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                <text>A woman personifying anatomy looks searchingly into the light emanating from a corpse, but she is mortally threatened by the scythe of Time; representing anatomy's struggle with decay</text>
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                <text>Engraving by N-G. Dupuis, 1759, after J-B-M. Pierre.&#13;
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                <text>Wellcome&#13;
https://wellcomecollection.org/works/qjdn9f8k</text>
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                <text>Paris</text>
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                <text>1759</text>
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                <text>References note&#13;
Not found in: Marcel Roux and Edmond Pognon, Inventaire du fonds français, graveurs du XVIIIe siècle, Bibliothèque nationale, Département des estampes, Paris 1955, tome VIII (inventory of prints by N.-G. Dupuis)&#13;
G. Wolf-Heidegger &amp; A.M. Cetto, Die anatomische Sektion in bildlicher Darstellung, Basel, 1967, no. 231</text>
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                <text>Heliogravure by Dujardin after E. Bisson, 1890</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>"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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https://wellcomecollection.org/works/d3shj9wz</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;
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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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S. Blancardi. Anatomia reformata</text>
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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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