<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/371">
    <dcterms:title><![CDATA[&quot;Twenty-three hundred years of medical costume&quot;<br />
]]></dcterms:title>
    <dcterms:subject><![CDATA[A series of prints showing &quot;medical costume&quot;. Inaccurate displays. The 17th century &quot;doctor&quot; is shown with a forceps which has not been invented yet. Roman physician from antiquity shown with a speculum. There features a single female presence, labelled as a nurse from the 16th century (anachronous term). Many &#039;physicians&#039; shown with tools. Tools seem to be chosen based on what artist thought were popular procedures at the time (e.g., trepanation for 16th c)]]></dcterms:subject>
    <dcterms:description><![CDATA[1 photomechanical reproduction<br />
Technique:<br />
halftone, color]]></dcterms:description>
    <dcterms:creator><![CDATA[Lavater, Warja, 1913-2007, artist<br />
]]></dcterms:creator>
    <dcterms:source><![CDATA[NLM<br />
http://resource.nlm.nih.gov/101407172<br />
Abbott; Source: Research; Research date: 20160517<br />
]]></dcterms:source>
    <dcterms:publisher><![CDATA[Abbott Laboratories [1958?]<br />
]]></dcterms:publisher>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/370">
    <dcterms:title><![CDATA[L&#039; Assiette au Beurre<br />
]]></dcterms:title>
    <dcterms:subject><![CDATA[A physician, with an amorous expression on his face, listens to chest sounds from a woman&#039;s back.<br />
]]></dcterms:subject>
    <dcterms:description><![CDATA[1 print : 32 x 25 cm.<br />
Provenance:<br />
Carl-Ernst Kohlhauer, Purchase, 1970.<br />
Technique:<br />
chromolithograph<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Faivre, Abel, 1867-1945, artist]]></dcterms:creator>
    <dcterms:source><![CDATA[NLM<br />
http://resource.nlm.nih.gov/101419851]]></dcterms:source>
    <dcterms:date><![CDATA[22 Mars 1902]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/369">
    <dcterms:title><![CDATA[Oui... Mais ce n&#039;est pas pour le même côté!<br />
]]></dcterms:title>
    <dcterms:subject><![CDATA[Physician holding a hypodermic talks to a pharmcist holding a clyster.<br />
<br />
Caption: &quot;Yes, but they are not for the same thing!&quot;]]></dcterms:subject>
    <dcterms:description><![CDATA[1 print : 32 x 25 cm.<br />
Provenance:<br />
Carl-Ernst Kohlhauer, Purchase; 1970.<br />
Technique:<br />
lithograph]]></dcterms:description>
    <dcterms:creator><![CDATA[Faivre, Abel, 1867-1945, artist]]></dcterms:creator>
    <dcterms:source><![CDATA[NLM<br />
http://resource.nlm.nih.gov/101419852]]></dcterms:source>
    <dcterms:date><![CDATA[22 Mars 1902]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/368">
    <dcterms:title><![CDATA[Das kranke Mädchen<br />
]]></dcterms:title>
    <dcterms:description><![CDATA[1 photomechanical reproduction<br />
Technique:<br />
photogravure<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Steen, Jan, artist]]></dcterms:creator>
    <dcterms:source><![CDATA[NLM<br />
http://resource.nlm.nih.gov/101407785]]></dcterms:source>
    <dcterms:publisher><![CDATA[London: Medici Society]]></dcterms:publisher>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/367">
    <dcterms:title><![CDATA[J. Gelle, Der Artz als Mensch<br />
]]></dcterms:title>
    <dcterms:subject><![CDATA[Allegorical representation of the physician as a human. Interior view with three scenes: patient sitting at bedside having bandages changed following surgery; former bedridden patient is now sitting before fireplace; domestic scene in background.]]></dcterms:subject>
    <dcterms:description><![CDATA[1 photomechanical reproduction<br />
Technique:<br />
halftone<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Gelle, Johann, 1580-1625, artist]]></dcterms:creator>
    <dcterms:source><![CDATA[NLM<br />
http://resource.nlm.nih.gov/101407188]]></dcterms:source>
    <dcterms:publisher><![CDATA[Leipzig: Georg Thieme, 1908]]></dcterms:publisher>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/366">
    <dcterms:title><![CDATA[The Agnew Clinic]]></dcterms:title>
