L'imagination Inventive De Francesco Salviati
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History of Medicine 201 a Renaissance Promoter of Modern Surgery
Rev. Med. Chir. Soc. Med. Nat., Iaşi – 2016 – vol. 120, no. 1 HISTORY OF MEDICINE A RENAISSANCE PROMOTER OF MODERN SURGERY I. Velenciuc1 , Raluca Minea2* , Letiţia Duceac3 , T. Vlad2 1. CF (/Railway) General Hospital Paşcani 2. University of Arts “G. Enescu” Iaşi Faculty of Visual Arts and Design Department of Mural Arts, Conservation – Restoration and Art History 3. University “Apollonia” Iaşi Faculty of Dental Medicine Department of Medicine *Corresponding author: [email protected] A RENAISSANCE PROMOTER OF MODERN SURGERY (Abstract): The present paper aims, exploring the history of Renaissance medicine, to evoke the figure and work of the priest, surgeon and anatomist, Guido Guidi (Vidus Vidius) (1509-1569). The XVIth century is considered a period marked by artistic and scientific effervescence in the western part of Europe and Guido Guidi was a first order personality, grandson of Domenico Ghirlandaio and friend of Benvenuto Cellini. He was appointed by the King Francis I the first professor of anatomy and surgery at the newly founded Collège de France. On demand of the King, he wrote Chirurgia è Graeco in Latinum conversa Vido Vidio Florentino interprete, cum nonnullis eiusdem Vidii comentariis (1544), a beautifully illustrated original surgery book that became for the following two centuries the main source in teaching surgery. Our study realized a detailed assessment of the book and especially of its illustrations belonging to Francesco Salviati. Exploring the life of Guido Guidi, we were also able to point out other significant contributions in the field of anatomy and clinical medicine as De anatome the first book where are presented disarticulated, the bones of the skull base and also the disco- very of the chickenpox. -
Andreas Vesalius O F Brussels Holds
A N D R E A S V ES AL I US TH REFO RMER O F ANATO M Y M S OO B LL . JA E M RES A , M D . SAINT LO UIS MEDICAL SCIENCE PRESS MDCCCCX TO THE MEM O RY OF THOSE I LLUSTRIOUS MEN WH O OFTEN U N DER A DVE RSE CIRCUMSTAN CES AND SOMETIMES I N DANG E R O F DEATH SUCC EEDED I N UNRAV EL L I NG THE MYSTERIES OF THE STRUCTURE O F THE HUM AN BODY TO THE FATHERS O F ANATO MY AND TO THE A RTIST - ANATOMISTS THIS BO OK IS DEDI CATED PREFAC E N T H E A N NA L S O F TH E medical profession the name of Andreas Vesalius o f Brussels holds a place second to none . Every him physician has heard of , yet few know the details of his life , the circumstances under which his labors were carried out , the o f extent those labors , or their far o f m reaching influence upon the progress anato y , physi m ology and surgery . Co paratively few physicians have m seen his works ; and fewer still have read the . The m m refor ation which he inaugurated in anato y , and inci o f m dentally in other branches edical science , has left im m m o f only a d i press upon the inds the busy , science loving physicians o f the nineteenth and twentieth centuries . That so little should be known about him is not surpris ing , since his writings were in Latin and were published m o f . -
Illustrations from the Wellcome Library Vesalius's Method of Articulating the Skeleton and a Drawing in the Collection of the Wellcome Library
Medical History, 2000, 44: 97-110 Illustrations from the Wellcome Library Vesalius's Method of Articulating the Skeleton and a Drawing in the Collection of the Wellcome Library MONIQUE KORNELL* ne ofthe recent acquisitions ofthe Wellcome Library, a sixteenth-century Italian drawing of the bones of the pelvis (Plate 1), is particularly significant because it clearly depicts the copper wires and iron rod used in the method of articulation of the skeleton described by Andreas Vesalius (1514-1564) in the thirty-ninth chapter of the first book of De humani corporis fabrica, published in 1543.1 This procedure was the most detailed yet to have appeared in print and it was further enlivened by its visual de- L__________________________ monstration in initial letters decorating the book.2 * Monique Kornell, MA, PhD, Iconographic of the human skeleton by Andreas Vesalius of Collections, Wellcome Library for the History & Brussels', Bull. Hist. Med., 1946, 20: 433-60; and Understanding of Medicine, 183 Euston Road, more recently in Andreas Vesalius, On the fabric London NWI 2BE. of the human body. A translation of "De humani corporis fabrica libri septem"; Book I. The bones I am indebted to Dr Robert R Coleman of The and cartilages, by William Frank Richardson, in Medieval Institute, University of Notre Dame, collaboration with John Burd Carman, San, for his kind assistance with the Biblioteca Francisco, Norman Publishing, 1998, pp. 370-84. Ambrosiana drawings collection, to Dr Kliment P For a commentary on the chapter, see also M Gatzinsky of the Department of Anatomy, Roth, Andreas Vesalius Bruxellensis, Berlin, Georg Gothenburg University, Sweden, for his Reimer, 1892, app. -
Introduzione
Introduzione Quando Federico Zuccari mostrò a Filippo II di Spagna la Natività che aveva dipinto per il grande retablo dell'Escorial, il re rimase in silenzio per qualche istante; poi rivolse una domanda all'artista: erano uova quelle che il pastore aveva lì nella cesta e offriva con entrambe le mani alla Vergine? Federico rispose di sì; il re non aggiunse altro. Il commento di Filippo II, laconico come si addice ad un regnante spagnolo, fu prontamente integrato dai cortigiani: “Quelli che si trovavano lì lo notarono, capendo che [il pittore] aveva fatto poco caso alle altre circostanze, e che sembrava inappropriato che un pastore, allontanatosi di corsa dal suo gregge a mezzanotte, avesse potuto portare tante uova, a meno che non fosse un guardiano di galline”.1 Il dialogo tra Federico, il re e i cortigiani permette di introdurre la questione centrale di questa ricerca: quando ad un pittore del Cinquecento era richiesto di tradurre in immagini una storia sacra, gli era concesso un certo margine di invenzione? In cosa consisteva questo margine? A queste domande per ovvie ragioni non si può dare una risposta assoluta ed univoca. Il problema dev'essere indagato tenendo conto dei contesti e delle situazioni specifiche. Nella Spagna di Filippo II, ad esempio, il margine era evidentemente molto stretto: anche la presenza di una cesta di uova accanto ad una figura secondaria doveva essere giustificata di fronte al committente. Il soggiorno spagnolo mise a dura prova la pazienza dello Zuccari: tutte le tavole dipinte dall'artista per la Basilica furono oggetto di critiche e censure perché il pittore aveva illustrato troppo liberamente il soggetto iconografico o perché le immagini non rispettavano il decoro delle figure sacre. -
Art, Ritual, and Reform: the Archconfraternity of the Holy
ART, RITUAL, AND REFORM: THE ARCHCONFRATERNITY OF THE HOLY CRUCIFIX OF SAN MARCELLO IN ROME By KIRA MAYE ALBINSKY A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Catherine Puglisi And approved by ___________________________________ ___________________________________ ___________________________________ ___________________________________ New Brunswick, New Jersey October, 2017 ABSTRACT OF THE DISSERTATION Art, Ritual, and Reform: The Archconfraternity of the Holy Crucifix of San Marcello in Rome By KIRA MAYE ALBINSKY Dissertation Director: Catherine Puglisi “Art, Ritual, and Reform” is the first comprehensive study of the social history, devotional practices, and art patronage of the Arciconfraternita del SS. Crocifisso di San Marcello a Roma, one of the most prominent lay religious associations in sixteenth- century Italy. Divided into four main chapters, the dissertation first develops the innovative theory of conspicuous devotion through a documented examination of the company’s religious rituals and urban processions during the Catholic Reformation. The following chapters apply the theory to analyses of the confraternity’s commissions in the Cappella del Crocifisso in San Marcello and the nearby Oratorio del Crocifisso, in which Perino del Vaga (1501–47), Daniele da Volterra (1509–66), Giovanni de’ Vecchi (ca. 1536–1615), Cesare Nebbia (ca. 1536–1614), and Niccolò Circignani (ca. 1517/24–after 1596) painted. Challenging traditional interpretations of Central Italian painting from 1520 to 1590, the object-focused project argues that conspicuous meaning and form served conspicuous devotion to both instruct and inspire, in accordance with the reforms of the Catholic Church. -
