902, 8°. Parts 1-2.

^ Eisendrath, Daniel Nathan. A textbook of clinical anatomy for students and JL practitioners. Philadelphia: W. B. Saunders Company, 1903, 8**. 515 pp.

Von Bardeleben, Karl (1849- 19 18). Lehrbuch der systematischen Anatomie des Menschen ftlr Studierende und Aerzte. Berlin und Wien: Urban und Schwarz- enberg, 1906, 8®. xi-l-996 pp. Has only 7 illustrations in the text.

. Die Anatomie des Menschen. Parts I- V^ Leipzig: B. G.Teubner, 1908-9. 1 2'.

Sommer, Ernst Friedrich. Anatomischer Atlas in stereoskopischen Rdntgen- bildem. Wiirzburg: C. Kabitzsch, 1906. 8**. i v., xii, 20 pi.

408 ANATOMIC ILLUSTRATION

Frohse, Friedhich, Broesike, Gustav, Benninchoves, Wilrelm. Anato-

mische Wandlafeln. Dresden: A. MiiUer, 1911-12, roy. 8°. 13 p!. Van Gehuchtes, Arthur (1861 ). Cours d'analomie humame systematique,

Louvain: A. Uyslpruysl-Dieudonne, 1906-9, roy. 8°. 3 v. PiERSOL, George Arthur (1856 ). Human anatomy, including structure and

development and practical considerations, by Thomas DftTCHT, J. I'lavfair \ McMuRRICH (cl al.). Edited by . Philadelphia; J. B. Lippincott

Co., 1907, xx + 2,088 pp., 1 pi.

Contains 1,734 illustrations, of which 1,572, by Hennann, Ludwig E.,and Erwin F. Faber, are from original dissections.

Da\is, Gwvllym G. Applied anatomy. Philadelphia; J. B. Lippincott Co., 1910, . 4°- Jt+629 pp.

Illuslraled with 630 parti-colored drawinRS and photographs, mostly from original dissections, by lirwin F. Faber and Hermann Faber.

Berry, Richard James Arthur (1S67 ). \ clinical atlas of sectional and topo-

„ graphical anatomy. Edinburgh and London; \V. Green & Sons, 1911, foi.

2 p.l., 13 pp., 60 col. pi.

Merkel, Friedrich Sigiil'>jtj (1S45 ). Die .Anatomie des Menschen, mil

Hinweisen auf die arztliche l'ra\is-\Vii-sbadcn: J. F, iiergmann, 1913. 4°.

3 parts.

CROSS-SECTION' AN.\TOMY (INCLUDING FROZEN SECTIONS) De Riemer, Pieter (1760-1831). Aflitddingen van de juistc plaatsing der inwendige dei'len van het mcnschelijk ligchaam. zoo met opzigt tot derzelvcr ligging onder- ling, als ten aanzieti hunncr bepaalde aanraking tegcn de wanden der hullighedcn waarin zii zich bcvinden. Pans I-IV. 's Gravenhage: J. .\llarl en Comp.. 181S. fol. 5 colored pi., 5 oiitline pi.

The first work in wliich frozen secliiins were utilized in anitiimical illustration. Huschke. Emil (1797-1858). Lehre von den Eingewciden und Siniiesorganen des mensehlichen Kiirpers. Leipzig; L. Vosa, 1844. 8°. )iii+949pp., 2 pi. (Forms Vol. \' of S. T. vuN SOmmerring'S Vom Baue des mensehlichen Kiirpers.) By an eminent aniitomist and I'mbryiiliipst. a pupil of Okcn, and LoHer's successor al Jena. I'mitains tivo riipperjilates, yivinK Ic'ti views of transverse sections throueh the neck, thiirat. abdomen, and pclvL* of the cadaver of an cightfen-months-old girl. PiRocoKf. N1K111.A1 IvA^^<lVlcn (iSio-Ss). .\natome lopographica sectionibus per corpus hunianum congelatum triplici directionc ductis illusirata. Pctropoli: J. Frcy. 1852-59. fol. and 8". 4 pts. 796 pp„ 213 pi.

The first impiirlant atlas i>f anatomy to be based im frozen sections. The first volume consists of life-size sections of the he-id, mostly in trans\'erse planes; the second con- tains transverse and 5:i|{itlal neclions 01 the thnra;^; the thint transv-eise, sagittal, and frontal sections uf the iliiinminid cavity in liolh sexes; the fourth sections in three planes through the extremities and their joints. .^IthouHh rirogoff was ignorant of his predecessors in freeiiinf; mclhod.s, his work rcmainB unsunmssed fur practical use.

LeGendre, Eu(;£sf. Quesilv (18 jj ■). .Anatomic chirurgicale homalographique.

I'ivris: J. U. BaiUiere et tils, 1858, fol. 2 p.l„ 45 PP- H P'- DrawinRF. rlide by the author from frozen sections of diltetent parts of the body, taken in horizontal, sagittal, and oblique planes.

3

APPEaroiCES 409

RuDiNGER, NicoLAUS ( 1 83 2-96). Topograi^iisch-chiruiigiscbe Anatomie des Men-

schen. 1-4, Abth. and Sui^lement. Stuttgart: J. G. Cotta, 1877-79, roy, 8®. 721 pp,, 183 pL

Cootams 73 illustrations of frozen sections from the adult and infant in the three principal planes, mostly i^tographic.

Braune, Christian Wilhelm (1831-92). Topographisch-anatomischer Atlas. Nach Durchsclinitten an gefrorenen Cadavem. Leipzig: Veit und Comp., 1867-72, fol. (Supplement). Die Lage des Uterus und F6tus am Ende der Schwangerschaft nach Durchschnitten an gefrornen Cadavem. Leipzig: V^eit und Comp., 1872, fol. 4 L, 4 pi. 2. ed. 1875. English translation by E. Bel- lamy, 1877. 3. ed. 1888.

A classical work, representing sections of the male and female body in three planes, from preparations made with a special freezing mixture of Braune's invention. The drawings were first made on tracing paper over a thin layer of ice covering the delineated structures.

D WIGHT, Thomas (1843-1911). Frozen sections of a child. Fifteen drawings from nature by H. P. Quincy. New York: Wood & Co., 1881, roy. 8**. v-|-66 pp. A classical work of great importance in pediatrics, and the first American group of serial

sections.

Dalton, John Call (1825-89). Topographical anatomy of the brain. Phila- L delphla: Lea Brothers & Co., 1885, fol. 3 v. in i, vi (i l.)-|-iv-hiv-hi73 pp., ^ 48 pi., 48 outline pi.

By the late professor of physiology in the College of Physicians and Surgeons (New York). Heliotype reproductions of photographs of fresh specimens, prepared by the author, with outline sketches from tracings made by Dr. Richmond Lennox. The photographs are of a superlative order and beauty, and made from specimens and cross-sections which could not be duplicated out of hand.

Symington, Johnson (1851 ). The Topographical Anatomy of the Child.

f^ Edinburgh: E. & S. Livingstone, 1887, fol. 75 pp., 14 pi.

• ^ Life-sized colored plates, based upon frozen sections. Introduces the novelty of key-

figures, showing the lines along which the sections were taken.

MacEwen, Sir William. Atlas of head sections. Glasgow: J. Maclehose & Sons,

^ 1893, 4^ xiii+4 pp., 54 K 53 pl- V' Seven series of sections, three coronal, one sagittal, three transverse, of which one coronal and one transverse are from the chfld. The illustrations are copperplates from photographs. "As in all frozen sections, the saw has destroyed or obscured many of the finer details (Eydeshymer).

Retzius, Magnus Gustav (1842 ). Das Menschenhim. Studien in der

makroskopischen Morphologie. Stockholm: P. A. Norstedt und Sdner, 1896, fol. 2 v., viii-hi67 pp., i p.l., 96 pi., 96 1.

Eycleshymer, Albert Chauncey (1867 ), Schoema&er, Daniel Martin

(1867 ). A Cross-Section Anatomy. New York and London: D. Appleton

^ , & Co., 1911, fol. 373 pp. ' A superb production, giving views of 1 13 cross-sections, preceded by an excellent history of cross-sectional anatomy. The average position of the organs was evolved from eleven reconstructions by Paul Potter, the sections of the female pelvis were made by Carroll Smith and the drawings by Tom Jones, all of St. Louis University.

ANATOMIC ILLUSTRATiT

ARTISTIC AXATOMY

RTiNATri, Fkancesco. Elementi di anatomia fisioiogica applicaia alle belle

figuraiive, Torino: P. Marielii, 1837, 2 v. S°. Alias fol. 43 pi.

