List of Illustrations Plates P1

LIST OF ILLUSTRATIONS PLATES P1. I (frontispiece) retouched photograph: approximate reconstruction of the original state of Rembrandt's 'Anatomy of Dr. Nicolaes Tulp' (so called), 1632. London, Wellcome Institute. P1. 2 Rembrandt van Rijn, 'The anatomy (or "anatomy lesson"') of Dr. Nicolaes Tulp' (so called), oil painting, 1632, bears signature and date probably painted over autograph signature and date; with alterations by Rembrandt and more than one other hand. The Hague, Mauritshuis. P1. 3 Aert Pietersz., 'The anatomy (or "anatomy lesson") of Dr. Sebastiaen Egbertsz.' (so called), oil painting, signed with monogram and dated 1603. Amsterdam, Amsterdams Historisch Museum, currently exhibited at the Geschiedkundig Medisch-Pharmaceutisch Museum, Amsterdam. P1. 4 Michiel and Pieter van Miereveld, 'The anatomy (or "anatomy lesson") of Dr. Willem van der Meer' (so called), oil painting, signed and dated 1617. Delft, Oude en Nieuwe Gasthuis. P1. 5 Thomas de Keyser, 'The anatomy (or "anatomy lesson") of Dr. Sebastiaen Egbertsz.' (so called), oil painting, 1619. Amsterdam, Amsterdams Historisch Museum. P1. 6 Nicolaes Eliasz. (called Pickenoy), 'The anatomy (or "anatomy lesson") of Dr. Johan Fonteyn' (so called), oil painting, 1625. Central part (only surviv- ing fragment). Amsterdam, Amsterdams Historisch Museum. PI. 7 a demonstration of the anatomy of the upper limb at Grant medical college, Bombay, anonymous photograph, late nineteenth century. London, British Library (India Office Library and Archives). P1. 8 an anatomy at the Leiden anatomy-theatre, anonymous engraving, 1609, after a drawing by J. C. van 't Woudt (Woudanus). Amsterdam, Rijksprentenkabinet. P1. 9 dissection of the forearm. Detail from Rembrandt's so-called 'Anatomy of Dr. TuIp' (P1. 2). Pi. 10 portrait of Andreas Vesalius, 1542, anonymous woodcut for A. Vesalius, De humani corporis fabrica, Basle, 1543, frontispiece. London, Wellcome Institute. P1. 11 illustration of the muscles, anonymous woodcut after a design by Johan Steven van Kalkar (?) and Domenico Campagnola (?) after dissections by A. Vesalius for his De humani corporis fabrica, Basle, 1543, p. 184. London, Wellcome Institute. P1. 12 Rembrandt, portrait of Johannes Antonides van der Linden, etching, 1665. London, Wellcome Institute. P1. 13 Leonardo da Vinci, flexor-tendons in the wrist and hand, drawing, c. 1510. Windsor, Royal Library (no. 19009r). Arrows added on photograph mark the perforation ofone sample superficialflexor-tendon by one deepflexor-tendon. P1. 14 Abel Stimmer, portrait of Felix Platter, engraving, 1578. M'unster, Westfalisches Landesmuseum fur Kunst and Kulturgeschichte, Portr'atarchiv Diepenbroick. ix

