37 10 414 https://european-mastectomy.artinterp.org/files/original/a3587d9677149a75579bc2717bb9ca98.jpg 693032c94666d3847ec9ac61651a3066 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Surgical Tracts Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Dutch anatomist Steven Blankaart (1650-1704) performing a dissection in an anatomy theatre, with seven observers Subject The topic of the resource "The Dutch anatomist S. Blankaart, surrounded by seven observers, retracts the skin of the cadaver he is dissecting to reveal the intestines. Directly behind him is a door leading out of the anatomy theatre and above this, in a niche, is a skeleton holding a spade. Among the surgical instruments lying next to the corpse is a pair of glasses, on the left. Blankaart is similar in features and dress to his engraved portrait at the age of thirty-six (see this catalogue no. 1159), which faces the engraved title page in the Leiden 1687 edition" Description An account of the resource 1 print : engraving ; image 16.3 x 9.3 cm Lettering S. Blancardi. Anatomia reformata Source A related resource from which the described resource is derived Wellcome https://wellcomecollection.org/works/pc3bsnqr Publisher An entity responsible for making the resource available Ludg. Batav. [Leiden] : Cornelium Boutesteyn : Iordaanum Lughtmans, 1687. Date A point or period of time associated with an event in the lifecycle of the resource 1687 Relation A related resource References note G. Wolf-Heidegger and A. M. Cetto, Die anatomische Sektion in bildlicher Darstellung, Basel and New York 1967, no. 184, p. 259 A. Garosi, Inter artium et medicinae doctores, Florence 1963, tav. ccxv ambiguous gender anatomy frontispiece operating skeleton supine tools touch https://european-mastectomy.artinterp.org/files/original/bc27052c995b24746d1d4e26280b7e92.tiff 9e7e6439ee765bf6e82436280a600884 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The dying-hour of the rich man Subject The topic of the resource Interior scene of a man on his death-bed, surrounded by several figures, including a man holding the dying man's outstretched right arm as though feeling for his pulse, three other men looking on with concern, and three women seated at the foot of the bed, two of whom are weeping. A coin-filled chest and other displays of wealth figure prominently. Description An account of the resource 1 print : 24 x 29 cm. (image) Technique: engraving Creator An entity primarily responsible for making the resource Vos, Maarten de, 1532-1603 Contributor(s): Passe, Crispijn van de, ca. 1565-1637 Source A related resource from which the described resource is derived NLM http://resource.nlm.nih.gov/101392720 Date A point or period of time associated with an event in the lifecycle of the resource 16th century bed death emotion melancholy physicians pulse weeping https://european-mastectomy.artinterp.org/files/original/91bbaef704cfe9db7d9bc38fad78bf88.jpg 78d2fe983848e2a4b4913077dcc4b674 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caricatures Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Farrier turned Tooth Drawer Subject The topic of the resource A rustic farrier turned tooth-drawer extracting a tooth from a standing man, a woman looks on. Coloured mezzotint, 1792, after J. Harris the elder. Description An account of the resource 1 print : mezzotint, with watercolour and gouache ; platemark 14.9 x 11.3 cm Creator An entity primarily responsible for making the resource Harris, John, the elder, -1834. Source A related resource from which the described resource is derived Wellcome https://wellcomecollection.org/works/xykr72sw Publisher An entity responsible for making the resource available London (69 St. Pauls Church Yard) : Carrington Bowles, Published as the Act directs, 2 Jan 1792. Date A point or period of time associated with an event in the lifecycle of the resource Published as the Act directs, 2 Jan 1792 blacksmith craft dentist farrier pincers tools toothpuller https://european-mastectomy.artinterp.org/files/original/5ae1ab895ce44473c1fb52b8b026420d.jpg c0daaad0645667da1a15e58a656e74de Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Four Doctors Subject The topic of the resource "The four Doctors": Welch, Halsted, Osler and Kelly; picture by Sargent Source A related resource from which the described resource is derived Wellcome Collection https://wellcomecollection.org/works/tmfpp3v9 halsted physicians portrait https://european-mastectomy.artinterp.org/files/original/a4240c0c9cae2a90c0d918de5ad19d39.jpg 5641bfa565a4c67d453aa8fcccc59196 