Histoire De La Médecine Est Celle Des Hommes
Table of Contents Cover image Chez le même éditeur Copyright Préface à la 3e edition Préface à la 1re edition Remerciements 1. Médecine chinoise 2. Médecine des Sumériens et des Assyro-Babyloniens 3. Médecine égyptienne 4. Médecine des Hébreux 5. Médecine grecque 6. Médecine romaine 7. Médecine précolombienne 8. Médecine byzantine 9. Médecine arabe 10. Médecine du Moyen Âge occidental 11. Médecine de la Renaissance 12. Médecine du XVIIe siècle 13. Médecine du XVIIIe siècle 14. Médecine du XIXe siècle 15. Médecine du XXe siècle Bibliographie générale Index des noms Index des périodes, pays, lieux et peuples Index des organes, maladies et spécialités Index des ouvrages Chez le même éditeur Du même auteur Dermatologie infectieuse. Collection Abrégés de médecine. 1998, 224 pages. Dans la même collection Anthropobiologie. Évolution humaine, par É. Crubézy, J. Braga, G. Larrouy. 2008, 2e édition, 360 pages. Sciences humaines et sociales, par G. Lazorthes. 2001, 6e édition, 504 pages. Autres ouvrages Dictionnaire médical Manuila, par L. Manuila, A. Manuila, P. Lewalle, M Nicoulin et T. Papo. 2007, 10e édition, 704 pages. La santé à travers les sciences humaines et sociales, par A. D’Houtaud, 1999, 144 pages. Les comportements humains. Étiologie humaine, par G. Zwang. 2000, 296 pages. Les hallucinés célèbres, par G. Lazorthes. 2001, 144 pages. Médecin ou malade ? La médecine en France aux XIXe et XXe siècles, par J. Poirier et F. Salaün. 2001, 336 pages. Sciences humaines et sociales PCEM1, par E. Iardella, 1998, 2e édition, 192 pages. Sciences humaines et sociales, par S. Bimes-Arbus, Y. Lazorthes, D. Rougé, J. Ariès et coll, 2006, 412 pages. -
Illustrations from the Wellcome Library Vesalius's Method of Articulating the Skeleton and a Drawing in the Collection of the Wellcome Library
Medical History, 2000, 44: 97-110 Illustrations from the Wellcome Library Vesalius's Method of Articulating the Skeleton and a Drawing in the Collection of the Wellcome Library MONIQUE KORNELL* ne ofthe recent acquisitions ofthe Wellcome Library, a sixteenth-century Italian drawing of the bones of the pelvis (Plate 1), is particularly significant because it clearly depicts the copper wires and iron rod used in the method of articulation of the skeleton described by Andreas Vesalius (1514-1564) in the thirty-ninth chapter of the first book of De humani corporis fabrica, published in 1543.1 This procedure was the most detailed yet to have appeared in print and it was further enlivened by its visual de- L__________________________ monstration in initial letters decorating the book.2 * Monique Kornell, MA, PhD, Iconographic of the human skeleton by Andreas Vesalius of Collections, Wellcome Library for the History & Brussels', Bull. Hist. Med., 1946, 20: 433-60; and Understanding of Medicine, 183 Euston Road, more recently in Andreas Vesalius, On the fabric London NWI 2BE. of the human body. A translation of "De humani corporis fabrica libri septem"; Book I. The bones I am indebted to Dr Robert R Coleman of The and cartilages, by William Frank Richardson, in Medieval Institute, University of Notre Dame, collaboration with John Burd Carman, San, for his kind assistance with the Biblioteca Francisco, Norman Publishing, 1998, pp. 370-84. Ambrosiana drawings collection, to Dr Kliment P For a commentary on the chapter, see also M Gatzinsky of the Department of Anatomy, Roth, Andreas Vesalius Bruxellensis, Berlin, Georg Gothenburg University, Sweden, for his Reimer, 1892, app. -
Salviati, Vasari, and the Reuse of Drawings in Their Working Practice
