The Development of the Study of Anatomy from the Renaissance to Cartesianism: Da Carpi, Vesalius, Estienne, Bidloo

259 Pages·2009·11.42 MB·English

by  Raphael Cuir

THE DEVELOPMENT
OF THE STUDY OF ANATOMY
FROM THE RENAISSANCE TO CARTESIANISM
da Carpi, Vesalius, Estienne, Bidloo
Raphael Cuir
With a Foreword by
Yves Hersant
and a Preface by
Georges Didi-Huberman
The Edwin Mellen Press
Lewiston•Queenston.Lampeter
(cid:9)
Library of Congress Cataloging-in-Publication Data
Cuir, Raphael.
The development of the study of anatomy from the Renaissance to Cartesianism : da
Carpi, Vesalius, Estienne, Bidloo / Raphael Cuir ; with a foreword by Yves 1-lersant;
preface by Georges Didi-Huberman.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978-0-7734-4657-1
ISBN-10: 0-7734-4657-5
1. Anatomy, Artistic. 2. Human figure in art. 3. Art and science. 4. Art, European. 1.
Title.
NC760.C75 2009
743.49—dc22
2009030320
hors serie.
A CIP catalog record for this book is available from the British Library.
Front cover: Anatomy fugitive sheet, illustration of the major organs in a Man, Bartholomaeus
Schoenborn, Wittenberg, c. 1590.
Property of Duke University Medical Center Library, Trent Collection, History of Medicine Collections,
Durham, North Carolina. Photo: Bill Bamberger. All rights reserved.
Translated by Sally Laruelle
Copyright(cid:9) 2009 Raphael Cuir
All rights reserved. For information contact
(cid:9)
The Edwin Mellen Press The Edwin Mellen Press
(cid:9)
Box 450 (cid:9) Box 67
Lewiston, New Yor(cid:9)k Queenston, Ontario
USA 14092-0450 CANADA LOS ILO
The Edwin Mellen Press, Ltd.
Lampeter, Ceredigion, Wales
UNITED KINGDOM SA48 8LT
Printed in the United States of America
DEDICATION
To ORLAN whose boundless patience and understanding have accompanied me
on the long journey toward the completion of this book

TABLE OF CONTENTS
List of illustrations (cid:9)
Foreword by Yves Hersant (cid:9) V
Preface by Georges Didi-Huberman (cid:9) IX
Acknowledgements (cid:9) XXI
Introduction (cid:9) 1
CHAPTER 1 Anatomy is a Humanist Discipline (cid:9) 9
1. Remarks on the sources (cid:9) 9
2. Berengario da Carpi (Jacopo Barigazzi, 1460 - 1530) (cid:9) 12
3. Charles Estienne (1504 - 1564) (cid:9) 16
4. Andreas Vesalius (1514 - 1564) (cid:9) 19
5. The excellence of sight and the power of the image (cid:9) 24
CHAPTER 2 The Natural Philosophy of Art and Aesthetic Teleology (cid:9) 31
1. Art as a model for nature (cid:9) 32
2. Nature as a model for art (cid:9) 36
3. Art meets the challenge of natural philosophy (cid:9) 37
4. The living artwork—the human body as a work of art (cid:9) 44
5. Renaissance hylozoism (cid:9) 48
CHAPTER 3 Natural Philosophy of the Living: Teleological Anatomy (cid:9) 53
1. Aesthetic projection (cid:9) 56
2. Teleological anatomy (cid:9) 61
3. A dual teleology (cid:9) 74
4. The case of Leonardo da Vinci (cid:9) 76
CHAPTER 4 The Eschatology of Anatomy (cid:9) 81
1. Anatomy and the themes of death (cid:9) 81
2. The last judgement (cid:9) 87
3. The Dit des Trois Morts et des Trois Vifs, and the Danse Macabre (cid:9) 88
4. A pagan theme (cid:9) 93
CHAPTER 5 Anatomical Eros (cid:9) 95
1. The science of procreative pleasure (cid:9) 97
2. The curtain of Venus (cid:9) 102
3. Dissected truth (cid:9) 104
4. The anatomy of divine loves (cid:9) 108
5. Empire of the senses, empire of the image (cid:9) 110
6. Anatomical Eros and Christian morality (cid:9) 121
CHAPTER 6 The Anatomical Conquest of the Self (cid:9) 129
1.T he discovery of the self (cid:9) 129
2. The world in the self (cid:9) 133
3. Know thyself (cid:9) 135
4. The anatomist dissected by his discipline (cid:9) 142
5. Dissect yourself (cid:9) 145
CHAPTER 7 The Death of the Ecorche, or Cartesian Anatomy (cid:9) 155
1.T he cadaver machine (cid:9) 155
2. The flayed machine (cid:9) 162
3. The persistence of life (cid:9) 170
Conclusion (cid:9) 175
Bibliography (cid:9) 181
Index (cid:9) 193
LIST OF ILLUSTRATIONS
1. Berengario da Carpi, Carpi Commentaria cum amplissimis additionibus super
Anatomia Mundini, Bologna, Hieronymum de Benedictis, 1521, plate f. 80 v°.