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caricatures Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Great Doctor Humbugallo, Seventh Son of a Seventhson Healer of Mankind and Philosopher Cures all Infirmities Subject The topic of the resource Doctor Humbugallo, an itinerant medicine vendor, selling his wares from a stage with an assistant dressed as a court fool. Watercolour by T. Rowlandson. Creator An entity primarily responsible for making the resource Rowlandson, Thomas, 1756-1827 Source A related resource from which the described resource is derived Wellcome https://wellcomecollection.org/works/z592pucj army medical mixed crowd performance quacks seventh son https://european-mastectomy.artinterp.org/files/original/0bfd5bc02b413fb8e7bf8afab15b93e7.jpg 16454c2097ac3f8a6278027a52636e8f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caricatures Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Imposter, or Obstetric Dispute Subject The topic of the resource An apparent pregnant woman holding a broom and open book over her head and astride a dog wearing clerical robes charges a man standing on a stool gesticulating wildly; three doctors standing at right discuss the nature of the woman's supposed pregnancy. Description An account of the resource 1 print : 25 x 35 cm. Technique: etching, color Creator An entity primarily responsible for making the resource Cruikshank, George, 1792-1878, artist Source A related resource from which the described resource is derived NLM http://resource.nlm.nih.gov/101393109 Publisher An entity responsible for making the resource available London: T. Tegg, Sept. 1814 Language A language of the resource English blackness cancer caricature doctor obstetrics physician touch https://european-mastectomy.artinterp.org/files/original/37318d289da1aec0bef31bb61db0d9b7.jpg 0411e80388fe1873e92cf0a4d1d27187 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mastectomy Tools Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Ludicrous Operator, or Blacksmith turn'd Tooth Drawer Description An account of the resource (For description and further comment, see impression of BM Sat. 8051: 1935,0522.1.176) Mezzotint Height: Height: 352 millimetres Width: Width: 248 millimetres Inscription content: Lettered below the image with the title, four lines of verse in two columns 'Why squeeze your Hat, and seize my Cap, ... I'm a Licentiate: Not a Quack.' and 'Designed by J. Harris & Improved by drawings after the Life of J. Dixon. // Published according to Act of Parliament A.D. 1768. // Dixon fecit. // Printed for John Bowles, at No. 13 in Cornhill, London.' Creator An entity primarily responsible for making the resource Print made by: John Dixon After: John Harris ((?)) Published by: John Bowles Publisher An entity responsible for making the resource available Published in: London (England) Europe: British Isles: England: London (England) Date A point or period of time associated with an event in the lifecycle of the resource 1768 Relation A related resource BM Satires / Catalogue of Political and Personal Satires in the Department of Prints and Drawings in the British Museum (8051) Chaloner Smith 1883 / British Mezzotinto portraits from the introduction of the art to the early part of the present century (undescribed) Russell 1926 / English Mezzotint Portraits and their states: Catalogue of Corrections of and Additions to Chaloner Smith's "British Mezzotinto Portraits" (undescribed) Format The file format, physical medium, or dimensions of the resource mezzotint https://european-mastectomy.artinterp.org/files/original/3a4b84ac87467ee2a31f31c31c0d15b0.jpg 4c12064fbb633e40bd8ed1f9f7386ee4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caricatures Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Ludicrous Operator, or Blacksmith turn'd Tooth Drawer Subject The topic of the resource A rustic blacksmith turned tooth-drawer extracting a tooth from an anxious woman patient, her husband observes the situation. Mezzotint by J. Wilson after J. Harris the elder. Description An account of the resource 1 print : mezzotint ; platemark 35.3 x 25.1 cm The ludicrous operator, or blacksmith turn'd tooth drawer. Why squeeze your hat, and seize my cap as if you dreaded some mishap? Keep not your spirits on the rack, I'm a licentiate not a quack. Designed by J. Harris & improv'd by drawings after the life by J. Wilson. J. Wilson fecit. Creator An entity primarily responsible for making the resource Harris, John, the elder, -1834. Source A related resource from which the described resource is derived Wellcome https://wellcomecollection.org/works/c8wyr4y7 Publisher An entity responsible