    <dcterms:subject><![CDATA[&quot;This photogravure by Gebbie &amp; Husson Co. Ltd. reproduces Thomas Eakins&#039; painting known as The Agnew Clinic (or The Clinic of Dr. Agnew). Eakins was commissioned by the University of Pennsylvania Medical Class of 1889 to paint a portrait of Dr. David Hayes Agnew (1818-1892), who was retiring as professor that year. Dr. Agnew is depicted lecturing during a partial mastectomy before an audience of medical students, being assisted by Penn professors Dr. J. William White (1850-1916) and Dr. Joseph Leidy (the nephew of famed professor Joseph Leidy) and by Hospital of the University of Pennsylvania physician Dr. Ellwood R. Kirby. The work also includes nurse Mary Clymer (who was an 1889 graduate of the Hospital of the University of Pennsylvania), and behind her on the far right, another HUP physician, Frederick H. Milliken, is in conversation with Eakins himself.<br />
<br />
This painting depicts Joseph Lister’s discoveries that had led to the promotion of antiseptic surgery by Agnew and others, which contributed to Eakins’ depiction of Agnew and his team of doctors as wearing clean white gowns, using sterilized instruments in a covered case, and benefiting from the services of a nurse.&quot;]]></dcterms:subject>
    <dcterms:description><![CDATA[	<br />
Etchings<br />
Prints<br />
Medium	<br />
Paper<br />
Extent	<br />
9.25 in. H x 13.5 in. W]]></dcterms:description>
    <dcterms:creator><![CDATA[after Thomas Eakins]]></dcterms:creator>
    <dcterms:source><![CDATA[Courtesy of Science History Institute<br />
]]></dcterms:source>
    <dcterms:publisher><![CDATA[Gebbie &amp; Husson Co. Ltd.]]></dcterms:publisher>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/365">
    <dcterms:title><![CDATA[A beautiful young woman looks away coyly while an aged doctor examines her chest]]></dcterms:title>
    <dcterms:description><![CDATA[Chromolithograph after A. Faivre.<br />
1 print : chromolithograph, printed in colours ; image 38.4 x 31.4 cm<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Faivre, Abel, 1867-1945<br />
]]></dcterms:creator>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/tthbwu5g]]></dcterms:source>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/364">
    <dcterms:title><![CDATA[An anatomist meditates on the corpse of a beautiful young woman, laid out on a table next to his desk]]></dcterms:title>
    <dcterms:subject><![CDATA[&quot;A print after a painting by Gabriel von Max of 1869, painted in Munich and subsequently in the Neue Pinakothek/Bayerische Staatsgemäldesammlungen in Munich. An anatomist meditates, chin in hand, the body of a young, beautiful woman, pulling back the cloth that covers her body in order to gaze upon her. On the desk beside him are open books, a lamp, and human and animal skulls. As well as being tools of study they function as symbols of &quot;vanitas&quot;, as does the moth that has alighted next to the cadaver. For similar scenes of meditation on female beauty and apparent life in death, see this catalogue, nos 25532i and 25570i&quot;]]></dcterms:subject>
    <dcterms:description><![CDATA[Lithograph by F. Hanfstaengl after G. C. von Max, 1869.<br />
1 print : lithograph ; image 9.9 x 13.2 cm<br />
<br />
<br />
The name of the artist appears twice. His signature is at the lower right of the image and his name is printed at the lower left of the sheet, below the image<br />
<br />
Lettering<br />
The anatomist ; G. Max 1869 ; Gabriel Max pinx. ; Gravure Hanfstaengl]]></dcterms:description>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/ur55wd86]]></dcterms:source>
    <dcterms:relation><![CDATA[G. Wolf-Heidegger and A. M. Cetto, Die anatomische sektion in bildlicher Darstellung, Basel and New York 1967, no. 88, pp. 182-183]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/363">
    <dcterms:title><![CDATA[The dissection of a young, beautiful woman directed by J. Ch. G. Lucae (1814-1885) in order to determine the ideal female proportions]]></dcterms:title>