One of the earlier works, illustrated by 43 lithographic plates, of a superior fac The allegorical frootispiecc (all'gorko /ronttsfiizia) represents an instructor demonstrating themustulaturcof a iliiycd cadaver, suajteniied by the right arm, to a studio of sealed pupils. Squanquerillo, Costasilvo. Opera di anatomia piitorica. Roma: F. Lust

1837-41, fol. 64 pp., 65 pi.

Described by Duval and Cuyer (Ilisloire de I'analirmir plasliqur) as an unfinished work, since only g of the 15 fasciculi of 4 plates each were " in circulation" or known to the authors The copy, in the SurKBun General's Library, as above described, contains 65 plates. Many of these lithographs are taken from Albinos. The frontispiece represents two outline sketches of the male and female figure tii proJU 00 a placard supported by a skeleton and an Icorcki. Beak, Richard Lewis. Anatomy for the use of artists. London: H. Renshaw

1841.3°. 47PP-. lopl- Tequeundt, Aucuste (i8ig-;8). Anaiomie ou description dcs formes de I'homme.

eKlusivcment desLinfe aux peintres, sculpieurs et graveurs, cl entierement

appliqufe aux beaux-arls. Paris: Danlos, 1845, .S°. 47 pp., 14 pi.

One of the earlier works mentioneii by Duval and Cuyi superior to those representing the bones. Sturv, WiLUAM Wkthore (iSiQ-tjj). The propori

actordiug to a canon, for practical use

roy. 8°. 3 p.l., 63 pp.. 7 m'"- Duv.^L, Mathias Marie (1S44 )■ Prtci

Paris: U. Quantin. iSSi, 8". 336 pp. Fletcher, Rupert. Human proportion in  ;

M. King, 1S83, 3; pp.. 4 pi. 8°. RiMMER. WcLLiAii. .Art aoiilomy, Londuii

foi. 2 p.l,, 81 pi. KoLLMANS-. Jt'LitJS Cli.vst.intin Er.s'st (1834-1018). riastische Ai

mensrhlithen Korpers, fUr KUnstlcr und Freunde der Kunst. Leipzig: Veit

und Comp., 1886, roy. 8°.

Ky the professor of anatomy at Basel. Illustrated nith lithographs from hand-drawings, phiitograpbs from the nude, ethnic studies of facial features arranged en Idtclon, etc. The le.1t. like Hyrll's, is of unusual historic interest, and includes special chapters on the anatomy of the infant, human proportions, and ethnic miirphology. .\mong the models used are Sandiiw, Rubinstein, und other celebrities. Clvf.R, fitiOUA

myological plates are

of the human figure,

London: Chapman & Hall, 1866,

i d'anatomie a I'usage dcs artistes,

rl and anihropomelry. Cambridge:

Kcg;in I'aui, Trench & Co.. 1R84.

Analomie urtisliquc ilu corps hur

ichcsparle Dk. Fai"

J'aris: J. li. BaiUiere cl fiU, 1886, vu+2o8 pp„ 17 pi. Rochet, Chahi.ks (tSta-igooJ, Traill d'anaiomie, d'anthropologic et d'ethno- graphie appliquces uux beau.x-arts. I'uris: Renouiird, 1886, xii+376 pp. llluslralcd by [len drawings lin black and white and colors) by G. L. Rochet.

RiciiKR, Pail (1841) ■(. .Vnalomienrtislique. Description dcs formes extfrieures

orps humain au rcixjs el dans les prindpaux mouvemenls. Paris: E. Plon,

i8(io, fol. viii, 110 pi.

L-n mouvement. Paris: 0. Doin, i

APPENDICES 411

Richer, Paul (1849 )^ Nouyelle anatomic artistique du corps humain. Paris:

Plon, igo6, sm. 4**. vi-hi77 pp.

BrOcke, Ernst Wilhelm (1819-92). Schdnheit und Fehler der menschlichen Gestalt. Wien: W. Braumtilier, 1891, 8°. i p.l., 151 pp. By the professor of physiology at Vienna. A book of unusually attractive and informing

character, illustrated with 29 small woodcuts of singular beauty by Hermann Paar. English

translation, 1891.

Roth, Charles. The student's at}as of artistic anatomy. Edited, with an intro- duction, by C. E. Fitzgerald. London: H. Grevel & Co., 1891, fol. viii+50

34 pl. Thomson, Arthur. A handbook of anatomy for art students. Oxford: Clarendon

Press, 1896. 8**.

A work of solid merit, which has now reached its fourth edition. Illustrated with superb photographic plates of the nude, in brown tone, each plate having opposite a schema of the underlying muscles, with legends. The male and female models were chosen not for excessive muscularity, but for all-round symmetry and proportion. Far and away, the best modem treatise on the subject in English.

Stratz, Carl Heinrich. Die Schdnheit des weiblichen Kdrpers. Stuttgart: F. Enke, 1898. A treatise on artistic anatomy, based upon direct photography of female models.

. Die Rassenschdnheit des Weibcs. Stuttgart: F. Enke, 1901, 8®. 350 pp.,

I map.

A study of the surface anatomy of the female body in its ethnic relations, illustrated by photographs from the nude.

. Die K5rper des Kindes. Ftir Eltem, Endeher, Aerzte imd Kilnstler.

Stuttgart: F. Enke, 1903, 8®. xii+250 pp., 2 pl.

An admirable study of the surface anatomy of the female body in children, illustrated by photographs from the nude.

Stratz, Carl Heinrich. Die Darstellung des menschlichen Korpers in der Kunst.

Berlin: J. Springer, 1914, 8®. x-l-322 pp.

Gives pictures of the principal works of art in which anatomy is exploited, frequently with dupliaite poses by living models.

DuNLOP, James M. Anatomical diagrams for the use of art students, arranged with

analytical notes and drawn out by . With introductory preface by John

Cleland. London: George Bell & Sons, 1899, roy. 8^ 4 p.L, 72 pp. Illustrated with parti-colored drawings and photographs.

McClellan, George. Anatomy in its relation to art; an exposition of the bones and muscles of the him:ian body, with especial reference to their influence upon its actions and external form. Philadelphia: A. M. Slocmn Co., 1900, 4°. 142 pp., 41 1., 126 pl.

Illustrated by 338 original drawings and photographs made by the author. The draw- ings are mostly rude diagrammatic sketches. The photographs are elegant, well-selected album-pictures of the nude, many of them duplicating the poses and thus demonstrating the excellent anatomy of many antique and modem statues.

CoLENSO, Robert J. Landmarks in artistic anatomy. London : Bailliere, Tindall & Cox, 1902, sm. 4°. vi (i l.)-|-56 pp. 6 outline pl.

RiNKE, Jan. Handleiding tot het teekenen van het menschelijk lichaam. Amster- dam: H. Meulenhoff, 1906, sm. 4^ 142 pp., i 1., 2 pl. Illustrated with outline drawings.

413 ANATOMIC ILLUSTR.\TION

TiKHANOFF, Mikhail Terevtve\*ich. Kurs piasticheskoi anatomii chelovicka

(Human plastic anatomy). St. Petersburg: T. R. Golike & A. Vilborg, 1906,

xij+385 PP-. 1 '-. ' pl. Shlteldt. Robert Wilson (1850— — ). Studies of tht human form, for artists,

sculptors, and scientists. Philadelphia: F. A. Davis Co., iqoS, roy, 8°.

sxxi+644 pp.

Illustrated bj' photographs of nude models. Fetzer. Hekuakn (1S46 -). Einlfitung in dk plastische .Analomie fur Kiinstler.

Tubingen; H. Laupp, igii, roy. 8°. vii+57 pp., iS pi. Fripp, Sir .\lfred D., akd Thompson. Ralph. Human anatomy for art students,

with drawings by Innes Fripp and an appendix on comparative anatomy by

Harhv Dixon, Philadelphia: J. B. Lippincott Co,. loii, ij°, 2g6 pp.

Contains 151 illustrations, among which are 13 effective photographs from the nude. Heupel-Siece.v, Lvdwig. Plastische .Anatomic dcs Monschen fur Kiinstler und

Kunstschiiler, Stuttgart: F. Enke. iqij, 4°, viii+g6 pp., gj pi.

