Giuseppe Sterzi (1876-1919) of the University of Cagliari: A brilliant neuroanatomist and medical historian

Riva, Alessandro; Orrù, Beniamino; Riva, F.

doi:10.1002/1097-0185(20000615)261:3<105::aid-ar5>3.0.co;2-h

Cited by 7 publications

(7 citation statements)

References 4 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Although the illustrations used by Fabricius in his work were highly admired by his students and contemporaries who had free access to these paintings (Riva, ), the Tabulae disappeared after Fabricius's death and was only rediscovered in 1909, when Giuseppe Sterzi traced them to the Marciana, the State Library of Venice (Riva et al, ). However the influence of Fabricius's work could be observed in the copper engraved figures prepared by his most illustrious pupil Casserius, which were ultimately published along with the works of Spigelius, another famous student of Fabricius (Riva, ; Murakami et al, ).…”

Section: Renaissance Period (1400 To 1600 Ad)mentioning

confidence: 99%

Evolution of illustrations in anatomy: A study from the classical period in Europe to modern times

Ghosh

2014

Anatomical Sciences Ed

View full text Add to dashboard Cite

Illustrations constitute an essential element of learning anatomy in modern times. However it required a significant evolutionary process spread over centuries, for illustrations to achieve the present status in the subject of anatomy. This review article attempts to outline the evolutionary process by highlighting on the works of esteemed anatomists in a chronological manner. Available literature suggests that illustrations were not used in anatomy during the classical period when the subject was dominated by the descriptive text of Galen. Guido da Vigevano was first to use illustrations in anatomy during the Late Middle Ages and this concept developed further during the Renaissance period when Andreas Vesalius pioneered in illustrations becoming an indispensable tool in conveying anatomical details. Toward later stages of the Renaissance period, Fabricius ab Aquapendente endeavored to restrict dramatization of anatomical illustrations which was a prevalent trend in early Renaissance. During the 18th century, anatomical artwork was characterized by the individual styles of prominent anatomists leading to suppression of anatomical details. In the 19th century, Henry Gray used illustrations in his anatomical masterpiece that focused on depicting anatomical structures and were free from any artistic style. From early part of the 20th century medical images and photographs started to complement traditional handmade anatomical illustrations. Computer technology and advanced software systems played a key role in the evolution of anatomical illustrations during the late 20th century resulting in new generation 3D image datasets that are being used in the 21st century in innovative formats for teaching and learning anatomy.

show abstract

Section: Renaissance Period (1400 To 1600 Ad)mentioning

confidence: 99%

Evolution of illustrations in anatomy: A study from the classical period in Europe to modern times

Ghosh

2014

Anatomical Sciences Ed

View full text Add to dashboard Cite

show abstract

“…While professor in Padua, he discovered the Tabulae Anatomicae by Fabricius ab Aquapendente in the Marciana Library in Venice (Sterzi, 1909). He also published a monograph on Iulius Casserius (Sterzi, 1910; Bertelli, 1919; Sciarra, 1967; Franceschini, 1972; Riva et al, 2000).…”

Section: From Morgagni's Death To the XXI Centurymentioning

confidence: 99%

The Anatomical School of Padua

Porzionato

Macchi

Stecco

et al. 2012

The Anatomical Record

View full text Add to dashboard Cite

show abstract

“…He states that, in contrast to those published by Vesalius, the body parts in his Tabulae were represented in their natural size and, more importantly, in their natural colours. Although greatly admired by Fabricius’s contemporaries, who, like his students, had free access to them, the Tabulae disappeared after his death and were only rediscovered in 1909 when Giuseppe Sterzi traced them to the Marciana, the State Library of Venice, through a document that stated that Fabricius had willed the Tabulae to the Republic of Venice (Riva et al. 2000; Ongaro, 2004; Rippa Bonati, 2004).…”

Section: Hieronymus Fabricius Ab Aquapendente and His Tabulae Pictaementioning

confidence: 99%

The evolution of anatomical illustration and wax modelling in Italy from the 16th to early 19th centuries

et al. 2010

Self Cite

View full text Add to dashboard Cite

Although the contribution to anatomical illustration by Vesalius and his followers has received much attention, less credit has been given to Veslingius and particularly Fabricius. By 1600, Fabricius had amassed more than 300 paintings that together made the Tabulae Pictae, a great atlas of anatomy that was highly admired by his contemporaries. Many of his new observations were incorporated into subsequent books, including those by Casserius, Spighelius, Harvey and Veslingius. Also of importance were the Tabulae by Eustachius (1552), which, although only published in 1714, greatly influenced anatomical wax modelling. In 1742, Pope Benedict XIV established a Museum of Anatomy in Bologna, entrusting to Ercole Lelli the creation of several anatomical preparations in wax. Felice Fontana realised that the production of a large number of models by the casting method would make cadaveric specimens superfluous for anatomical teaching and in 1771 he asked the Grand Duke to fund a wax-modelling workshop in Florence as part of the Natural History Museum, later known as La Specola. Fontana engaged Giuseppe Ferrini as his first modeller and then the 19-year-old Clemente Susini who, by his death in 1814, had superintended the production of, or personally made, more than 2000 models. In 1780, the Austrian Emperor Joseph II visited La Specola and ordered a great number of models for his Josephinum museum; these were made by Fontana with the help of Clemente Susini and supervised by the anatomist Paolo Mascagni. It is, however, in Cagliari that some of Susini's greatest waxes are to be found. These were made when he was free of Fontana's influence and were based on dissections made by Francesco Antonio Boi (University of Cagliari). Their distinctive anatomical features include the emphasis given to nerves and the absence of lymphatics in the brain, a mistake made on earlier waxes. The refined technical perfection of the anatomical details demonstrates the closeness of the cooperation between Susini and Boi, whereas the expressiveness of the faces and the harmony of colours make the models of Cagliari masterpieces of figurative art.

show abstract

Giuseppe Sterzi (1876-1919) of the University of Cagliari: A brilliant neuroanatomist and medical historian

Cited by 7 publications

References 4 publications

Evolution of illustrations in anatomy: A study from the classical period in Europe to modern times

Evolution of illustrations in anatomy: A study from the classical period in Europe to modern times

The Anatomical School of Padua

The evolution of anatomical illustration and wax modelling in Italy from the 16th to early 19th centuries

Contact Info

Product

Resources

About