<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/411">
    <dcterms:title><![CDATA[Ernst Bumm operating on a male patient, other doctors monitor the patient&#039;s condition]]></dcterms:title>
    <dcterms:subject><![CDATA[patient described as male but no indication in the illustration that this is a male or female patient - gender ambiguous - surgery described as a lithotomy but could be another lower abdominal surgery]]></dcterms:subject>
    <dcterms:creator><![CDATA[after Huebner, Reinhard, 1881-1962<br />
]]></dcterms:creator>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/gggyrkkp]]></dcterms:source>
    <dcterms:publisher><![CDATA[Berlin : Gustav Schauer, [between 1920 and 1929?]<br />
]]></dcterms:publisher>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/410">
    <dcterms:title><![CDATA[A physician examining a bare breasted female patient, an older woman passes him a syringe, a bawdy couple are in the background]]></dcterms:title>
    <dcterms:description><![CDATA[1 print : mezzotint ; platemark 34.6 x 29 cm<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Mezzotint by A. de Blois after J. Steen (1626-79)]]></dcterms:creator>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/nubd3k9q]]></dcterms:source>
    <dcterms:publisher><![CDATA[[Place of publication not identified] : G. Valck excud cum previl.]]></dcterms:publisher>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/409">
    <dcterms:title><![CDATA[An unconscious naked man lying on a table being attacked by little demons armed with surgical instruments; representing the effects of chloroform on the human body]]></dcterms:title>
    <dcterms:subject><![CDATA[&quot;One of several paintings commissioned by Henry S. Wellcome around 1912 from Richard Cooper, who was then working in Paris. Cooper was educated at Tonbridge and then trained as an artist in Paris before the First World War. In 1914 he joined the British Army and in 1916 was transferred to the Royal Engineers. His obituary in The times says that he worked on camouflage with Solomon J. Solomon RA as well as acting as official war artist for The graphic. After the war he enjoyed a flourishing career as a graphic artist designing posters: he is particularly well known for his advertisements for the London Underground&quot;]]></dcterms:subject>
    <dcterms:description><![CDATA[1 painting : watercolour, with gouache, bodycolour and pencil ; sheet 42.8 x 57 cm<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Cooper, Richard Tennant, 1885-1957.<br />
]]></dcterms:creator>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/vvuzurxb]]></dcterms:source>
    <dcterms:date><![CDATA[[approximately 1912]]]></dcterms:date>
    <dcterms:relation><![CDATA[Exhibited in &quot;Pain: passion, compassion, sensibility&quot; at The Science Museum, London, 12 February-20 June 2004<br />
Exhibited in &quot;Pijn&quot; (Pain) at Museum Dr Guislain, Ghent, 8 Oct. 2005-30 April 2006.<br />
Exhibited in &quot;Schlaf und Traum&quot; at Dresden Deutsches Hygiene Museum, 31 March-3 October 2007<br />
Exhibited in &quot;Sleeping and dreaming&quot; at Wellcome Collection, London, 29 November 2007--9 March 2008]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/408">
    <dcterms:title><![CDATA[Medical students observing an operation on a lantern screen via a projecting periscope located above the operating table]]></dcterms:title>
    <dcterms:subject><![CDATA[&quot;Students watching an operation at which they are not present: an attempt to abolish the hospital-theatre - the projector in surgery. ... Drawn by H. Koekkoek from a drawing in the &quot;Scientific American,&quot; by courtesy of that paper. Extensive lettering accompanies the print&quot;]]></dcterms:subject>
    <dcterms:description><![CDATA[Halftone after H.W. Koekkoek, 1909<br />
1 print : halftone ; image 30.5 x 23.5 cm<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[after Koekkoek, Hermanus Willem, 1867-1929]]></dcterms:creator>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/d237xdbm<br />