Woodcut. © Bibliotheque Inter-Universitaire de Medecine (BIUM), Paris.
2. Berengario da Carpi, Carpi Commentaria cum amplissimis additionibus super
Anatomia Mundini, Bologna, Hieronymum de Benedictis, 1521, plate f. 82 r°.
Woodcut. © BIUM Paris.
3. Andreas Vesalius, De humani corporis fabrica libri septem, Basel, J. Oporinus,
1543. Frontispiece. Woodcut. Courtesy of the U.S. National Library of Medicine.
4. Jan Stephan van Calcar, Portrait of Vesalius, in Andreas Vesalius, De humani
corporis fabrica libri septem, Basel, Johannes Oporinus, 1543. Woodcut.
Courtesy of the U.S. National Library of Medicine.
5. Andreas Vesalius, De humani corporis fabrica libri septem, Basel, Johannes Oporinus,
1543, 1 skeleton. Woodcut. Courtesy of the U.S. National Library of Medicine.
6. Andreas Vesalius, De humani corporis fabrica libri septem, Basel, Johannes Oporinus,
1543, 2' skeleton. Woodcut. Courtesy of the U.S. National Library of Medicine.
7. Andreas Vesalius, De humani corporis fabrica libri septem, Basel, Johannes
Oporinus, 1543, 2"d flayed figure. Woodcut. Courtesy of the U.S. National.
Library of Medicine.
8. Andreas Vesalius, De humani corporis fabrica libri septem, Basel, Johannes
Oporinus, 1543. 10th flayed figure. Woodcut. Courtesy of the U.S. National
Library of Medicine.
9. Andreas Vesalius, De humani corporis fabrica libri septem, Basel, Johannes
Oporinus, 1543, 13th flayed figure. Woodcut. Courtesy of the U.S. National
Library of Medicine.
10. Andreas Vesalius, De humani corporis fabrica libri septem, Basel, Johannes
Oporinus, 1543, p. 256. Woodcut. From a volume in the Service
Interetablissements de Cooperation Documentaire des Universites de Strasbourg.
Departement du Patrimoine, all rights reserved.
II
11. Andreas Vesalius, De humani corporis fabrica libri septem, Basel, Johannes
Oporinus, 1543, large initial letter « L ». Woodcut. From a volume in the Service
Interetablissements de Cooperation Documentaire des universites de Strasbourg.
Departement du Patrimoine, all rights reserved.
12. Andreas Vesalius, De humani corporis fabrica libri septem, Basel, Johannes
Oporinus, 1543, large initial letter « 0 ». Woodcut. From a volume in the Service
Interetablissements de Cooperation Documentaire des universites de Strasbourg.
Departement du Patrimoine, all rights reserved.
13. Juan Valverde de Hamusco, Historia de la composicion del cuerpo human,
Venice, Giunti, 1586. Frontispiece. Engraving. © Biblioteca Angelica, Roma. On
concession from the Ministry for Arts and Culture, all rights reserved.
14. Gaspar Becerra, Flayed Figure Holding His Skin, in Juan Valverde de
Hamusco, Historia de la composicion del cuerpo humano, Rome, 1556. Engraving
by Nicolas Beatrizet. Courtesy of the U.S. National Library of Medicine.
15. Gaspar Becerra, Dissected Anatomist dissecting with multiple views of the Heart, in
Juan Valverde de Hamusco, Anatomia del corpo human, Rome, 1560. Engraving by
Nicolas Beatrizet. Courtesy of the U.S. National Library of Medicine.