Illustrated with log partly colored drawings uf structure hy Paul Mather and S craj-on drawings of the nude body by the author, Philipp Hirt, Peter .Abelcn, and Theo, Riebecke. Vanderpoel, John Henry (i857-:oii). The human figure, London, 1013, 8°. Lrw, Edwin George. Practical art anatomy. New York: Charles Scribncr's

Sons, 14)18,8°. vii+i54.pp.

Illustrated with very rudimentary outline drawtnip by the author.

HISTORY OF ANATOMICAL 1 LLt:STR.\TTON

HvKTL, Joseph (1811-94), Amiquilatcs anatomicae rariores, quibus origo. incre- menia ct status anaromes, apud antiquissimae memoriae gentes. historica fide illuslrantur, Vindobonae: In Biliopolo Univcrsitatis, 1835, 8°. xii+13+109 pp.. 2 1.. 3 pl.

Gives a unique account of culinary, sacrificial, and accidental anatomy, with three plates of Chinese anatomy from Cleyer's Specimen mcdicinac ainicae (1O81). Duval Mathias Marie, and CrvER, Edol'Ahd. Histoice de I'anatomie plastique. Les malires, les livrea et Its i'corches. Paris: Societe franfaise d'fiditions d'art, iSgS 8° Mii+351 pp.

A \aluablc minual well written and well illustrated, containing much material and

information not aciessible to Choulant. It forma a supplement or pendant to his book.

Duval, Maihias Marie, and Bical, .Albert. L'anatomic des maitrcs, Trentes

planches reproduisant les originaux de Leonard de Vinci, Michel-Aage, Raphael,

dericaiUt, etc., accompagnes dc notices cxplieatives et precedees d'une histoire

de I'anatomii: plaslique, Paris: A. Quaniin. 1890, fol, ii+31 pp., 39 pi., 30 1.

Weindler, Fritz. Geschichte der gjTiiikologisch-anatomischen Abbildungen.

Dresden: Zahn und Jaensch, 1908, 4°. xvi+186 pp., 5 col. pi.

The work of a I'lri'sdin gjniiolugist and executed after the plan of Choulanl's treatise,

which it ^ur]j;i--i - ill [■ n 1  ;iiid variety of its illustrations. These include ci-roto

reprfsentjiimi-- ■ ■'  ; ■ nri* from Greek vjscs, the medieval codicea and MSS

(particularly ili' I ' ~ .  :ind plates from all the outstanding works on anatomy

and ohstttrirs ihi' m ■" U i:,i in I liiHli-r (1774). Leonardo's female situs viscerum is given opposite p, (i«, and ins wonrltruil iiiiuralions of the statutory position of the/oeiur in ulero, on pp. 73-74; interesting figures from the twelfth-century Copenhaj^n codex (1163), with Valentin Rose's lexl, on pp. 16-31, One uf Gaulier dWgnly's nudes, with eviscerated fetus, is given in colors opposite p. 168.

DESCRIPTION OF ILLUSTRATIONS

FAaNG PAGE 45

Three illustrations taken from the first volume of the parchment codex in the possession of the Dresden Royal Library (Manuscripts D 92, 93) and containing the Latin works of Galen, as described in the article entitled *' Anatomic Illustrations of Antiquity and of the Middle Ages. The first picture shows the instructor seated and pointing with his right hand at a nude woman standing beside him. To his left stand two students. It is to be found in Vol. I. fol. 50, and belongs as initial C to Galeni de spermati lib. ii. cap. i, de modo emissionis spermaiis feminei ad matricem.

The second picture again shows the instructor seated and a nude pregnant woman standing before him, with two students in the background also standing. The latter is to be foiui4 in Vol. I, fol. 158, and belongs as initial T to GaUni de ulUitaU particularum lib. xiv., de utUitaU par Hum genitalium.

The third picture shows standing to the right of the seated instructor a nude man in the center of whose thorax (the lower part of which is dissected) the heart, shaped like a playing-card heart, can be seen. Below it, in the upper part of the abdomen, also dissected, suggestions of the liver and the stomach seem to be given. To the left of the instructor stand two students. This illustration makes it obvious that this picture as well as others were to give emblematic suggestions rather than to present actual demonstration, since a human being with his thoracic and abdominal cavities dissected could not have attended such a demonstration, standing and motion- ing with his hands. The last picture can be found in Vol. I, fol. 19, on the back of the page, and belongs as initial Q to Galeni liber de nwtu thoracis et pulmonis,

PAGES 46 AND 47

A . The Duchess from Hans Holbein's larger " Dance of Death," an original print of the wood-engraving cut by Vicomte L6on de Laborde for C. Fr. von Rimiohr's book: Hans Holbein derjUngere in seinem Verkdltniss zum detUschen Pormschnitlwesen, Leipzig, 1838, 8**, woodcut plate.

B. The initial X from the "Dance of Death" alphabet or the smaller "Dance of Death " by Hans Holbein. It is copied from the Greek edition of Galen, Basil, apud Andr, Cratandrum, 1538, fol., 5 volimies, in which this alphabet provides the initials. It represents two gamblers surprised by death and the devil, and has also been used in the second part of woodcuts of famous masters edited by the publisher.

PAGE 103

Pen-and-ink drawings from Leonardo da Vinci's anatomic sketches in the possession of the King of England. The plate is taken from John Chamberlaine: Imitations of original designs by L. da F., London. 1796, large fol., a work which was later inserted in Original designs of the most celebrated masters of the Bolognese, Roman, Florentine and Venetian schools, etc., London, 181 2, large fol., Plate IV, by the same author, cf. Weigel: Kunstkatalog No. 1 1372. The plate given here contains illustra- tions explaining the movements of the shoulder and the upper arm and therefore shows

413

414 AXATOMIC ILLUSTRATION

also ihc muscles of the neck, the ihgrax, and the upper arm. Of the six figures on the plate, the one in ihe upper riKhl-hand corner is schematic and illustrates the mechanism of motion. The other figures are artistic conceptions of the anatomy of the various parts involved, and sufficiently true to nature, of a kind that had not yet been given by any of the other anatomists of that time. They are all accom- panied by ten numbered expkmaiory notes in mirror writing.

PAGE 107 .A print copied from the rare copper engraving by Giovanni Fabbri after a pen-and-ink sketch of Michelangelo Buonarroti. It represents a nude male figure with suggestions of the muscles; to the left of the figure is a drawing pertaining to proportions. The characters on this drawing are in Michelangelo's own hand- writing and are on the original engravings, as follows: (i) Along the perpendicular; lesla.callo, pclo (petto), si'lo peto (siillo petto), col corpo, nalura, cnscia, congtunla, gamba, cangialti di picdi; (he last words in the copy arc indistinct owing to damage. (3) Along the horizontal: spala (spalla). coiiginnlii. oso {asso) di sopra, congionta, Oio di salo (ossa di sallo), coiipanto. oso (,asso) dc la mano. below, at the clavicle: Inqurualura sopra il petto.

Anatomic study in pen-and-ink by Raphael for the sepulture in the Villa Horghese, representing the fainting Mary supported l>y two women, the skeleton sketched in. The heaiis belong to the same picture. The copy is after the facsimile in the Lawrence Gallcr>-.

PAGE I [ 1

An oulline vignette representing water and earth. Taken from a larger copper- plate in oblong folio, completely crosshatched, for which it serves as an accessory. The copy is of the original size. The larger plate belongs to the rare work with copper- plates: Ilyslorla Jusoiiis Tlussulwe Prindpis de Colrkini vdleris aiirei expeditione: cum figuris acre exctisis cariimqiic rxpositioite, venihus Priscorum Poetarum, Ab Jacobo Gahorio Parisiriisi . Paris, 1563. oblong folio. 4 pages of text and 26 copper- plates. The arlist of the plates is Leonard Thiri of Deventer (also called Leo Davenl), a pupil of Rosso. The engraver is Rene Boivin. The main compositions in the ccnterfield. containing ,scenes from Jason and Medea, are <ione in the style of Luca Penni. The rich, surrounding accessories are done in the style of Rosso, Maitre Roux; .and in connection wiih these accessories it should not be overlooked that in the I'reface the author expresses his hopes that the king will have tapestries woven or mural paintings executed after these plates, i.e., will have them reproduced on a large scale. Our sketch is taken from page g of this work. Cf. Robert-Dumesnil: Le peiutre-gravenr Jriin^ais, VIII, id, Paris, iSjo, 8°; Weigel: KunslkiUalog No. 17056. The inseriioiiof this sketch after the ai tide on Rosso shoulil be excused on the ground that it might well be taken for Rosso's work, as tar as its composition is concerned. PAGE 114

An anatomic sketch compri.sing four complete figures, viz., two skeletons and two musclemen. after the exceedingly rare engraving by Domenico Fioreniino (Dom. del Barbiere) based on the sketches by Rosso lie' Rossi (Maitre Roux). Moehsen ascribed the drawing to Buonarroti but il cannot be his. The anatomy on the whole is inaccurate and not without arbitrary features and mistakes. Observe on

DESCRIPTION OF ILLUSTRATIONS 415

the first skeleton, the clavicles, the bones of the foreaxm, the carpus, the patella, the tarsal bones; on the second skeleton, the pelvis, the carpal and tarsal bones. The back of the second muscle-manikin is treated in a very arbitrary manner.