for making the resource available London (53 Fleet Street) : Robt. Sayer. blacksmith copy dentist pincers quack tools https://european-mastectomy.artinterp.org/files/original/d125e19a6ebb436eea00dc5697d3fc68.jpeg 9eb0fe32bd24aed68715330b653ca3ca https://european-mastectomy.artinterp.org/files/original/bd25932a8533575e695cf9b22ff5ce38.jpeg 48268fe5aa00d8aa499b272b376ce1bc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The martyrdom of Saint Agatha Subject The topic of the resource Saint Agatha is suffering martyrdom by having her breasts cut off with hot shears Description An account of the resource 1 print : engraving ; platemark 25.4 x 18.3 cm; Dedicated to Prudentia, the daughter of the painter Jan van der Straet (Stradanus), who was a nun in the convent of Saint Agatha in Florence; S. Agatha, virgo et martyr. Venerabili ac religiosae virgini Prudentiae Stradanae in convento D. Agathae Florentiae professae. Hanc huius divae ab illius patre Iohanne Stradano delineatam imaginem Philippus Gallaeus in aemulationis, ad eiusdem sanctae pietatem et virtutes stimulum lubens dedicat. Creator An entity primarily responsible for making the resource Engraving by P. Galle after Jan van der Straet (Stradanus) Source A related resource from which the described resource is derived Wellcome Collection Publisher An entity responsible for making the resource available [Antwerp] : [Ph. Galle?] Date A point or period of time associated with an event in the lifecycle of the resource [between 1500 and 1599] Relation A related resource https://wellcomecollection.org/works/ntj9ebuz Language A language of the resource Latin https://european-mastectomy.artinterp.org/files/original/f7d3de4f3fba059f1de8f0ae2e86044a.jpg 18405e46d67d3d1e28e2277a162d0580 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Martyrdom of Saint Agatha Description An account of the resource "One of the most classic creations from Tiepolo's Venetian years is the former high altar picture of the Benedictine monastery church of S. Agata in Lendinara near Rovigo, which the artist painted around 1755 after his return from Würzburg in 1753. It depicts the death of the titular saint, who lived in Catania in the first half of the 3rd century and suffered martyrdom in 251. She came from a wealthy noble family and dedicated her life to Christ from an early age. She was subjected to various temptations, arrested and tortured by young Quintian. An executioner severed her breasts. Brought back to the dungeon, Peter appeared to her and healed her. When tortured again, part of the building suddenly collapsed, burying two executioners. An earthquake broke out in Catania. After the prayer of thanks that her body was unharmed, she died. Etna erupted on the anniversary of her death. The cloth covering her grave was carried towards the flow of lava, stopping it. Her protection was henceforth invoked to ward off earthquakes. While early Baroque Italian painters were fond of depicting the episode of St. Agatha's healing by Peter in prison, Tiepolo's picture depicts her martyrdom. Half slumped on the steps of an ancient building, she gazes submissively upwards while a servant with the A cloth covers the mutilated breast and a youth next to her carries the severed breasts on a bowl. Tiepolo did not depict the moment of the execution of the torture, thus avoiding the drastic nature of the horrible, bloodthirsty man. Rather, what is decisive is the impression of firmness, calm trust in God and strength of faith that emanates from the saint. Her face is held and framed, as it were, by the heads of the youth and the servant, who gently and snuggly turn towards her, while the impetuous, threatening figure of the brutal executioner, appearing behind and above her on the right and pointing his right arm, forms the dramatic counterpart. The energy of his head, which is thrown to the left, is checked by the mighty towering column, the vertical of which symbolically and formally absorbs the saint's upward gaze. However, the column is no longer visible in its full original height. As the etching by Giovanni Battista's son Giovanni Domenico shows, the picture originally ended in a semicircle at the top. The shaft of the column ended in a fracture, the ruinous state perhaps alluding to the collapse of the palace and the earthquake. On the left in the clouds was the vision of the saints, the flaming heart of Christ surrounded by the crown of thorns, with two angels' heads hovering around it. As early as 1795 the picture was in poor condition. It disappeared from the church when the monastery was secularized in 1810 or at the latest