16. Gaspar Becerra, Dissection of the Peritoneum, in Juan Valverde de Hamusco,
Anatomia del corpo humano, Rome, 1560. Engraving by Nicolas Beatrizet.
Courtesy of the U.S. National Library of Medicine.
17. Monogrammiste RS, Interiorum corporis humani partum viva delineato,
Paris, M. Biesmon, circa 1570. Woodcut, after an original published by Gilles
Godet, circa 1559. © Bibliotheque Nationale de France.
18. Peter Hille, plate 37, with 13 moveable flaps, in Leonard Thurnheisser zum
Thum, Das ist Confirmatio concertationis, oder ein Bestettigung desz jenigen so
streittig... in dreyzehen kurtzer Bitecher an Tag geben, Berlin, Im Grauwen
Closter, 1576. Woodcut. From a volume in the Boston Medical Library in the
Francis A. Countway Library of Medicine, Rare Books, f QM 21.T42.
19. Lucas Killian, Eve, in Johann Remmelin, Visio catoptri microcosmici tertia,
Ulm, J. Corlin, 1639, plate p. 21. Engraving. © BIUM Paris. All rights reserved.
20. Guido Guidi (Vidus Vidius), De Anatome corporis humani libri VII (Venise, 1611),
Frankfurt, 1626. Frontispiece. Engraving. © BRIM Paris. All rights reserved.
21. Gerard de Lairesse, plate 30, in Govert Bidloo, Anatomia humani corporis,
Amsterdam, J. van Someren, 1685. Engraving. BIUM Paris. All rights reserved.
III
22. Gerard de Lairesse, plate 33, in Govert Bidloo, Anatomia humani corporis,
Amsterdam, J. van Someren, 1685. Engraving. © BIUM Paris. All rights reserved.
23. Gerard de Lairesse, plate 52, in Govert Bidloo, Anatomia humani corporis,
Amsterdam, J. van Someren, 1685. Engraving. © BIUM Paris. All rights reserved.
24. Gerard de Lairesse, plate 66, in Govert Bidloo, Anatomia humani corporis,
Amsterdam, J. van Someren, 1685. Engraving. © BIUM Paris. All rights reserved.
25. Gerard de Lairesse, plate 70, in Govert Bidloo, Anatomia humani corporis,
Amsterdam, J. van Someren, 1685. Engraving. © BIUM Paris. All rights reserved.
26. Diderot and D'Alembert, Encyclopedie, 1751-1772, plate XIII, Anatomy of the
Ear after Duverney. Bibliotheque Nationale de France.
27. Francesco Colonna or Leon Battista Alberti, Hypnerotomachia Poliphili,
Venice, Aldus Manutius, 1499. Bibliotheque Nationale de France.
28. Venetian Woman with Moveable Skirt, late 16th century, Italian School.
Engraving, 19 x 14 cm. © Bibliotheque Nationale de France.
29. Jacopo Caraglio, Jupiter and Antiope. Woodcut after Perino del Vaga.
© National Institue for Graphic Arts, Rome. All rights reserved.
30. Guyot Marchant, La Danse macabre, 1485. Woodcut. © Bibliotheque
Nationale de France.
31. Drinking Cup with Skeletons, Boscoreale Treasure, late lst century BCE,
early lst century CE. Silver partially gilded. B11923, Paris, Musee du Louvre.
© RMN / Herve Lewandowski. All rights reserved.
32. Gnothi seauton: «Know Thyself », Roman mosaic, 1st century CE, Palazzo
Massimo alle Terme, Museo Nazional Romano, Rome. © Erich Lessing /
Magnum Photos. All rights reserved.
33. Anatomical fugitive sheet, illustration of the major organs in a Man,
Bartholomaeus Schoenborn, Wittenberg, c. 1590. Property of Duke University
Medical Center Library, Trent Collection, History of Medicine Collections,
Durham, NC, USA. Photo: Bill Bamberger. All rights reserved.
34. Leonardo da Vinci, The Muscles of the Leg, circa 1510, pen and brown ink
over traces of charcoal, 28.9 x 28.2 cm. Royal Library 19017 v. The Royal
Collection © 2008, Her Majesty Queen Elizabeth II.
35. Titian, The Allocution of Alfonso d'Avalos, Marchese del Vasto, 1541. Oil on
canvas, 223 x 165 cm. Madrid, Museo Nacional del Prado. © Museo Nacional del
Prado, Madrid. All rights reserved.