PAGE 118

The dissection from Joannis de Ketham: Fasciculus medicinae. The copy is made from the older and better engraving, as found on the back of page fii in the Italian translation by Sebastiano Manilio, Venez., 1493, fol. 5. February. Cf. another illustration of a dissection from a somewhat later period, on p. 141.

PAGE 121

The sign of the zodiac Aquarius, taken from a plate in Joannis de Ketham: Fasciculus medicinae^ Italian translation by Sebastiano Manilio, Venez., 1493, fol. 5. February, page bij. On that plate the signs of the zodiac are drawn upon various parts of a male body, which they are supposed to rule. The Aquarius stands between the feet of the figure.

PAGE 125

A very crude woodcut from Magnus Hundt: Antropologium, Lipsiae, 1501, 4**, page Lij. It shows schematically, without any attempts at faithful representation, what conceptions people of the early Middle Ages and, in some respects, even those of the fifteenth century must have had of anatomy from descriptions of the Arabians, for Mundinus is everywhere by far more accurate in his descriptions. On the right side of the neck may be seen the somewhat narrower trachea entering the lung, on the left side the somewhat wider oesophagus. Within the thorax are shown the imdivided lungs, and to the left the heart, shaped like a playing-card heart, with the large vessels and with its apex pointing to the left. In the boimdaries may be noticed the dissected pericardium and the incised border of the dissected limg. The diaphragm is not indicated; on the right of the abdominal cavity is shown the five-lobed liver embracing the base of the stomach with the gall bladder on its upper surface. On the left is the bottle-shaped stomach with the oesophagus entering it and a blood vessel connected with the spleen entering side by side. Near the base of the stomach, the intestines separate from the stomach. The organs at the lower right side of the abdominal cavity should be thought of as standing upright and dissected. Obviously they were placed obliquely in order to render them visible. They are the urinary and sexual organs. The upper stafi from which the two other stafis branch off to enter the larger balls, is the inferior vena cava, called at that time Vena chilis^ KoiXirf^, with the two Venae emulgentes or renal veins. The balls are the kidneys, from each kidney a shorter staff leaves to enter an elongated body; this is the ureter passing into the bladder. A longer staff leading from each kidney outward into a smaller ball, is the spermatic cord. Each ends in its testicle. The title of the plate is given in the work itself as Figura de situ viscerum. Compare this with a similar but more correct anatomic figiure on p. 131.

PAGE 131

A plate from Laurentius Phryesen: Spiegel der Arzney, Strassburg, 1518, 4**. It represents the anatomy of the Middle Ages, as it originated with Mundinus, in respect of the viscera of the three cavities. In the abdominal cavity, inmiediately below the diaphragm, the five-lobed liver, an old Galenic error based on zodtomy, which

4l6 ANATOMIC ILLUSTR-'VTION

Miindinus somewhat mitigates by saying: quinqve pennulae cim licent in homine non sini scparatac semper ad invicrm (" though its five lobes are not always separate from one another in the case of man"). Below it the round stomach, on one side of it the spleen, below it the kidneys with a blood vessel entering from above; below them the ureters leading into the bladder. Behind it ihc aorta and the inferior vena cava with its branches. The inlpsiines arc taken out and placed alongside the abdominal caWty. In the thoracic cavity the heart lies in the median line of the body, with its apex pointing to the left. In accordance with the concept of these times, the heart is represented as entirely surrounded by the left lung, just as JIundinus says: appa- rebit ptitmii in medio cuius fxislil cot Tciuliim pcniiulis pulmonis ("see the lungs in the midsi of which the heart lies, veiled by the pulmonary lobes"). Above, the trachea is shown coming from the lungs, with the oesophagus in back of it. The brain is represented in six separate figures. The first figure only crudely suggests the cerebral convolutions and the separation of the two hemispheres of the cerebrum. The second is supposed to represent the large middle "brain cell"' (Ccllula or Veiilriculus anterior) piirtiiioncd by a part which Mundinus calls Vtrniis. In the figure, this part is shown lifted out by means of a. peg. The represented parts arc what we now understand to be lateral ventricles, which were then thought to be joined, and the corpus callosum. The peg in the back leads into an alleged posterior brain cell {Ccllula or Venlriculus poslcrior) or probably what we now understand to be the fourth ventricle. A similar representation is shown in the third figure, the middle ventricle without the corpus callosum. At the forward end can be seen the right optic nerve and the attachment of the dura mater to the crista as the beginning of the falx cerebri. The fourth figure shows the optic nerves with their decussation, and, at the back, the upper opening of the posterior "brain cell." The fifth figure shows ihe decussation of the optic ner%'ea, cut off in back and in front, also the inner base of the skull lined with the dura mater, and, at the back, the tentorium cerebri open in the tenter. The sixth figure shows the cerebrum turned back, at the front the chiasm of the optic nerves sectioned from the rear; behind it three pairs of nerves originate. The seventh figure shows the tongue with the upper ojjening of the trachea and behind it, the oesophagus. On the whole, a much better executed illustration than ihal of Magnus Hundt on p. laj. Regarding the alleged artist and wood engraver of our plate see pp. 130 and 131.

The dis.seclion on the title-page of Jacobus Berengarius de Carpi: Isngogiic breves, Venciiis. 1535. 4", in the size of ihe original. Just as in the illustration of the dissec- tion on page 1 14 of Ketham, the instructor is seen demonstrating from the lecturer's platform but not working with ihe cadaver. Besides him, we see a man with a small stall, seemingly directing the dissector; then the dissector himself, his head covered, but not in wide garments; his foreurms are bare, the right one holding a large knife (Ketham's has a curved one, here there is a straight knife). In addition, there are six persons and a servant who is left out in Ketham's plate. On both plates, ihe dissector stands to the right-hand side of the cadaver; Ketham shows a male body; here a female is shown. The artist must either have had before him Ketham's plate, or convention must have led to the uniformity of these representations of a public dissection. It might bi- of importance to know several other drawings of the same or an immediately succeeding period.

DESCRIFnON OF ILLUSTRATIONS 4 1 7

PAGE 150

An illustration from Canani: Musculorum hutnani corporis picturata dissectio, SJ. et a, 4^, on the back of page Bij^ representing the common superficial flexor of the fingers {flexor digitorum communis sublimis) of the size of the original. The picture, while reproduced here in a horizontal position, is upright in the original with the hand down. The origin is correctly shown from the internal condyle of the himierus but the muscle is not attached to the radius and the insertion at the fingers is inaccurate.

PAGE 153

A plate from Caroli Stephani: De dissectione partium corporis humani lihri tres. Paris, 1545, fol., page 250, representing a seated male figure with the cranial cavity opened. The inscription on the side is as follows: A. crassa meninx, d cranio revulsa, B, Locus cui insidet aden coUUorius. C. Quo in loco arteria carotis conspiciiur ad retiformem plexum deferri, D. Locus in quo reperitur membrana ad aurem pertinens, E. Divisio nervi Urtiae coniugationis. F. Origo spinalis medullar, G. Lacuna in palatum commeanSj ad expurgandum cerebrum, H. Cavitas insignis supra oculum, inter parietes ossis coronalis condusa, sub prominenle super cilii tuber culo. I, Oculus osse detectus. The original has this explanation printed in type.

