INTRODUCTION<br > ~ " When Andreas Vesalins, the great anatomist of the Italian Renaissance, broke with<br > "=,~ ~ ~ f~L-~, g, tg,~"~ ~-"~ {~-~ medieval tradition and taboo by systematically dissecting the human body, peeling back<br > ~ ~ ~~a~.~ ~ ~" P ?~ ~ ~e,~~ in mollon a train of discoveries and inventions which would culminate 450 years later in<br > } :" "~~i tl llous imagery to be found on the pages of this book.<br > Vesalius would have been astounded at the sight of this spectacular interior cosmos.<br > "5 " J for which nothing in his experience could have prepared him. He would equally have<br > ~: " ; been amazed to discover that these wonders had not been revealed by the surgeon s<br > scalpel but by superhuman, though man-made, eyes - eyes so powerful that they could<br > actually scmtlblze individual cells, their nuclei, and even single atoms. Just as astonish-<br > ing, some of these disembodied eyes could probe the body s innermost secrets while it<br > was alive and in good health without so much as physically touching it, let alone pene-<br > trating its surface.<br > Today, with the array of scientifically derived knowledge of the body available to<br > us, it is still difficult to believe that these fascinating pictures are not out-takes from<br > some popular science-fiction film like Fantastic Voyage, in which a team of down-<br > sized human beings pilot their minute craft on a perilous mission through the human<br > body, but are instead the fruits of painstaking scientific investigation coupled with<br > ingenious technology.<br >A 15th~century Astmlogi~l Man , with For all their hi-tech aura, however, they are in one fundamental way a continuation<br >zodiacal signs. From Heymandus de Veterd of a long and venerable tradition dating back to the Renaissance: that of picturing the<br >Busco, Ars computisHca, 1488 body and its parts precisely and accurately with the use of naturalistic techniques.<br >l]covch~ figure* attributed to the circle Before the Renaissance, which saw the first of this new style of representation, depic~<br >of Baaolomeo Passarotti, Bologna,<br >mid-16th century tions of the body had done little to elucidate its structures and functions. During the<br >~, ~.~! .._ ~ ~i~5 =~ ~... Middle Ages, dissecti forbidd dpfi d physicians tumed to th liac<br > ~:~",m"Y~ ~ to illuminate the mysteries of the body s interior.<br > jr i Durng~eena in istsbegn ec~gcosein~er<br >7~; 7 .~ own studios in the belief that a proper understanding of human anatomy was essential<br > ( if the exterior of the body were to be correctly depicted. In their knowledge of the body<br > they were often in advance of the physicians, who were still dissecting animals and<br > relying unquestioningly on the received wisdom of ancient texts. The accuracy, of the<br > new naturalistic techniques would prove so useful to medical men and scientists that it<br > !i~ ~ would eventuaUy win over all but the most stubborn of their fellows.<br > , From the beginning of the sixteenth century, with the growing power of the printing<br > I!~ press, illustration played an ever more important role in communicating information<br > r ~ t about the body. Artists and scientists along with their publishers, were constantly think-<br >: "~rg ~ ~ 7V ing up inventive ways of presenting their findings. The plates in Vesalius great text De<br >i~ : bunmni corporisfabHca (1543), for example, were so designed as to enable the reader<br > i to follow the dissection procedure step-by-step, with each of the plates revealing a<br >;~ " "~ti .~ deeper level right down to the skeleton. Another ingenious device of the period was an<br > ::~ instructional sheet which had superimposed flaps that could be folded back to reveal<br > ,~p,..~ the internal organs.<br > Over the following centuries the inner terrain of the I>ody and charted.<br > ~- ~ [.S : Yet there seemed no end to the finer and finer structures theWaSprobingmappedrevealed, in this<br >
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