Downloaded from https://www.cambridge.org/core. IP address: 170.106.34.90, on 01 Oct 2021 at 00:38:54, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0025727300070137 P1. 15 Adriaen van Valckenburg demonstrating the ileum or ileo-caecal "valve" in the Leiden anatomy-theatre, anonymous engraving for Caspar I and Thomas Bartholin, Institutiones anatomicae, Leiden, 1641, title-page, magnified detail. London, Wellcome Institute. P1. 16 the book held by Hartman Hartmansz. in Rembrandt's so-called 'Anatomy of Dr. Tulp' (P1. 2), showing the original anatomical figure and heading, with names of the sitters written over them after the addition, to the left of the picture, probably by another hand, ofJacob Colevelt. P1. 17 an anatomical demonstration, anonymous engraving for Steven Blankaart, Nieuw-hervormde anatomia, Amsterdam, 1678, title-page. Amsterdam, Universiteits Bibliotheek. P1. 18 Nicolaes Eliasz. (called Pickenoy), portrait of Nicolaes TuIp, oil painting, 1634. Amsterdam, Six collection. P1. 19 Jan van de Velde II, portrait of Jacobus Zaffius, engraving, 1630, after a now mutilated painting by Frans Hals, 1611. London, British Museum. P1. 20 portrait of G. Fabricius Hildanus (Wilhelm Fabry von Hilden), anonymous engraving, 1612, for his Observationum ... centuria tertia, Oppenheim, 1614. London, Wellcome Institute. P1. 21 W. Elder, portrait of Sir Theodore Turquet de Mayerne, engraving after anon., 1655. London, Wellcome Institute. P1. 22 Pieter Schenck I, portrait of Frederik Ruysch (1638-1731), mezzotint after Juriaen Pool. London, Wellcome Institute. P1. 23 Robert Walker, portrait of John Evelyn, oil painting, 1648. Private property on loan to the National Portrait Gallery, London. P1. 24 Isaac Fuller, portrait of (Sir) William Petty, oil painting, 1649/1651. London, National Portrait Gallery. P1. 25 Emmanuel de Critz (?), portrait of John Tradescant the younger, oil painting, c. 1652. London, National Portrait Gallery, currently on loan to the Tate Gallery. P1. 26 portrait of Sir Thomas Chaloner I, anonymous Flemish oil painting, dated 1559. London, National Portrait Gallery. P1. 27 the Holme triptych, detail of outside of right wing, anonymous English oil painting, dated 1628. London, Victoria and Albert Museum, Department of Furniture and Woodwork. P1. 28 N. L. Peschier, still-life, oil painting, signed and dated 1659. London, Victoria and Albert Museum, Department of Paintings. P1. 29 flowers growing from the human skull, anonymous engraving for Thomas Bartholin, Historiarum anatomicarum rariorum centuria I et II, the Hague, 1654, title-page. London, Wellcome Institute. P1. 30 tomb of Archbishop James Law (1560?-1632), detail. Glasgow, Cathedral. P1. 31 vignette, anonymous woodcut for Salomon Alberti, Historia ... humani corporis, Wittenberg, 1598, title-page. London, Wellcome Institute. P1. 32 vignette, anonymous woodcut for Caspar Bartholin 1, Anatomicae institutiones, Wittenberg, 1611, title-page. London, Wellcome Institute. P1. 33 Crispin de Passe, Jean Riolan II presenting a book (symbolically Riolan's Anthropographia et osteologia) to King Louis XIII, engraving for Jean

Downloaded from https://www.cambridge.org/core. IP address: 170.106.34.90, on 01 Oct 2021 at 00:38:54, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0025727300070137 Riolan, Anthropographia et osteologia, Paris, 1626, frontispiece. London, Wellcome Institute. P1. 34 Francesco Valesio, "Anatomia" (centre) accompanied by "Diligentia" and "Ingenium", engraving after a drawing by Odoardo Fialetti, for Julius Casserius, Tabulae anatomicae, Venice, 1627, title-page, detail. London, Wellcome Institute. P1. 35 an anatomist looking at a skeleton in a mirror, anonymous engraving for Gerardus Blasius, Anatome contracta, Amsterdam, 1666, additional title- page. London, Wellcome Institute. P1. 36 David Conrat, illustration of the "microcosmic" and "pessimistic" ideas of man, etching for H. S. Schilling, Tractatus osteologicus, Dresden, 1668, frontispiece. London, British Library. P1. 37 a dissection-scene inscribed in Greek "know thyself",with a view of a hospital in the background, anonymous engraving for Steven Blankaart, Anatomia practica rationalis, Amsterdam, 1688, additional title-page. London, Wellcome Institute. P1. 38 reclining skeleton with legend in Greek "know thyself", anonymous mosaic for a building on the Via Appia, Rome. Rome, Museo Nazionale Romano. P1. 39 bereavement ring with inset enamel skull and inscriptions "know thyself" (in Latin) and "dye to live" (in English), anonymous English work in gold and enamel, late sixteenth century. London, Victoria and Albert Museum, Department of Metalwork (no. M 920/1871). P1. 40 Laux Furtenagel, portrait of Hans Burgkmair and his wife, oil painting, signed and dated 152[9?]. Vienna, Kunsthistorisches Museum, Gem'aldegalerie. P1. 41 allegory with cartouche inscribed in Latin "know thyself', anonymous engraving after a drawing by Jacob Jordaens, mid-seventeenth century. Oxford, Ashmolean Museum. P1. 42 Nicolas Tournier (?), allegory, oil painting, c. 1625. Oxford, Ashmolean Museum. P1. 43 Niccolo Renieri (Regnier), allegory, oil painting, signed and dated 1626. Turin, Palazzo Reale, Galleria del Daniele. P1. 44 vanitas still-life with skull looking in mirror, anonymous Dutch oil painting, third quarter of the seventeenth century. Present whereabouts unpublished. P1. 45 Simon Luttichuys (1610-1661), vanitas still-life with skull looking in mirror, oil painting, signed. Amsterdam, property of Bernard Houthakker.