PAGE 154

A plate from Carolus Stephanus: De dissect, partium c. h. libri tres, Paris, 1545, foL, page 271, representing a pregnant woman in a semi-recumbent position, with her abdominal cavity and uterus dissected, so that one sees the amnion, to which the inscription, printed in type, on the small plate refers: A, Secundina dissecta^ usque ad allantoidem, B, Fades secundinae, ad allantoidem pervenientes,

PAGE 161

Illustrations of several bones after a clever red-crayon drawing by Stephan von Calcar, a present from Baron von Amstetter, Judge of the Court of Appeals, of Breslau, in the possession of the publisher. It bears the almost imknown signature of the master and is signed in ink, in old Dutch handwriting: Jan van Kalkar. One should compare with it the very similar composition and the skull in Vesalius: De corporis humani fabrica, Basil. , 1543, fol., pp. 5 and 20, and in the edition Basil, 1545, fol., pages 6 and 26. Almost all the woodcuts are reversed and since the hand- writing is \mdoubtedly genuine it must be assumed that Vesalius had the sketches transferred upon the wood blocks without mirrors, at least in all illustrations in which right and left were out of consideration. The subjects represented in our plate are as follows: An external view of the left innominate bone; the right metatarsus with the toes; the right tarsus, the inferior maxilla, twice; a skull, and seven illustrations pertaining to the apophyses and the cartilages of the femur, which are not found repre- sented in the same way by Vesalius. The difficult task of reproducing a crayon drawing in a woodcut has been most successfully accomplished by the artist, Eduard Kretzschmar, of Leipzig.

[This drawing has since disappeared. Some of the bones are identical with those in the Glasgow codex, described by Roth in the Arch, f. Anat., 1906, pp. 77-110. Plates II and III of the Glasgow codex bear the same signature, /C, in monogram (that of Kalkar) and have the same artistic quality.]

4i8 ANATOMIC ILLUSTRATION

PAGES 174 AND 175

The three skeletons from Andreas Vesalius' first six plates, IViif/. 1538. fol., which are essentially different from those contained in his principal work De corporis hutnani Jabrica, published in 1543.

PACE r7g

A skeleton from Andreas Vesalius: De corporis humani fabrka, Basil.. 1543, fol., p. 165, an(] in the edition Basil. 155,, fol. p. 105. This skeleton is not in the Epitome. In the principal work, as originally conceived, it is the third of the skeletons represented. This skeleton makes one think of one of the mourning apostles in a "Burial of Christ" by Titian.

A greatly reduced reproduction of the rare plate by Macrolios of a sketch by V'esalius or Stephan von Calcar, printed after the original or a copy of it and published without \'esalius' knowledge. The explanatory lettering is omitted. The brain is shown from above, opened by means of a horizontal section and so exposed by the removal of the upper part that one looks directly into the two lateral ventricles with the corpus eallosum between them. From the base of the brain the olfactory nerves are seen originating as two short stumps, which Vesalius did not consider to be nerves. Below these is seen the chiasm of the optic nerves, with their continuations into the eyeballs. Below the optic nerves runs the third or sixth pair {iiervus ocuio- motorius or ncrviis ahilucrtis) and below that the first branch of the fifth pair (ramus ophthalmicus). The two anterior descending trunks are the third branch of the fifth pair (ramus miixitlaris iii/eriiir) and the sphenopalatine ner\'e (iicrvus sphcnopala- tiiiiis). the former with its distribution In the tongue, the lower larger body, and tbe latter widening into the palate, the upper smaller body. The still higher, small round body rcpresenls the widening of the eighth pair (ncniis acuslicus) into the internal auditory organ and is not supposed to represent the hypophysis as one might be led  !o believe. Farther back is shown the branching of the tenth pair {nrrviis otj;hi) in the thoracic and abdominal cavities and the first three pairs of the spinal nerves. With this should be compared the mueh better and more complete plate in Vesalius' principal work Df corporis humani jabrif a. Book IV, p. 319. 1543 edition, and piige 517. 1555 edhion. This plate also proves the fact that JIacrolios' representation is actually a Wsalian representation, only given earlier, namely in

PAGt igi .\ plate taken from jobst de Netker's reproductions of the first six plates by Vesalius of 1538. .\ front view of the skeleton with the right forearm bent at the elbow and raised,

A plaie from Valverde de Hamusco: lUsh'ria de l.i cimpusicimi del cuerpo liumano, after the Italian translation Kom-i. is^'O. fol.; liber ii. tab. 1. .\ muscle-manikin showing the oulermusde-layer of front view of the body. The muscleman is holding the removed skin in his raised right hand and a dagger in his lowered left hand. The left foot is resting on a stone. This is one of the illustrations which Valverde added as his personal contribtilion lo the Vesalian pkite^, hut it is less true to nature than Vesalius' own myologie rejiresen tat ions.

DESCRIPTION OF ILLUSTRATIONS 419

PAGE 215

An illustration from Constantinus Varolius: De nervis opticis, Patav. 1573, S°, on the back of page 17. This older representation is chosen rather than the newer engraving in the edition of 159 1, because Varolius was dead at the time of the publica- tion of this latter edition and the re-engraving was done arbitrarily and not accu- rately enough. This figure is particularly instructive when compared with VesaHus' illustration of the base of the brain in his principal work De corporis humani fabrica (edition 1543, p. 318; edition 1555, p. 511), as it shows the progress made by Varolius, e.g., in the course of the optic nerves behind the chiasm, the optic tract, the twisting of the cms cerebri, half of the pons Varolii, and so forth. On the other (the left) hemisphere the pairs of nerves then known can be distinguished; at the frontal part the two olfactory nerves, the chiasm of the optic nerves with the thalamus (1), of the two nerves running jointly beneath the left eyeball the inner one is made up of the Nervus oculomotorius and abducens, the outer one is the ramus ophthalmicus of what is now termed the fifth pair. The nerves marked 3 and 4 are the ramus maxiUaris superior and inferior of this same pair. The nerve with the club-shaped end marked 5 is the nervus acusticus and facialis; the trunks numbered 6 and 7 are nerves of the medulla oblongata, especially the nervus vagus.

PAGE 219

An illustration from the second edition of Juan de Arphe: Varia commensuracion Para la escultura y arquUectura, Madrid, 1675, fol. ; second book, page 30. The front view of a muscle torso with the conmiencement of the neck, the arms, and the thighs. A strong and artistically original representation, natural enough considering the time of its production, the second half of the sixteenth century.

FACING PAGE 226

[In deference to current taste, the original Casserian figure, chosen from Spieghel by Choulant, representing a pregnant woman mounting a pedestal, has been omitted on -account of the obtrusive prominence of the pudendum, which is represented as shaven. For it Dr. Frank has substituted what is unquestionably the most beautiful of all the drawings made by Fialetti for Casserius. It represents an eviscerated female figure, of lovely proportions, apparently floating in mid-air, in the rapt, ecstatic attitude of some transfiguration scene of Raphael or Correggio. In sheer beauty, this figure is comparable with the robust goddesses in the Aurora Fresco of Guido Reni in the Rospigliosi Palace at Rome. — F. H. G.]

PAGE 227

A print from the plates of Pietro Berrettini da Cortona, Plate IV, and taken from representing a newborn child with the umbilical cord. In the dissected abdominal cavity, the liver, intestines, and urinary bladder are visible. From the latter ascends the dissected abdominal cavity on the left side of the main figure, are omitted on this plate. The stone, however, on which the smaller figure stood and the small plate leading to the liver. The copy is reduced less than one-half. The placenta repre- sented on the original plate has been omitted. The incorrect representation, that all four vessels appear to unite at H, is identical with that of the original and must

"Sleeping Cupid," a picture

420

be ascribed to Spigelius' views.

The child resembles in many ways Guido Rcni's which Carlo Faucci engraved in copptr.

PAGE liO Muscular body from iht- sketchbook of Jean Paul Rubens.