    <dcterms:subject><![CDATA[&quot;This chalk drawing by J. H. Hasselhorst relates closely to an oil painting of the same subject in the Historisches Museum in Frankfurt and is probably a study for it. Small differences between the drawing and the painting are found, for example, in the shape of the chair back and in the stack of books on which the Frankfurt anatomist and anthropologist Johann Christian Gustave Lucae leans, next to the head of the cadaver. The drawing depicts the dissection of the body of an eighteen year-old woman who had killed herself, selected for its attractive proportions, in order to determine the ideal measurements of the female body. The results of this study were published by Lucae with plates by Hermann Junker in 1864 under the title: Zur Anatomie der schönen weiblichen Form. This was aimed both at artists and anatomists and Lucae later lectured on anatomy at the Frankfurt art academy for several years. In the foreground there is an instrument case and, to the left, an inverted cranium. Further skulls are visible on the shelves of the back wall. Next to the articulated female skeleton in the left background and in front of an illustration of the same subject attached to the wall are two figures who are identified as the artists Hasselhorst and Jacob Becker. One of them holds a cigar and its smoke is suffused in the light of the lamp. The surgeon, J. P. Sälzer, acting as prosector, is seated below the lamp and pulls back a flap of skin from the right thorax of the body&quot;<br />
<br />
though the flap is pulled up, her body remains whole]]></dcterms:subject>
    <dcterms:description><![CDATA[Chalk drawing by J. H. Hasselhorst, 1864.<br />
<br />
1 drawing : black chalk ; image 33.6 x 41.6 cm<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Hasselhorst, Johann Heinrich, 1825-1904.<br />
]]></dcterms:creator>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/hahd7nuh]]></dcterms:source>
    <dcterms:publisher><![CDATA[see if this is part of a larger series and/or if this drawing is based on a painting]]></dcterms:publisher>
    <dcterms:relation><![CDATA[G. Mann, J. Ch. G. Lucae und die Senckenbergische Anatomie: eine Ikonographie, Frankfurt am Main 1963, p. 9, fig. 19<br />
G. Wolf-Heidegger and A. M. Cetto, Die anatomische Sektion in bildlicher Darstellung, Basel and New York 1967, no. 285, pp. 335-336]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/362">
    <dcterms:title><![CDATA[Armamentarium Chirurgicum ]]></dcterms:title>
    <dcterms:subject><![CDATA[frontispiece for Scultetus treatise]]></dcterms:subject>
    <dcterms:description><![CDATA[Frontispiece of Johannes Scultetus&#039;s Armamentarium Chirurgicum shows a man&#039;s leg being set. In the background hung on the wall are the surgeon&#039;s instruments of choice, including bone nippers and other shears. This treatise is moreso catered to surgery surrounding war injuries. HOWEVER, notes include that this particular treatise gave new surgical techniques in mastectomy, c-section, hernia operations and arterial ligation (which may explain also why the leg setting on the frontispiece appears like a lithotomy) It was published by Adrian Vlacq in 1657 in Latin. First edition written in Latin with 170 pages and 43 engravings with French and German translations soon after. The later editions (like this one) expanded to 370 pages and 50 engravings. This edition has the illustrations by German engraver and painter Jonas Arnold. Jonas Arnold is the designer of the mastectomy patient with the veil and unveiled face and chest. The tumor is first tied with ligatures, strangled, then cut with a knife. The body is cauterized.  ]]></dcterms:description>
    <dcterms:creator><![CDATA[Johannes Scultetus]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Hague: Adriaan Vlacq<br />
(Vlacq was a Dutch book publisher who moved to London in 1632 before moving to Paris at the onset of English Civil War, then moved to the Hague)]]></dcterms:publisher>
    <dcterms:date><![CDATA[1657]]></dcterms:date>
</rdf:Description></rdf:RDF>