]]></dcterms:source>
    <dcterms:publisher><![CDATA[[London] : The illustrated London news, 17 April 1909.<br />
]]></dcterms:publisher>
    <dcterms:date><![CDATA[17 April 1909]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/407">
    <dcterms:title><![CDATA[Syntagma anatomicum]]></dcterms:title>
    <dcterms:subject><![CDATA[&quot;First published in 1641, the second enlarged edition of Vesling&#039;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)&quot;]]></dcterms:subject>
    <dcterms:description><![CDATA[1 print : engraving ; image 19.9 x 14.4 cm<br />
Lettering<br />
Ioannis Veslingii Mindani, Syntagma anatomicum ; Jo. Georgius sculp.]]></dcterms:description>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/ar9j7wwc]]></dcterms:source>
    <dcterms:publisher><![CDATA[Patavii [Padua] : Typis Pauli Frambotti Bibliopolæ, 1647.<br />
]]></dcterms:publisher>
    <dcterms:relation><![CDATA[L. Choulant, History and bibliography of anatomic illustration, tr. and ed. M. Frank, New York 1945, p. 243<br />
T. Quirico and V. Lindon, eds, Les siècles d&#039;or de la médecine. Padoue XVe-XVIIIe siècles, exh. cat., Paris, Jardin des plantes, 1989, pp. 138-139<br />
G. Wolf-Heidegger and A. M. Cettto, Die anatomische Sektion in bildlicher Darstellung, Basel and New York 1967, no. 155, pp. 240-241]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/406">
    <dcterms:title><![CDATA[a miniature illustration in a fifteenth-century manuscript of Guy de Chauliac&#039;s La Grande chirurgie, in Montpellier, Bibliothèque Universitaire, Ms. fr. 184.]]></dcterms:title>
    <dcterms:subject><![CDATA[after a 15th c manuscript illustration. in the gouache the women&#039;s faces are all wiped clean / deformed]]></dcterms:subject>
    <dcterms:description><![CDATA[1 painting : gouache, with watercolour, pencil, gold highlights ; image 21.4 x 26.2 cm<br />
]]></dcterms:description>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/d3wsbkaz]]></dcterms:source>
    <dcterms:relation><![CDATA[G. Wolf-Heidegger and A. M. Cetto, Die anatomische Sektion in bildlicher Darstellung, Basel and New York 1967, p. 131, no. 8]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/405">
    <dcterms:title><![CDATA[&quot;Theatri anatomici academiae lugduno-batavae delineatio&quot;]]></dcterms:title>
    <dcterms:subject><![CDATA[&quot;This engraving of the anatomist and botanist Pieter Pauw performing an anatomical dissection in the Leiden Anatomy theatre was first published in 1615, entitled &quot;Theatri anatomici academiae lugduno-batavae delineatio&quot;. It bore a dedication by Pauw to the Magistrates of Leiden and was framed by two columns of the text of a poem by P. Scriverius (Schrijver), dated 1615, in which the presence in the audience of Scaliger, Dousa the younger and Lipsius is singled out. These are posthumous portraits as all had died several years before the print was published. This view of the Leiden Anatomy theatre is much sparer than that of the prints after the design of J. Woudanus of c. 1609, in which one sees an elaborate display of articulated human and animal skeletons, disposed about the tiers of the theatre. In the De Gheyn design there is only a single skeleton bearing a staff with a banner that reads: &quot;Mors ultima linea rerum&quot;. This could be a portrayal of the anatomy theatre once the skeletons had been removed in preparation for the anatomy and its audience, but it also reflects the influence of the title page of Vesalius&#039;s De humani corporis fabrica (1543), seen from a similar low viewpoint with a skeleton holding a staff in a direct line above the dissection (see this catalogue, no. 24285) Other contemporary views show a theatre of six tiers that accommodated a larger audience than the more intimate scene De Gheyn has chosen with a theatre of apparently only two tiers. De Gheyn&#039;s association with Pauw can be dated back to 1596-1598, when he made drawings of aborted foetuses and deformities which were once displayed in the Leiden Anatomy theatre&quot;]]></dcterms:subject>
