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                <text>Syntagma anatomicum</text>
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                <text>"First published in 1641, the second enlarged edition of Vesling's Syntagma anatomicum to which illustrations were added, engraved by the same artist responsible for the title page, G. Georgi, appeared in 1647. This title page is from the reset variant of the 1647 edition and it has been re-engraved with minor changes. In the background a dissection is about to take place in a crowded anatomy theatre, which may be identified as the one in the University of Padua, where Vesling was a professor of anatomy and surgery, and it is likely that the figure with a short pointed beard conducting the dissection is Vesling himself. Vesling was also a botanist and was responsible for renovating the botanical garden at Padua. The two female figures on either side of the cloth that bears the title of the work hold attributes which suggest an identification of them as practical and theoretical anatomy (Wolf-Heidegger and Cetto 1967, no. 155, p. 240)"</text>
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                <text>1 print : engraving ; image 19.9 x 14.4 cm&#13;
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Ioannis Veslingii Mindani, Syntagma anatomicum ; Jo. Georgius sculp.</text>
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                <text>Wellcome&#13;
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                <text>Patavii [Padua] : Typis Pauli Frambotti Bibliopolæ, 1647.&#13;
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                <text>L. Choulant, History and bibliography of anatomic illustration, tr. and ed. M. Frank, New York 1945, p. 243&#13;
T. Quirico and V. Lindon, eds, Les siècles d'or de la médecine. Padoue XVe-XVIIIe siècles, exh. cat., Paris, Jardin des plantes, 1989, pp. 138-139&#13;
G. Wolf-Heidegger and A. M. Cettto, Die anatomische Sektion in bildlicher Darstellung, Basel and New York 1967, no. 155, pp. 240-241</text>
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                <text>The Dutch anatomist Steven Blankaart (1650-1704) performing a dissection in an anatomy theatre, with seven observers</text>
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                <text>"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"</text>
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                <text>1 print : engraving ; image 16.3 x 9.3 cm&#13;
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S. Blancardi. Anatomia reformata</text>
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                <text>Ludg. Batav. [Leiden] : Cornelium Boutesteyn : Iordaanum Lughtmans, 1687.&#13;
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                <text>References note&#13;
G. Wolf-Heidegger and A. M. Cetto, Die anatomische Sektion in bildlicher Darstellung, Basel and New York 1967, no. 184, p. 259&#13;
A. Garosi, Inter artium et medicinae doctores, Florence 1963, tav. ccxv</text>
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                <text>A surgery with a representation and explication of the chirurgical instruments ; Printed according to Act of Parliamt. for ye Universal Magazine Bears hand-written number: P. 99&#13;
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                <text>London (at the Kings Arms in St Pauls Church-yard) : J. Hinton, [1748?]&#13;
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                <text>1 print : engraving, with etching ; image 20 x 32.5 cm&#13;
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                <text>Anatomical dissection by Andreas Vesalius of a female cadaver, attended by a large crowd of onlookers</text>
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                <text>"A print taken from the original woodblock, before lettering, of the title page for the 1555 edition of the De humani corporis fabrica libri septem. Among the differences between the recut title page of the 1555 edition and that of the 1543 edition (see this catalogue, no. 24285) is that the title in the cartouche above the skeleton, which now holds a scythe, identifies the author, Andreas Vesalius as the physician to Emperor Charles V. The portrait of Vesalius, who is seen next to the female cadaver, has been adapted to follow the frontispiece portrait of the anatomist, including the details of the mole above his right eye and his brocade cloak. Other changes are the clothing of the man gripping the column on the left of the title page, who in the 1543 edition was nude, the introduction of a goat next to the dog at the lower right for the purposes of comparative anatomy, and the use of a vivisection table to carry the privilege at the bottom of the page (see this catalogue, no. 24377). In addition to the new title page and some alterations to the text, a new type face was employed, new and larger decorated initial letters were cut and the lettering of the figures was made more distinguishable by the removal of the surrounding shading. The original woodblocks were rediscovered in the Munich University library in the late nineteenth century and were used to produce the Icones anatomicae, published by the New York Academy of Medicine in 1934-1935. Not long afterwards these woodblocks, which had survived so many centuries, were destroyed in the second world war"</text>
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                <text>References note&#13;
H. Cushing, A bio-bibliography of Andreas Vesalius, 2nd ed., Hamden, Conn. and London 1962, pp. 90-92, no. VI.A.-3; pp. 106-9, no. VI.A.-6, figs 62; 64&#13;