PACF Ij6 A print (rom thcplalesof Pielro Berretlinida Cortona. I'lale IV, aiid taken from the older edition in which the accessorj- figures added by Petrioli are given. In Petraglia'a edition, both the diaphragm on the right side, and the small figure with the dissected abdominal cavity on the left side of the main figure, are omitied on this plale. The stone, however, on which the smaller figure stood and the smalt plate leaning against it, with the monogram of Lucu Ciamberlano. are left on. Some crosshatching on the top of the stone ser\-es to olilitcrate the traces of what had previously been there. Yet the places where the thighs of the figure stood arc still quite distinctly noticeable. The large figure is holding in the left hand the removed rlilages and the soft parts between them. One should which the nerves have heen distinguished from the other eans of crosshatching, the great blood vessels have been brought out. This is best brought out in the case of the femoral artery and the femoral vein of the right thigh and in the blood vessels of the right leg running parallel with the nerves of the leg. On the head and in the thorax, also, the n have been given particular a

with the costal especially notice the way organs, and also how, by

.■\ reproduction of the famous picture, the "'Lesson in .Anatomy" of Nice Tulp. painted in i6,ij by Rembrandt van Ryn (born in a mill near I.eydcn on June ]5o5, died in Amsterdam. October S, 1661)) for the physician and burgomaster Nicol.is van Tulp (Tulpius) (b, .Amsterdam October 1:, ISQ3, d. Amsterdam 1674). Tulp presented it to the anatomic theater {Siiijkjmer) in Amsterdam. In iSjS it was to have been sold at auction for the benefit of the widows of Amsterdam surgconsand, indeed, ii had almost been brought to England by the art-dealer C. J. Nieuwenhuys, when, in ihe ^ame year, the King of I he Netherlands acquired ii for thirly-two thou- sand Itorins and reiaimd it for his coumr>'. Since that lime it has been in the Royal Museum at The Hague, but before being placed on exhibition it was restored by Kmseman,

Tulp was neither a professionnl analomisL nor a professor, but a practicing physician, who later became u member of the council and burgomaster. .\s such he rendered considerable service to the chy. His son-in-law was the burgomasti Jan Si."!. Tulp was the author of only one small book entitled Obscrvationes medkae, .Vmsterdam, 1641. 8', which contains a few illustrations pertaining to pathologic (It contains one of the earliest accounts of beriberi, . pp. .400-305, preceded only by that of Jacob Bontius: De medictna I'he book was republished several limes, jgraphy. From this work it appears thai Tulp j

DESCRIFnON OF ILLUSTRATIONS 421

occuined himself with anatomy. On the picture (64^ inches hi^, 83I inches wide) he is shown, with his head covered, demonstrating the muscles of the arm on the left arm of a male cadaver; opposite him are sitting Adrian Slabbraan (Slalbraan) and Jacob Koolveld, to the left of the former; bending well forward over the head of the cadaver is Jacob de Vit; to his left and immediately to the right of Tulp stands Mathys Kalkoen; behind these two men appears Jacob Block and behind him, in the background of the picture, Frans van Loenen; the figure holding in his hand a manuscript with the names of those in the picture, is Hartmann Hartmansz. The picture was intended to have been hung, with the "Lesson in Anatomy" of Tulp, in and later, in 1851 , by Comilliet who made a somewhat flat representation in mezzotint. [Rembrandt painted in 1656 a companion-piece to the "Lesson in Anatomy" of Tulp, representing Johannes Deyman, the overseer of the College of Medicine at Amsterdam, beside a cadaver lying on its back with the feet turned toward the spectator. The only portions preserved of the original are the foreshortened dead body, the arms and hands of Deyman in the act of demonstrating above the head, and the figure of a second demonstrator, holding the removed calvarium. This picture was intended to have been himg, with the "Lesson in Anatomy" of Tulp, in the Anatomical Hall at Amsterdam, and was severely damaged by fire on November 8, Z723. Later it was restored, and at an auction on February 7, 1842, was sold for 666 gulden to an English art-dealer who brought it to London, as related by Ed. EU>llo£[ in Raimier's Histarisches Taschcnbuchf 1854, p. 574. The picture is now in the Rijks Museiun at Amsterdam.]

PAGE 251

A plate from Godefridus Bidloo: AtuUomia kumani corporis^ Amsldodami, 1685, large fol. tab. 87, after the drawing by Gerard de Lairesse. It represents a standing skeleton with an hourglass in the left hand; an open portico and a sarcophagus with cover removed, and another with cover closed, a view over inhabited country. The proportions of the skeleton are iigly, and the details inaccurate and false.

PAGE 259

A copy of the very rare print by Cris6stomo Martinez, a Spaniard, showing views of the superficial muscle-layers of the back, the side, and the front. Beside these figures is the skeleton of a child. Several of the proportional lines crossing the picture had to be omitted for the sake of clearness, but all those belonging together have been left.

PAGE 282

A plate from Bemhard Siegfried Albinus: Tabulae sceUti ei musculorum corporis kumani t Lugd, Batav., 1747, large fol. tab. I; representing the male skeleton in its most perfect form and its peculiarities. The figure is drawn in reverse with omission of all accessories. Cf. the female skeleton on p. 305.

PAGE 305

The plate from Samuel Thomas Soenunerring: Tabula sceleti feminini junda iescripUone, Trajecti ad Momum (Frankfort on the Main), 1797, large foL represents the female skeleton in its most perfect form and its peculiarities. The figure is drawn in reverse and greatly reduced. Cf. the male skeleton, p. 283.

f22 ANATOMIC ILLUSTRAl

PAGE 331

Front view of Fischer's anatomic muscle statuette after a sketch by Jacob Merz, n the jxissession of the pubhsher, who came into possession of the entire art estate if Jacob Merz. The collection comprises 471 pages of anatomic studies, portraits, scenes and landscapes, and fills three foUo volumes.

PAGE 333 An illustraiion of the Borghese Gladiator with the skeleton sketched inside. Taken from Galbert Salvage: Analomie du gtadiaUur comhaltant, Paris, 181a, large fol. Plate VIII. Greatly reduced, but otherwise accurately reproduced from the original. Consequently a few parts, not entirely true to nature, such as the right hip joint, the left elbow joint, and others, should, therefore, be credited to the original.

PACE 338 An osteologic illustration of the back view of the peKis and the trunk, with the shoulder and hip joints. Taken from Tavole aiuilomkhe disegnale del pittore Giuseppe Bossi, Miiano. s.a. large fol. Plate IV.

PAGE 3il

An osteologic figure from the plates which had been made from drawings by John Flaxman and were published after his death under the title: Analomical studUs oj the bones and muscies for the use of artists from drawings by John Flaxman, London. 1833. large fo!., Plate V. It represents the bones of the trunk and the pelvis with the upper ends of the femur foreshortened. Through the pubic arch one is gi\-ea a view of the inside of the pelvic cavity; above the pubic symphysis can be seen the whole interior of the thoracic cavity. This picture is obviously a study and not intended to be used for instruction, since for such a purpose it would have had to be more accurate. The original is done in aquatint.

PAGE 344

A figure from Burkhard W'ilhelm Seller: Anatomic des Menschen fUr KUnsUer und Tnrnlelirer, herausgcgcben ton Aug. Friedr. GUnlher, Leipzig, 1850, 8° and large fol. Plate VII, fig. 4. It represents a female body with the skelctou drawn inside and the proportional lines, indicating a height of eight heads. The five subdivisions of each space between iwo lines arc each equivalent to the height of the lower jaw up to the parting of the hps. The figure had already been used in Galbert Salvage: Analomie du gladiaUur comhaltant, Paris, 1S12, large fol. Plate XIX.

PAGE 345

The Dying Caul of the Capitol with the skeleton drawn inside, taken from Burkhard Wiiiielm ycilcr: Anatomic dcs Menschen. etc., Iierausgegeben von A. F. Cunther, Leipzig. iSjo, S", and large fol. Plate VIII, fig. a.

p.\GE 350

The country pcdiller from Hans Holbein's larger "Dance of Death." Death

clutches the pcdiller and the skeleton standing behind both, covered with more flesh

than Death, plays with a bow on a one-stringed instrument used in former times and

called the marine trumpet {Trumscheit, Trompitc marine), which he is holding upside

Cf. p. 47.

INDEX

n»;

AioHmdzDf 96, 590

, I

AiTgiriiiB Wlai'niliufc, 2S7

AgngrinoVmnhmn Sar de^on, AgortiaD BunnPOAh, £^ 4<^

Bmldoe, Aoibragio di, 3S4 lUVfiiri, Baocks bbi

Aftwffti, Sklfmum, 52, 217

ABiertiB Fioft, 156, 139 ABnnos, Bezxifauid fBg^gfiindL, 36, 57^ ^5i 267, 276-85, a8^ a^a, 50«it 306

77

AldiB Ji^SBtxBi, X j6 Alemider, GottaT, 378 AKawi^^ Fxaapaiik, 296

ADori, AU ■■■mIiii^ 396

AmbfOB, Fnaoooo, 32S, 329

Ainmmiti, Bartiolo— eo, 395

Andqkwi, FuBdao, 39, 29S, 299, 300

AncfafVwi, Fietio, 298

Andrea dd Suto, 1x3, 393

Androil, Fnmpnit, 255

Aii9^ Liiigi,6

Antommaichi, Fianoeioo, 3x6, 3x8, 3x9

Anrglini, 377

AiJitoCk,42

Aiphe y Villa&fie, Juan de, 33, 2x8-21

A2clepndes of Btth3nua, 6

Aselli, G*2paio, 35, 226, 240-4X

A2Biiiaiin, J. E^ 345

Astori, Giu2eppe, 350

Astroc, Jean, 45

Atger, Xavier, 354

Aubert, M., 334

Audran, Gerard, 304, 359

Aulkh, Carl A., 347

Aveline, Pierre, 231

Baas, Johann Hermann, x Baeck, Elias, 357 Baer, Carl Ernst von, 3x0, 403 Baier, Johann Jacobus, 2x0

