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JF Ptak Science Books   Post 2277

“For my part I deem those blessed to whom, by favour of the gods, it has been granted either to do what is worth writing of, or to write what is worth reading; above measure blessed those on whom both gifts have been conferred”–Pliny the Elder

Johannes de Kehtam’s Fasciculus Medicine (printed in Venice in 1500) was the first anatomy to be printed with illustrations. Ketham was described as a German doctor living in Italy and may well have been Johann von Kerchheim, a German practicing surgery and medicine in Venice during he 1470′), and who wrote a series of tracts on various aspects of medicine which were then collected into this single bound volume.  The illustrations are spectacular and to me have a very modern sensibility in their mid-Renaissance woodcut legacy–the look very clear and concise, are well proportioned, nicely labeled, and give plenty of free rein to open and blank spaces on the woodblock.  The only time these images really “fail” is when they appear in color–a process that would’ve been undertaken privately, by the purchaser of the book, who would have contracted with an artisan to color the book. The images in almost all of the cases of coloring that I have seen just do not match the elegance and brilliance of the original with no color. 

[Source for all images: NATIONAL LIBRARY OF MEDICINE, here.]

Its interesting to make a quick note on the books on display on the bookshelf behind the seated figure of Petrus de Montagnan (who is consulting classic texts in medicine as his three patients awaits his attention): the books  include Aristotle, Hippocrates (“ippocrate”), Galieno (Galen), Avicenna (980-1037), Rasis (Ibn Sina, Rasis, Razi, Al-Razi, c.865-925), Mesue, Yuhanna bin Masawayh (c.777-857), and Averroes (1126-98), Abu el-Walid ibn Ruchd, Abu el-Walid ibn Ruchd. On the shelf to the right we see a copy of Naturalis Historia by Cais de Plnii (Gaius Plinius Seocndus, also known as  Pliny the Elder, who lived from 23-79 A.C.E and who held forth on all knowledge from everywhere during the first century).

It is the anatomical illustration where the un-named artist is most brilliant–the lines are sharp and crisp, the spacing elegant, and the imagery very clear.  It is just lovely work:

JF Ptak Science Books      Post 2276

The collaborative work of anatomist Wilhelm Braune (1831-1892) and artist C. Schmiedel (fl. mid-1800s) produced a singular work,  Topographisch-anatomischer atlas nach durchschnitten an gefrorenen cadavern…(published in Leipzig in 1872), which was an oustanding example of high-realism in the art of anatomy. This book is pretty much right-to-business, with no extraneous bits as had appeared in anatomies fo rcenturies. And even though these practices had pretty much expired by the first quarter of the 19th century, Braune/Schmiedel was ever more so detailed and simple–their design was fabulous, and their detail light and exceptional. 

[Source: National Library of Medicine.]

They also made use of sliced frozen sections of cadavers, which seems to give their work that crystalline touch.  The first image looks at the brain from top-to-bottom, while the second reverses the view, which is in itself somewhat unusual, even in 1872. 

Looking into a very finely-produced skull from an earlier period in the work of the anatomist Govard Bidloo (1649-1713) and the artist Gérard de Lairesse (1640-1711) in their Ontleding des menschelyken lichaams, (which was printed in Amsterdam in 1690) we find a bit of a different story.

[Source: National Library of Medicine.]

One interesting aspect of Bidloo is that he can be extraordinarily detailed and still lend a rather baroque still life to engage his subject–like the skull with musical score, above.  There’s no reason for the added bit of scenery, its just a luxurious background for the anatomy. And then there are examples like this incredible facial/neck dissection below, which is very hard-core realistic, just as what you might find on any dissecting table, which most assuredly did not come equipped with pen/ink/music score.  Bidloo here is ultra-real, more so than the greater majority of anatomist/illustrators. [Ontleding des menschelyken lichaams...printed in Amsterdam, 1690, as a copperplate engraving with etching. Source: National Library of Medicine.]

JF Ptak Science Books  Post 2270

[Image sources: National Library of Medicine.]

In 1664 Philipp Jakob Sachs (Sache de Lewenbheimb) wrote an influential book on the circulation of the blood.  It was the advanced work of a learned man, a naturalist and physician who was also the editor of the Ephemerides Academiae naturae curiosorum, which was the first journal in the field of natural history and medicine and one of the founders of the Academia Naturae Curiosorum (Leopoldina).  His work came 40 years after the great work by William Harvey, who published Exercitatio Anatomica de Motu Cordis et Sanguinis in Animalibus in 1628, a work in which he essentially brought the idea of circulation of the blood into the modern age, building on earlier ideas of Michael Servetus, whose 1561 work on circulation (and his religious ideas) brought him to be executed by flames. 

For centuries the pulse was a vaguely understood thing reaching back into the murky medical past as far back as Galen.  The association of course was with the heart, and the association of the heart was as the great controlling center of all function and control of the human body—a theory that reached far forward into the 16^th century.

Servetus (physician, cartographer, theologian, writer and general all-adept Humanist of a high order) was in trouble with the church for many reasons, not the least of which was trying to dislodge the theory of the heart as sacred and the seat of wisdom.  But he did establish that the heart was an organ, which didn’t sit well with very many people, least of all the Calvinist court in Vienna which found him guilty on many anti-Humanist grounds, including his anti-Trinitarian Christology, which made him a reviled figure to Catholics and Protestants.  He was tried and found to be dangerously heretical, and sent to the flames.

Harvey withstood blistering attacks on his correct statements on the circulation of the blood (costing him nearly all the patients in his practice), though he at least lived to see a brighter day:  Servetus, on the other hand, didn’t, and was burned at the stake for his heresies, one of which his attack on the spiritual heart.

In any event, the frontispiece to Sachs’ work is an interesting allegorical composition showing a connection between the place of the very prominently featured heart in the circulation of the blood, and the water cycle, and the cosmos of creation (the breath of life coming from the winds of the Sun and the Moon).   

Notes:  (Sachse de Lewenheimb, Philipp Jakob Sachs, 1627-1672 , Oceanus macro-microcosmicus, seu Dissertatio epistolica analogo motu aquarum ex et ad Oceanum, sanguinis ex et ad cor… 1664, with full text via Google books here).