    <dcterms:description><![CDATA[1 print : engraving ; image 28.4 x 22 cm<br />
Lettering<br />
I.D. Gheyn inv. Andr. Stoc. scul.]]></dcterms:description>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/ev88gcwy]]></dcterms:source>
    <dcterms:publisher><![CDATA[Leiden : Petrus Pauw, 1615.<br />
]]></dcterms:publisher>
    <dcterms:relation><![CDATA[I. Q. van Regteren Altena, Jacques de Gheyn. Three Generations, 3 vols, The Hague, Boston and London 1983, i, p. 115; ii, no. 154<br />
G. Wolf-Heidegger and A. M. Cetto, Die anatomische Sektion in bildlicher Darstellung, Basel and New York 1967, pp. 349-350, no. 307 and 307a<br />
W. Schupbach, The paradox of Rembrandt&#039;s Ànatomy of Dr. Tulp&#039;, Medical History, Supplement no. 2, London 1982, p. 73, no. 14c; pp 96-97, no. 18b<br />
W. S. Heckscher, Rembrandt&#039;s Anatomy of Dr. Nicolaas Tulp, An iconological study, New York 1958, p. 26, fig. 2<br />
F. W. H. Hollstein, Dutch and Flemish etchings and engravings and woodcuts, ca. 1450-1700, Amsterdam, vii, p. 191, no. 61]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/404">
    <dcterms:title><![CDATA[Anthropographia et osteologia ]]></dcterms:title>
    <dcterms:subject><![CDATA[&quot;Jean Riolan, Professor of Anatomy and Botany at the Faculté de Médecine in Paris and French court physician, is best known as a Galenist who did not accept Harvey&#039;s theory of the circulation of the blood. He was skilled in dissection and in the preface to the 1626 edition of his Anthropographia et osteologia he states that he had dissected more than one hundred bodies over the last twenty-four winters. Flanking a display of surgical instruments, topped by a coat of arms, are Aesculapius and Hygieia&quot;]]></dcterms:subject>
    <dcterms:description><![CDATA[1 print : engraving ; image 16.5 x 10.6 cm<br />
Lettering<br />
Encheiridium anatomicum et pathologicum adornatum a Ioanne Riolano filio cum figuris.]]></dcterms:description>
    <dcterms:abstract><![CDATA[&quot;The present print is a later copy, in reverse, of the title page, designed and engraved by Crispijn de Passe the second for Jean Riolan the younger&#039;s Anthropographia et osteologia, of Paris 1626: see Wellcome Library catalogue no. 588752i. In the present print, which served as the title page to Riolan&#039;s Encheiridium anatomicum et pathologicum of 1649, the original French observers are replaced by named Dutchmen in different poses, particularly anatomists from Leiden&quot;]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[Lugduni Batavor[um] [Leiden] : Ex officina Adriani Wyngaerden, 1649.<br />
]]></dcterms:publisher>
    <dcterms:relation><![CDATA[References note<br />
G. Wolf-Heidegger and A. M. Cetto, Die anatomische Sektion in bildlicher Darstellung, Basel and New York 1967, pp. 234-236, nos 148-149<br />
G. Cordier, Paris et les anatomistes au cours de l&#039;histoire, Paris 1955, cover illustration]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/403">
    <dcterms:title><![CDATA[Syntagma anatomicum]]></dcterms:title>
    <dcterms:subject><![CDATA[Johannes Vesling, seated below a swag of surgical instruments, indicates illustrations of the heart in a book displayed by a skeletal corpse<br />
<br />
&quot;In this title page to the Amsterdam 1666 edition of Johannes Vesling&#039;s Syntagma anatomicum, with commentary by Gerardus Blasius, Vesling is seated next to a table covered with a cloth, decorated with two crossed bones, which bears the title of the book. He is identified by his name which appears above his hat and by the cross of the Order of the Holy Sepulchre in Jerusalem. He is depicted wearing the same cross on a chain in his engraved portrait in the Padua 1647 edition of the Syntagma anatomicum, which is the second enlarged edition with added plates by G. Giorgio (see Garosi 1963, tav cxxxiii for Vesling&#039;s portrait and this catalogue no. 25026i for the title page to the 1647 edition). Vesling indicates to four gentlemen illustrations of the heart in a book displayed by a draped skeletal corpse. Only two details of these illustrations correspond with Vesling&#039;s plate on the heart (Tab. 1, Cap. X). Suspended from two pilasters is a swag made up of surgical instruments. Through an arch topped with two angels holding a cartouche with a skull crowned with laurel leaves one sees a view of buildings&quot;]]></dcterms:subject>