BaxtMre, IkiDMSiioo del, 1x3 Baxliiesi, AksHOidm, 350

BalddAei^ Kari v<m, 4ASt #^

Baxth, Call, 3XX Baxth, JoMfili, r97^ 331 BardMhiwa, Camar^ 04$ BaxtiMifina, Hmnms, 34, ft4S-^

Laglicm,8t

Baxtdks DoiMiioo di, 3S4

BaxtokMa, Ftucescxs tos^ 351

BagKJWti^ Jacobtts^ 3t8

Baanao, Oaenr, 240

BaaluB, Cispar, 32, 33, §19

Banmaa, Jacob, 194

Bcaa, Rkbaid Lewia^ 4x0

Beatrici, Nioookk Sm BcatiiMi, Nkolii

BcatrtKt^ NkoUa, fos, m8

Beauvailei, Jacques FlniSi^ §75

Becena, Caspar, 105, i*o^ 350

BedL, Baltbassar, 133

Begas, Retnbold, 401

Beger, Lorens, 196

Bdl, Sir Chariet, 343

BdUni, 262

Bellini, GentUe, 391

Bellini, Jacopo, 391

Benaaech, P., 29J

Benningboven, Wllhelm, 408

Berengario da Carpi, Jacopo,^39, 96, t J8-4I1

149. i86, 395, 400 Berger, Daniel, 386, 304 Berger, Ferdinand, 348 Bernard, Jobann Stephan, 43 Bemleri, Antonio, 317 Berreguette, Alonso, 3t8, 330 Berrettlnl, Pietro, jfl, 335-39, 356 Berry, Richard James Arthur, 408 Bertinatti, Francesco, 410

485

426

ANATOMIC ILLUSTRATION

Bertnicius, 90

Bertuch, Friedrich Justin, 325

Bervic, Charles Clement, 349

Beyel, Daniel, 326

Bical, Albert, 412

Bidloo, Godfried, 34, 250-53, 279

Blaschke, Johann, 309

Blumenbach, Johann Friedrich, i, 42, 102, 261, 287

Bock, Johann Carl, 326

Bock, Johann Christ oph, 308

Bock, Kari Ernst, 11

BoUmann, Hieronymus, 256

Boerhaave, Hermann, 289

Bonasone, Giulio, 167

Bonatti, Gaetano, 336

Bonavera, Domenico Maria, 196

Bonn, Andreas, 202

Bonomi, Joseph, 360

Bontius, Gerard, 312

Borani, Giambattista, 112

Bos, Cornelius, 158

Bosa, Cajetano, 328, 329

Bosio, Frangois Joseph, 352

Bossi, Giuseppe, 100, 337

Bouchardon, Edme, 275

Boucher, Francois, 398, 400

Bourdon, Am6, 34, 249

Boym, Michael, 365-68

Braune, Christian Wilhelm, 406, 409

Brisbane, John, 283, 292-93

Broesike, Gustav, 407, 408

Brooke, William Henry, 340

Brosamcr, Hans, 148, 149

Briicke, Hrnst Wilhelm, 411

Brueghel, Peter, 392

Brunelleschi. Kilippo, 386

Brunfcls, Otho, 133

Brunschwig, Hieronymus, 70, 80

Bryer, Henry, 296

Hucretius, Daniel, 225, 227

BulTalmacco, 384

Buonarroti, Michelangelo, 106-8, 221, 351,

357, 393, 3Q4, 395, 396, 400 Burggraevc, Ad., go, 197 Burgkmair, Hans, 392 Butafogo, Antonio, 298, 328

Cabrol, Bartholomaeus, 242

Cagnoni, Domenico, 299

Calcar, Jan Stephan van, 170, 391

Caldani, Floriano, 41, 327

Caldani, Leopoldo Marco Antonio, 41, 297^ 327-29

Caldwell, James, 293

Callisen, Cari Peter, 8

Calza, 298

Camerarius, Joachim, 145

Cammucini, Vincenzo, 112

Camper, Adrian Gilles, 287

Camper, Pieter, 38, 276, 279, 284-88, 301

Canacci, Joseph, 319

Canano, Giovanni Battista, 29, 150

Canot, Pierre Charles, 296

Canova, Antonio, 399

Cant, Arent, 278

Capacelli, Francesco Albergati, 106

Capieux, Johann Stephen, 316, 326

Caraffa, Cardinal, 203

Caraia, Johann Jacob, 95

Cardi, Luigi, 33, 350, 396

Cariani, 391

Carmichael, Richard, 5

Carnandet, J., 275

Carpi, Girolamo da, 150

Carpi, Hugo da, 141

Carracci, Agostino, 33, 351, 396

Carracci, Annibale, 33, 351

Cartarius, Marius, 351

Carus, Carl Gustav, 7, 360

Casserio, Giulio, ^^^ 223-28

Castagno, Andrea del, 387, 392

Castellan us, Joannes Maria, 237

Caudron, Eugene, 349

Cellini, Benvenuto, 7, 113, 136, 211, 395

Celsus, 6, 292

Cennini, 384

Cephisodotus, 376

Cesio, Cario, 37, 256-57

Cezanne, Paul, 399, 400

Chamberlaine, John, loi

Charcot, Jean-Martin, 379, 380

Charpy, A., 406

Chaussicr, Francois, 353

Chescldcn, William, 34, 261

Choulant, Johann Ludwig, 1-21

Ciambcrlano, Luca, 235

Cicero, 292

Cicognara, 331

Cigoli. Scr Cardi, Luigi

Cimabue, Giovanni, 381

Civoli. Sec Cardi, Luigi

Clarus, Johannes Christian us Augustus, n

INDEX

427

Clauson, M. de, 341

Cleyer, Andreas, 361-68

ClosteniiJUi, John, 353

Colter, Vokher, 33, 309-10, 3x6

Colenso, Robert J., 411

Colombo, Matteo Realdo, 31, 106, 305, 3io

Combe, George, 357

Condivi, 394

Condorcet, Marie Jean Antoine Nicolas

CariUt, 388 Cook, Henry, 353 Coplet, Philipp, 365 Coriolano, Christc^oro, 170 Comeille, Jean Baptiste, 360 Correggio, Antonio Allegri, 396, 400

Corti, Matteo, 95

Cosimo, Pierro di, 393

Costa, Agostino, 316

Costa, Luiz da, 330

Courbet, GusUve, 398, 400

Cousin, Jean, 153, 359

Coustou, Guillaume, 375

Covoli, Giovanni Battista, 363, 364

Cowper, William, 353, 353

Cozens, Alexander, 396, 353

Cranach, Lucas, 393, 396, 401

Crema, Liberalis, 336

Cremonini, Giovanni Battista, 337

Crivelli, Carlo, 391

Cuba, Joannes de, 134

Cunningham, Daniel John, 407

Cuvier, Georges, 357

Cuyer, Edouard, 404, 407, 410

Daddi, 384

D'Agrate, Marco, 396

Dalton, John Call, 409

Daremberg, Charles Victor, x

Daumier, Honor^, 398, 400

David, Francois Anne, 353, 360, 398

Davis, Gwyllym G., 408

Davis, John Ford, 5

Dechambre, A., 356

Defregger, 401

Degas, 400, 401

Delacroix, Ferdinand Victor Eugtee, 398

Delfos, Abraham, 3x3

Delphini, 363

Demarteau, Gilles, 353

Denon, Vivant, xo8

De Renzi, Salvatore, x

De Riemer, Pieter, 408

Dioscorides, xo

Disdier, Francis Michel, 395

Dixon, Harry, 413

Deminger, Ignatius, 3xx

Dolce, Ludovico, X39

Domenico Veneziano, 393

Donatello, 386, 387, 390, 403

Doria, Andrea, 394

Douglas, James, 389

Drouais, Francois Hubert, 395

Drouart, Michel Anne, 373

Dryander, Johann. See Eichmann, Johann

Dubois, Jacques. See Sylvius, Jacobua

Dubois de Beauchenc, xo8

DOrer, Albrecht, 33, X43-47, 330, 393, 400

ihihalde, Jean Baptiste, 366

Duncan, A., 5

Dunlop, James M., 4xx

Dupuis, N., 334

Durantis, Hieronymus de, 93

Duval, Mathiaa Marie, 404, 4x0, 4x2

Duvemey, L., 370, 37 x

Duvemoi, J. G., 389

Dwight, Thomas, 409

Ebel, Johann Gottfried, 307 Eckardt, Johann Christoph, 308 Edwards, Edward, 396 Eichmann, Johann, 39, 133, 148, X92 Eisenberger, Nicolaus Friedrich, 360 Eisendrath, Daniel Nathan, 407 Erasistratus, 43 Eredi, Benedetto, 399 Errard, Charles, 355 Esegrenio, Fili|^, 359 Esquivel, Antonio Maria, 356 Estienne, Charles, 39, X53-55, 393 Eustachi, Bartolommeo, 36, 300-304, 205 Evans, Sir Arthur, 372 Eycleihymer, Albert Chauncey, 409 Eynden, Rdand van, 288