FIGURES Fig. I (p. 4) J. de Frey, 'The anatomy of Dr. Nicolaes Tulp' (so called), etching, 1798, after Rembrandt's painting (P1. 2). London, Wellcome Insitute. Fig. 2 (p. 10) Francesco Valesio, flexor-muscles and -tendons of the forearm, engraving after a drawing by Odoardo Fialetti, c. 1600/1616, after dissections by Julius Casserius for his Tabulae anatomicae, Venice, 1627, tab. XXII, fig. 2; this impression printed in 1645 for the Amsterdam edition. London, Wellcome Institute.

Downloaded from https://www.cambridge.org/core. IP address: 170.106.34.90, on 01 Oct 2021 at 00:38:54, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0025727300070137 Fig. 3 (p. 15) Pieter van Gunst (?), flexor-muscles and -tendons of the forearm, engraving, c. 1685, after a drawing by Gerard de Lairesse after dissections by Govaert Bidloo for his Anatomia humani corporis, Amsterdam, 1685, tab. 67. Arrows added on photograph mark stratification of inner over outer flexor-tendons. London, Wellcome I nstitute. Fig.4(p. 19) Giacomo Valesio, "Anatomia" and "Chirurgia", detail of engraving for Hieronymus Fabricius ab Aquapendente, De visione voce auditu, Venice, 1600, title-page. London, Wellcome Institute. Fig. 5 (p. 37) the human skeleton, anonymous engraving after a drawing by Volcher Coiter for his Externarum et internarum ... partium tabulae, Nuremberg, 1572, tab. IV. London, Wellcome Institute. Fig. 6 (p. 43) moss growing on the human skull, anonymous woodcut for John Gerarde, The herball, London, 1633, p. 1563. London, Wellcome I nstitute. Fig. 7 (p. 45) Wenceslaus Hollar, Democritus and Heraclitus, engraving, c. 1674, after two etchings by J. J. van Vliet, one of a laughing man, n.d. (before 1636) after a painting ascribed to Rembrandt (c. 1629/30?), the other of Judas, 1634, after a painting by Rembrandt, 1629. London, Wellcome Institute. Fig. 8 (p. 47) Albrecht Durer, portrait of Wilibald Pirckheimer, engraving, 1524. Cambridge, Fitzwilliam Museum. Fig. 9 (p. 47) lateral view of the human skeleton, anonymous woodcut after a design by Johan Steven van Kalkar (?) and Domenico Campagnola (?) after dissections by Andreas Vesalius for his De humani corporis fabrica, Basle, 1543, p. 164. London, Wellcome Institute. Fig. IO(p. 70) "R.S.", anatomical figures, woodcut for an anatomical broadsheet, English, mid-sixteenth century. London, Wellcome Institute. Fig. 11 (p. 84) Minerva holding a book inscribed in Latin "know thyself', anonymous engraving for A. Nuck, Sialographia, Leiden, 1690, title-page. London, Wellcome Institute. Fig. 12(p. 93) emblematic image to illustrate "Hominem te esse cogita", anonymous engraving for J. de Borja, Empresas morales, Praga, 1581, fol. IOlr. London, British Library. Fig. 13 (p. 99) Jacques Couche, "Portrait de Michel-Ange Amerighi de Caravagge peint par lui-meme" (so called), engraving, c. 1786, after a painting by Jusepe de Ribera, c. 1630/1635, printed in the Galerie du Palais Royal, Paris 1786. London, British Library.

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Downloaded from https://www.cambridge.org/core. IP address: 170.106.34.90, on 01 Oct 2021 at 00:38:54, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0025727300070137 ACKNOWLEDGEMENT OF SOURCES OF ILLUSTRATIONS Plate 13 is published by gracious permission of H.M. the Queen. The following are published from photographs in the Wellcome Institute library, by courtesy of the Wellcome Trustees: Plates 1, 3, 4, 5, 6, 7, 10, 11, 12, 15, 20, 21, 22, 29, 31,32,33,34,35,37,38;Figures 1,2,3,4,5,6,7,9,10, 11. Other illustrations are published by permission of the following: The Foundation Johan Maurits van Nassau, the Hague (Pls. 2, 9, 16); Jhr. Six van Hillegom (P1. 18); the Trustees of the British Museum (P1. 19); the Victoria and Albert Museum (Pis. 27, 28, 39); the Scottish Development Department, Edinburgh (P1. 30, Crown copyright); the British Library Board (P1. 36; Figs. 12, 13); Christie's, London (P1. 44); Mr. L. A. Houthakker, Amsterdam (P1. 45); the Syndics of the Fitzwilliam Museum, Cam- bridge (Fig. 8); and the other owners listed in the list of illustrations above.

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