in 1832/35 when a priest acquired the church building from the Austrian administration and handed it over to the Capuchins, who redecorated the church and dedicated the high altar to St. Francis. Tiepolo's image was also cropped by 15 centimeters at the bottom. Two preliminary drawings for the head of the saint are in the Berlin Print Room, a study for the youth's hands holding the bowl, is kept in the Museo Correr in Venice. | 200 masterpieces of European painting - Gemäldegalerie Berlin, 2019 ______________________________ One of the most classical creations of Tiepolo's Venetian years is the former high altar of the Benedictine monastery church of Sant'Agata in Lendinara near Rovigo, which the artist painted 1745–50 after returning from Würzburg in 1753. It depicts the death of the tutelary saint, who lived in Catania during the first half of the third century, and suffered martyrdom in 251. Saint Agatha came from a wealthy noble family, and devoted her life to Christ already in her younger years. She was exposed to various temptations, imprisoned, and tortured by the young Quintian. An executioner cut off her breasts. After she was returned to prison, Saint Peter appeared to her and healed her. Upon continued torture, a section of the building suddenly collapsed, burying two executioners. Then an earthquake occurred in Catania. After giving thanks for the fact that her body had remained unharmed, she died. On the anniversary of her death, Mount Etna erupted. The sheet that had covered her grave was held up to the stream of lava, bringing it to a standstill. She has been invoked as a protectress from earthquakes ever since. While the Italian painters of the early Baroque preferred as a rule to illustrate the episode when Agatha is healed in prison by Saint Peter, Tiepolo's picture depicts her martyrdom. She has slumped down halfway onto the steps of an antique building, and gazes upward into the heavens with an expression of surrender, while a female servant uses a cloth to cover her mutilated chest and a nearby youth carries the severed breasts on a tray. Tiepolo has not depicted the moment of the actual act of torture itself, hence avoiding the greatest extremes of cruelty and gruesomeness. Decisive here instead is an impression of steadfastness, of belief in God, and strength in faith that is expressed by the figure of the saint. Her face is held so to speak and framed by the heads of the youth and the female servant, who turn toward her with gentleness and solicitude, while the ferocious, brutal figure of the executioner, a dramatic antagonist, looms up behind her making an expansive pointing gesture with his right hand. The energy of his head, turned toward the left, is arrested by the powerfully towering column, whose vertical takes up the saint's upward gaze, both symbolically and formally. The column is however no longer visible in its original height. As shown by an etching executed by Giambattista's son Giandomenico, the upper terminus of this picture was originally semi-circular. The top of the shaft of the column was broken off, its ruinous condition perhaps an allusion to the collapse of the palace and the earthquake. Depicted on the left-hand side in the clouds was the saint's vision, the flaming heart of Christ surrounded by the crown of thorns and flanked by a pair of angel's heads. As early as 1795, the picture was found in poor condition. It vanished from the church when the monastery was secularized in 1810, or perhaps as late as 1832/35, when a priest acquired the church building from the Austrian administration and transferred it to the Capuchins, who redecorated the church and dedicated the high altar to Saint Francis. Approximately 15 centimeters were removed from Tiepolo's picture at the bottom. Two preliminary drawings for the head of the saint are found in the Berlin Kupferstichkabinett, while a study of the youth who holds the tray, is preserved in the Museo Correr in Venice.| 200 Masterpieces of European Painting - Gemaldegalerie Berlin, 2019" 187,8 x 135,5 cm Creator An entity primarily responsible for making the resource Giovanni Battista Tiepolo Publisher An entity responsible for making the resource available Place of manufacture: Italy (country) Place of origin: Venice (city) Date A point or period of time associated with an event in the lifecycle of the resource 1753-55 Contributor An entity responsible for making contributions to the resource Staatliche Museum https://id.smb.museum/object/866587/das-martyrium-der-heiligen-agathe 1878 Ankauf von Charles Sedelmeyer, Paris breasts saint agatha sword tiepolo torture