Faber, Erwin F., 408

Faber, Hermann, 408

Fabre, Francois Xavier, 354

Fabri, Giovanni, xo6

Fabricius ab Aquapendente, Hieron3anut, 333

Fabry von Hilden, Wilhdm, 366

428

ANATOMIC ILLUSTRATION

Fairland, W., 340 Falcini, Domenico, 240 Falck, Jeremiah, 226 Falconet, Stephen Maurice, 288

Falguiere, Jean Alexandre Joseph, 399

Fallopio, Gabriele, 209

Fantoni, ^^

Fantoni, Joh., 233

Fantuzzi, Antonio, 173

Famese, Ranutio, 223

Famese, Tommaso, 317

Farsetti, Abbate, 294

Fau, Julien, 349-50

Felsing, Johann Conrad, 308

Fet2^r, Hermann, 412

Fialetti, Odoardo, 225, 227

Ficinus, MarsUius, 4, 16

Fischer, Johann Martin, 314, 321-23, 349

Flach, Martin, Jr., 74

Flach, Martinus, 82

Flaxman, John, 341-42

Fletcher, Robert, 370, 401, 410

Flotncr, Peter, 157

Forster, Carl Gustav Adolph Theodor, 354

Folkema, 278 Fontana, Felice, 320, 350 Fontanus, Nicolaus, i8i Foppa, Vincenzo, 391

Forain, 401

Forrest, W., 360

Fougeron, J., 296

Fracastoro, Girolamo, 7

Fragonard, Jean Honorc, 39S, 400

Francesca, Pierro dcUa, 388, 389, 392

Francia (Francesco Raibolini), 390

Franciahigio, Francesco di Cristofano, 393

Franco, Giovanni, Battista, 167

Fripp, Sir Alfred D., 412

Fripp, Innes, 412

Fritsch, J. ('. G., 290

Frohse, Fricdrich, 408

Froric[), L. 1*'. von, 297

FVoriep, Robert, 405

Furtwiingler, Adolf, 375

Gabuggiani, Bald., 203 Gajani, Antonio, 335 Galen, 380 Galle, Ph., 168 Galli, Marco, 263 Gallimberti, Francesco, 328

Gallina, 337

Gallucci, Giovanni Paolo, 146

Gamelin, 352

Gasparotti, Ignazio, 264

Gaucher, Charles fitienne, 353

Gaugain, 400, 401

Gauthier de la Peyronie, 314

Gautier d' Agoty, Arnaud Eloi, 273

Gautierd' Agoty, Jacques Fabian, 35, 270-74, 400

Gegenbaur, Carl, 403, 406

Geminus, Thomas, 193

Genga, Bernardino, 37, 254-55, 280

Gentile, Barnardo, 203

Gerdy, Pierre Nicolas, 347

G^ricault, Jean Louis Andr6 Theodore, 398

Gericke, Samuel Theodor, 196

Gerli, Carlo Giuseppe, loi

Gerrish, Frederic Henry, 407

Gerssdorff, Hans von, 133, 134, 164, 166

Gesner, Conrad, 151

Ghezzi, Pier Leone, 201, 203, 204, 238

Ghiberti, Lorenzo, 386

Ghirlandajo, Domenico del, 211, 392, 395

Gilbert, Wilhelm, 6

Gilles de Corbeil, 6

Giorgi, Giovanni, 243

Giorgio, Francesco di, 384

Giorgione (Giorgio Barbarelli), 391, 396

Giottino, 384

Giotto, 382-84, 390, 400

Giovanni da Milano, 384

Giovanni di Paolo, 384

Girardi, Michael, 263, 264

Glassbach, Carl Christian, Jr., 304

Glassbach, Christoph Benjamin, Sr., 310

Godlee, Richman John, 406

Godman, John D., 404

Goerce, Willem, 351

Goethe, Johann Wolfgang von, 270

Goodlad, William, 5

Gossart, Jan, 392

Goujon, Jean, 152

Gouwen, Guiljam van dcr, 278

Goya, Francisco, 398, 400, 401

Gozzini, V., 317

Gracht, Jacob van der, 36, 242

Griinicher, Samuel, 326

Graf, C, 326

Gran, Hcnricus, 74

's Gravesande, Willem Jakob, 279

Gray, Henry, 403, 405

GrecnhOI, WiUiun Akmuler, i Gngofi, C, Ml Gteuie, Jeaa Baptlsce, 398 Grevindc Clermont, Jacques, 194 Gricn. Hona Baldung, ji, J91 Grieninger Job&Qit. [jl, 166 GrigDioD, Charles, 396 GniDcr Chrisluu) Goltfiied, i Gucht, Michiel vu der, isi GODtber, August Friedrich, 344 GOtxlaff, Karl, j66, 368.369 Guidi. Guido. 3», 1 i-ll,39S GuOlemeau, Chariea, 74 Guillemetu, Jacques, 31, 74, 113 Guizardi, Guueppe, 33s Guy de Ch»ulUc, 43> 4S> 9^ 165

Huse, Ku-l Fiiedrich, 5

HMckd, Ernst, 406

Hwlwegb, Albert, 146

BacKT, Hnukli, i, 10

Ha^, L., 34a

Hkid, Jobuin Jacob, 183

Haldci, L., 314

Halifa, 7S

HkUer, Albiedit von, 3S, 140, 147, >6a,

Halma-ljianij. 354

79

360

HarieM, E, 357 Haivey, William, 316 Hay, D. R., 360

Heckcr, Juitui Fricdiich Sari, i, 309 HeiddoS Cxrt,356 tiaurt Loma. 101 HdtitiucQ. Carl, 403, 406 Helain, Ri^ tu-H, 70 HeDwig, Johano Gottlieb vm, 334 Hdlwig, Ludwig Chrirtoph voa, 134 HeUwif, Tbcwlur ^Vu-lio* voa, 334 Henle, }»atb, 403, 404, 405 Henoing, Gcoifc, J Ucn^iluta*, 4*

Hfnirann, Gmr];e Daniel, jqo Henpd-Swgen, Lodwif, 41s HiiKli. August, t Uinclibcix- Ju^'-". 77, tS Bk, WiUkdni 40^

lO, 141

Hcibebdi,79

Hock, Weadelii). 130, 1(6, 167

HOtwl, J B..316

Hogarth, Wiltiam. 144

HolbeiD, Hans, 47, 391, 401

Iluldcn, Lulhcr, 403

HoL, Friedricb, 7

Holltndcr, Eugcn, 373

Holkr, Wenceslaus, 1^4

Hopfer Joh&ati bemturd Gottfried, 310

Houbnkcn, Jacob, 1H3

Haudon, Jean Antoine, 350, 399

Hovorta, O. viift, 378

llundl, Magnui, ^7, ji, 80, 134, I9S

Hunter, Juliii. i,]5 jg6

Hunter, Wiiliam, jS. 7;, 196-97, 301, 307

Huntingtiin. (ir»i)(i: Sumner 140

Huqiiirr Jai'(|ucs Gabriel,  »7S

IIuKhhe, F.mil, 40S

Hyrtl, Jowf, 90, 403, 406, 40

Ingna, Jean AufUtte Dominique, 39B

JanoUk, J,, 407 Jennet, Edward, 7 JoUat, Francoli, 153 Joubert, Laurent, 44 Juan de Toleto, ms

Kaiaer, Friedrich, 314

Kullriihofrt. y<v\ Paul,  »90

Xrlhum, jKlmlmi'i d«, 17, J4, Si, S3, 95,

Kilkii, Ifrtniniiri Friedtlehi J07

KIrili. (^ilMuv H|,3ao