J. B. de C. M. Saunders and C. D. O'Malley, The illustrations from the works of Andreas Vesalius of Brussels, Cleveland and New York 1950, pp. 44-45, pl. 3</text>
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                <text>The anatomist Felix Platter, seated at a table covered with surgical instruments in a room with two other men, below which are the figures of Hippocrates and Galen</text>
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                <text>"Felix Platter is shown seated, with two companions, at a table covered with surgical instruments, books, fruit and a bird which he touches while holding a scalpel in his other hand. Below this room are the figures of Hippocrates and Galen, set before niches, on either side of a flayed human skin. (For a similar arrangement, see this catalogue 24939.) On the right base, below Galen is the image of a swan around whose neck is entwined a snake and a crown. On the left base, below Hippocrates, is the image of a crane holding a stone in the claw of its raised leg, an allegory of Vigilance. After studying in Montpellier, Felix Platter returned to Basel to lecture on medicine at the University and be appointed the principal physician of the city. During his student years, he kept a journal that described his experiences and medical education, as well as capturing daily sixteenth-century student-life. In addition to being an anatomist and physician, he was also a collector"</text>
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                <text>1 print : engraving ; platemark 21 x 16.4 cm&#13;
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Felicis Plateri quondam archiatri et profess. Basil. ord. praxeos medicæ, tomi tres, cum centuria posthuma emedati et aucti, à Felice Platero, nunc archiatro et profess. Basileen. Fel. Nep. Hippocrates ; Galenus</text>
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                <text>Wellcome&#13;
https://wellcomecollection.org/works/czyvv5tz</text>
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                <text>Basel : E. König, 1656.&#13;
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                <text>1 print : woodcut ; border 20.2 x 13.5 cm&#13;
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            <description>A related resource from which the described resource is derived</description>
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https://wellcomecollection.org/works/xnsmnxdn</text>
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                <text>[Strasbourg?] : [publisher not identified], [between 1500 and 1599]&#13;
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            <name>Relation</name>
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                <text>This is a copy from the  Feldbuch der Wundartzney written by H. von Gersdorf (Alsatian) with many of the illustrations by Johann Ulrich Wechtlin (thought to be the earliest European depictions of surgery), first published in 1517</text>
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                <text>surgical chair</text>
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                <text>Suppl. pl.3, 146&#13;
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            <description>A related resource from which the described resource is derived</description>
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                <text>Wellcome&#13;
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                <text>Leiden, the Netherlands: the anatomy theatre, interior of a church, town weighing establishment and portraits</text>
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Top center, portraits of the Anabaptist leader Jan Beukelszoon ("Iohan Bocold rex Anabapt") and one of his wives ("Elisa Johan[nis] uxor regina")&#13;
&#13;
Physical description&#13;
1 print : line engraving&#13;
Lettering&#13;
Le poids de la ville, &amp; la halle au beure. ... Lettering continues with descriptions of the contents</text>
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                <text>Wellcome&#13;
https://wellcomecollection.org/works/cmwuk5rg</text>
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                <text>Edinburgh, Greyfriars churchyard: the tomb of James Borthwick of Stow, carved with a skeleton and surgical instruments</text>
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                <text>"James Borthwick's monument: Memoriae Patris Sui Jacobi Borthwick a Stow, familias de Cruixtoun, filii legitimi, Pharmacopoei celeberrimi, JB progenitus M M Q P. [To the memory of his father James Borthwick of Stow, lawful son of the family of Cruixtoun, most famous Chirurgeon-Apothecary: Mr James Borthwick, his eldest son, from a mournful mind, placed this monument. M] ". The inscription on this monument, preserved by Monteith, is not now legible; but the monument itself cannot be mistaken, with its skeleton in the centre and festooned around with surgical instruments. Dr John Gairdner, in his Historical sketch of the Royal College of Surgeons, Edinburgh, has a special notice of it as remarkable. He states that Borthwick entered the Incorporation in 1645, of which he was an active member; that he was one of the Commissioners of the Scottish Parliament of 1661; that he acquired his estate of Stow; and that he died in 1676"--website of the Borthwick burials &amp; monumental inscriptions in Scotland, accessed 28 February 2008</text>
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https://wellcomecollection.org/works/e7y97yap</text>
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