Originalveroffentlichung in: Master Drawings 30, Nr. 7, 7992, S. 83-108, Salviati, Vasari, and the Reuse of Drawings in their Working Practice Alessandro Nova The repetition of standard stock figures, one of the nations often portray Christ and the Virgin in the same 3 most characteristic features of the art we are now ac pose and sometimes dressed in almost identical robes. customed to calling Mannerism, has largely been over But these were mostly iconographic conventions as looked in the most recent discussions of maniera or the other Florentine paintings of the fourteenth century 4 "stylish style."1 The purpose of this article is to examine demonstrate. this practice in the works of two well-known sixteenth- Here, however, I am more concerned with the reuse century artists who were also close friends, Francesco of a specific figure (or figures) in different contexts, Salviati and Giorgio Vasari. whether in oil paintings or in fresco cycles, than with the The use and reuse of standard models, or the practice issue of fixed iconography. While quotation and self- by which an artist refers to earlier work by others or by quotation are common to many sixteenth-century paint himself through the systematic exploitation of stock ers, Vasari and Salviati are unusual in their frequent and figures, is restricted neither to Mannerism nor to six sometimes overindulgent habit of referring to their ear teenth-century art. However, it is worth examining here lier work. Both artists probably inherited this practice in some detail for two principal reasons: first, it is impor from the masters with whom they both had studied, tant to establish how the art of quotation and self-quota Andrea del Sarto and Baccio Bandinelli, but it seems that tion changes with time and place, or, in other words, Vasari and Salviati took this method to the extreme. -
(Title of the Thesis)*
FRANCESCO SALVIATI RITRATTISTA: EXPERIMENTS IN CINQUECENTO PORTRAITURE by Xiaoyin Huang A thesis submitted to the Graduate Program in Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (April, 2013) Copyright ©XiaoyinHuang, 2013 Abstract This dissertation aims to provide a comprehensive study of Francesco Salviati’s portraits, analyzed within a chronological framework. Traditional attributions are re-examined and recent discoveries included to establish a reliable core group of the artist’s portraits, one exhibiting a stylistic coherence. Salviati’s activities as a portraitist are placed in the historical, political, cultural and artistic context of his time, with particular emphasis on patronage. Versatile and well-connected, Francesco served a number of top-ranking patrons of his time, including Cardinal Giovanni Salviati, Pier Luigi and Alessandro Farnese (in Rome), Duke Cosimo I de’ Medici (in Florence), the Grimani family (in Venice), King Henri II, and the Cardinal of Lorraine in France. This study intends to navigate portraiture’s role in the relationships between the courtier-artist and his princely patrons. Characterized by innovation and experimentation, Salviati’s portraits vary in composition, media and supports. As one of the earliest artists to produce portrait miniatures in Italy, Francesco evidently introduced the genre to Cosimo I de’ Medici’s court to create an aura of a royal court equal to that in France and England. His experiments with the use of various stone supports for portraits are discussed in relation to his status as the leading painter in Rome after the death of Sebastiano del Piombo in 1547. -
The Thorax in History 5Discovery of the Pulmonary Transit
Thorax: first published as 10.1136/thx.33.5.555 on 1 October 1978. Downloaded from Thorax, 1978, 33, 555-564 The thorax in history 5 Discovery of the pulmonary transit R K FRENCH From the Wellcome Unit for the History of Medicine, University of Cambridge The discovery that blood passes from the heart to in the belief that the Arabs had merely corrupted the lungs and from the lungs back again to the the true spirit of Greek medicine. Moreover, the heart was the first major development in physi- Arabic texts in Latin guise contained ugly, barbaric ology since the early days of the Alexandrian words that did not decline properly and which school more than a thousand years before. It obscured the meaning of the purer Greek. followed shortly after the rediscovery of the The dispute about where to let blood was not ancient