    <dcterms:description><![CDATA[1 print : engraving ; image 19.9 x 15.1 cm<br />
Lettering<br />
Ioannis Veslingii Mindani Syntagma anatomicum cum commentariis. Exhibente Gerardo Blasio. Medicinæ doctore, et professore. ; I. Vesling]]></dcterms:description>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/bfw6bv7s]]></dcterms:source>
    <dcterms:publisher><![CDATA[Amstelodami [Amsterdam] (â Waesberge et Elizæum Weyerstraet) : Apud Joannem Jansonium, 1666.<br />
]]></dcterms:publisher>
    <dcterms:date><![CDATA[1666]]></dcterms:date>
    <dcterms:contributor><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/bfw6bv7s]]></dcterms:contributor>
    <dcterms:relation><![CDATA[References note<br />
J. Choulant, History and bibliography of anatomic illustration, tr. and ed. M. Frank, New York 1945, p. 243<br />
A. Garosi, Inter artium et medicinae doctores, Florence 1963, tav. cxxxiii]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://european-mastectomy.artinterp.org/items/show/402">
    <dcterms:title><![CDATA[An anatomical dissection by Realdus Colombus, attended by onlookers]]></dcterms:title>
    <dcterms:subject><![CDATA[&quot;This is the only illustration to Realdus Colombus&#039;s De re anatomica, published in Venice in 1559, the year of his death. It is known, however, that he had planned an illustrated text. In his letter to Duke Cosimo de&#039;Medici of 17 April 1548 he requests leave from his post as lecturer in anatomy at the University in Pisa in order to work on his busok, mentioning the assistance he is receiving from the &quot;leading painter in the world&quot; as well as how, on a previous stay in Rome, he dissected cadavers and supervised artists. This &quot;leading painter&quot; has usually been identified as Michelangelo, whose friendship with Colombus is documented in the 1553 biography of the artist by Ascanio Condivi. Colombus dispatched the body of &quot;a young and very handsome moor&quot; for Michelangelo to dissect and also treated him successfully for kidney stones. Colombus is noted for offering an early description of pulmonary circulation and for being a proponent of vivisection, the subject of the fourteenth book of De re anatomica. In the title page, the dissection is being followed by several observers, two of whom are consulting books, one of which is illustrated. At the lower left a young man is seated, taking notes or sketching on a pad.&quot;]]></dcterms:subject>
    <dcterms:description><![CDATA[Collotype after a woodcut, 1559.<br />
1 print : collotype ; image 28.2 x 20 cm<br />
Lettering<br />
Realdi Columbi Cremonensis, in almo gymnasio Romano anatomici celeberrimi, De re anatomica libri xv. Venetiis. Ex typographis Nicolai Bevilacquae. MDLIX]]></dcterms:description>
    <dcterms:source><![CDATA[Wellcome<br />
https://wellcomecollection.org/works/sfhgfs67]]></dcterms:source>
    <dcterms:date><![CDATA[1559]]></dcterms:date>
    <dcterms:relation><![CDATA[References note<br />
G. Wolf-Heidegger and A. M. Cetto, Die anatomische Sektion in bildlicher Darstellung, Basel and New York 1967, pp. 220-221, no. 133<br />
E. D. Coppola, &quot;The Discovery of the Pulmonary Circulation: A New Approach,&quot; Bulletin of the History of Medicine, xxxi, 1957, pp. 44-77<br />
J. J. Bylebyl, &quot;Realdo Colombo,&quot; Dictionary of Scientific Biography, iii, 1974, pp. 354-357]]></dcterms:relation>
</rdf:Description></rdf:RDF>
