Anatomy And Anatomists In Early Modern Spain

Taking the Vesalian anatomical revolution as its point of departure, this volume charts the apparent rise and fall of anatomy studies within universities in sixteenth-century Spain, focussing particularly on primary sources from 1550 to 1600. In doing so, it both clarifies the Spanish contribution to the field of anatomy and disentangles the distorted political and historiographical viewpoints emerging from previous research. Studies of early modern Iberian science have only been carried out coherently and collaboratively in the last few decades, even though fierce debates on the subject have dominated Spanish historiography for more than two centuries. In the field of anatomy studies, many uninformed and biased readings of archival sources have resulted in a very confused picture of the practice of dissection and the teaching of anatomy in the Iberian Peninsula, in which the highly complex conditions of anatomical research within Spain’s national context are often oversimplified. The new empirical evidence that this book brings to light suggests a far more multifaceted narrative of Iberian Renaissance anatomy than has been presented to date.

Known as the "century of anatomy," the 16th century in Italy saw an explosion of studies and treatises on the discipline. Medical science advanced at an unprecedented rate, and physicians published on anatomy as never before. Simultaneously, many of the period's most prominent artists--including Leonardo and Michelangelo in Florence, Raphael in Rome, and Rubens working in Italy--turned to the study of anatomy to inform their own drawings and sculptures, some by working directly with anatomists and helping to illustrate their discoveries. The result was a rich corpus of art objects detailing the workings of the human body with an accuracy never before attained. "Art and Anatomy in Renaissance Italy "examines this crossroads between art and science, showing how the attempt to depict bone structure, musculature, and our inner workings--both in drawings and in three dimensions--constituted an important step forward in how the body was represented in art. While already remarkable at the time of their original publication, the anatomical drawings by 16th-century masters have even foreshadowed developments in anatomic studies in modern times.

This essay collection aims to bring together new comparative research studies on the place of the Bible in early modern Europe. It focuses on lay readings of the Bible, showing their central contribution to modernity, and interrogates established historical paradigms.

This book explores the popular and elite debates over the creation of a two-sex model of human bodies in eighteenth-century Spain.

Nothing excited early modern anatomists more than touching a beating heart. In his 1543 treatise, Andreas Vesalius boasts that he was able to feel life itself through the membranes of a heart belonging to a man who had just been executed, a comment that appears near the woodcut of a person being dissected while still hanging from the gallows. In this highly original book, Rose Marie San Juan confronts the question of violence in the making of the early modern anatomical image. Engaging the ways in which power operated in early modern anatomical images in Europe and, to a lesser extent, its colonies, San Juan examines literal violence upon bodies in a range of civic, religious, pedagogical, and “exploratory” contexts. She then works through the question of how bodies were thought to be constituted—systemic or piecemeal, singular or collective—and how gender determines this question of constitution. In confronting the issue of violence in the making of the anatomical image, San Juan explores not only how violence transformed the body into a powerful and troubling double but also how this kind of body permeated attempts to produce knowledge about the world at large. Provocative and challenging, this book will be of significant interest to scholars across fields in early modern studies, including art history and visual culture, science, and medicine.

The wild success of the traveling Body Worlds exhibition is testimony to the powerful allure that human bodies can have when opened up for display in gallery spaces. But while anatomy museums have shown their visitors much about bodies, they themselves are something of an obscure phenomenon, with their incredible technological developments and complex uses of visual images and the flesh itself remaining largely under researched. This book investigates anatomy museums in Western settings, revealing how they have operated in the often passionate pursuit of knowledge that inspires both fascination and fear. Elizabeth Hallam explores these museums, past and present, showing how they display the human body—whether naked, stripped of skin, completely dissected, or rendered in the form of drawings, three-dimensional models, x-rays, or films. She identifies within anatomy museums a diverse array of related issues—from the representation of deceased bodies in art to the aesthetics of science, from body donation to techniques for preserving corpses and ritualized practices for disposing of the dead. Probing these matters through in-depth study, Anatomy Museum unearths a strange and compelling cultural history of the spaces human bodies are made to occupy when displayed after death.

This book examines the lives, careers, and publications of a group of Spanish Renaissance surgeons as exemplars of both the surgical renaissance occurring across Europe and of the unique context of Spain. In the sixteenth century, European surgeons forged new identities as learned experts who combined university medical degrees with manual skills and practical experience. No longer merely apprentice-trained craftsmen engaged only with healing the exterior wounds and rashes of the body, these learned surgeons actively engaged with the epistemic shifts of the sixteenth century, including new forms of knowledge construction, based in empiricism, and knowledge circulation, based in printing. These surgeons have long been overshadowed by the innovative work of anatomists and botanists but were participants in the same intellectual currents reshaping many aspects of knowledge. Active in communities across both Castile and Aragon, learned surgeons formed an intellectual community of practitioners and scholars who helped reshape surgical knowledge and practice. This book provides an overview of the Spanish learned surgeons, known as médicos y cirujanos, who were influential in universities, on battlefields, at court, and in private practice. It argues that the surgeons’ larger significance rests in their collective identity as part of the broader intellectual shift to empiricism and innovation of the Renaissance. Renaissance Surgeons: Learning and Expertise in the Age of Print is essential reading for upper-level students and scholars of the history of medicine and early modern Spain.

The Anatomist's Library is a fascinating chronological collection of the best anatomical books from six centuries, charting the evolution of both medical knowledge and illustrated publishing. There is a rich history of medical publishing across Europe with outstanding publications from Germany, France, Italy, Netherlands, Spain, UK, and also many from Persia and Japan. Because of the high value of accurate medical textbooks, it was these works that pushed the boundaries of illustrated publishing. They commanded the expert illustrators and skilled engravers and hence didn’t come cheaply. They were treasured by libraries and their intrinsic worth has meant that there is an incredible wealth of beautifully preserved historic examples from the 15th century onwards The enduring popularity of Gray’s Anatomyhas shown that there is a long-term interest in the subject beyond the necessity of medical students to learn the modern equivalent – the 42nd edition (2020) – from cover to cover. But Englishman Henry Gray was late in the field and never saw the enduring success of his famous work. Having first published the surgeon’s reference book in 1858, he died in 1861 after contracting smallpox from his nephew (who survived). He was just 34. Gray was following on from a long tradition of anatomists starting with Aristotle and Galen whose competing theories about the human body dominated early medicine. However they did not have the illustrative skills of Leonardo da Vinci who was trained in anatomy by Andrea del Verrocchio. In 1489 Leonardo began a series of anatomical drawings depicting the human form. His surviving 750 drawings (from two decades) represent groundbreaking studies in anatomy. However none of Leonardo's Notebooks were published during his lifetime, they only appeared in print centuries after his death. Brussels-born Andries van Wesel (Andreas Vesalius) professor at the University of Padua is deemed to be the founder of modern anatomical reference with his 1543 work De Humani Corporis Fabrica Libri Septem ("On the fabric of the human body in seven books"). An Italian contemporary was Bartolomeo Eustachi who supported Galen’s medical theories. Among other discoveries he correctly identified the Eustachian tube and the arrangement of bones in the inner ear. His Anatomical Engravings were completed in 1552, nine years after Vesalius’s great work, but remained unpublished until 1714. These are just two entries in a book brimming with an abundance of important illustrated works – with some more primitive examples from the 15th century, up to the 42nd edition of Gray’s in the 21st.