writings, particularly those of Galen and merely an academic one, for it had immediate Aristotle. The scholarly evaluation of these texts practical significance. The humanists found that showed that on certain fundamental issues, in our the Greek texts of Hippocrates and Galen in- case the structure and function of the heart and structed the physician to let blood from a vein on lungs, Aristotle's opinion could not be reconciled the same side of the body as the diseased part, with that of Galen. The same texts provided a while the traditionalists believed the vein should model of scientific procedure including a con- be on the opposite side. Everyone agreed in general sidered evaluation of scientific "fact" derived from that blood was one of the four cardinal humours, historical sources. -
VONS Guido Guidi.Indd
123 SCIENCES LES OUVRAGES DE GUIDO GUIDI, PREMIER LECTEUR ROYAL DE CHIRURGIE DE FRANÇOIS Ier Jacqueline VONS* RÉSUMÉ : François Ier créa la première chaire de chirurgie au Collège de France pour un jeune chirurgien florentin, Guido Guidi Vidus( Vidius), qui devint également un de ses méde- cins ordinaires. La communication précise les circonstances de ces nominations et présente trois ouvrages de chirurgie et d’anatomie de cet auteur, dont deux sont entrés dans le fonds ancien de la bibliothèque Émile Aron de la faculté de médecine de Tours. ABSTRACT: Francis I of France founded the first chair of Surgery at the Royal Collegium for a young Surgeon of Florence, Guido Guidi (Vidus Vidius), who also became one of the ordinary physicians of the King. This paper goes into further details of these titles and explains some books (Surgery and Anatomy) written by this Surgeon. Two of these are in the Reserve Collection in the Library E. Aron of the Faculty of Medicine at Tours. Parmi les manifestations autour de la figure de François Ier qui ont marqué notre région en 2015, une exposition au château de Blois était consa- crée à la bibliothèque de ce roi, mécène des arts et des lettres. Il m’est d’autant plus agréable de rappeler ici quelques aspects de la curiosité royale pour les beaux livres et les sciences en général, que dans le riche fonds ancien de la bibliothèque Émile Aron de la faculté de médecine de Tours, figurent deux * Membre de l’Académie de Touraine. Mémoires de l’Académie des Sciences, Arts et Belles-Lettres de Touraine, tome 28, 2015, p. -
Life of Guido Guidi (Vidus Vidius), Who Named the Vidian Canal
Child's Nervous System (2020) 36:881–884 https://doi.org/10.1007/s00381-018-3930-7 COVER EDITORIAL Life of Guido Guidi (Vidus Vidius), who named the Vidian canal İlhan Bahşi1 Received: 16 July 2018 /Accepted: 23 July 2018 /Published online: 31 July 2018 # Springer-Verlag GmbH Germany, part of Springer Nature 2018 His life His works Guido Guidi (Latinized name Vidus Vidius) was an Italian Thompson [3] said that Benvenuto Cellini has told us in anatomist and surgeon [1]. In the literature, much of the his autobiography that near the house in which he had details regarding his life are lacking. He was born in lived in Paris, there were some little dwellings inhabited Florence [2]. Different information is present about his by different sorts of men, among whom was a printer of date of birth in the literature: there are sources indicating books of much excellence in his own trade. He was Petrus thathewasbornin1500[3], 10 February 1508 [4], 1500/ Galterius who was first printed the named Chirurgia è 1509 [5], 1509 [2], and 10 February 1509 [1]. His mother graeco in latinum conuersa, Vido Vidio Florentino (Costanza) was daughter of painter Domenico del interprete cum nonnullis ejusdem Vidii cõmentarijs of Ghirlandajo who work as an apprentice for Guido Guidi in 1544. This book is paper that complied Michelangelo [2, 4]. His father, Giuliano di Guido dei to the works of ancient Greek surgeons and prepared as Guidi was a family of physicians [4]. handwritten by Nicetas in the 10th century. Guidi had He probably trained in medicine and surgery in a native translated this book Greek into Latin and he added to city and soon after that earned reputation as a good capable his interpretations.