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of Baccio Bandinelli, engraved by Enea Vice after Baccio
Bandirielli, apprentice draughtsman are also surrounded
by bits and pieces of human skeletons, which were appar­
ently used as drawing examples. See TIB. 30, pp. 68-69,
no. 49.
13. Van Mander 1973, vol. 1, pp. 104-105 (text
and English translation) and vol. 2, pp. 440-441 (annota-
tions): 8t
Noeh comt groodijex de teycken-const te Baten/
Wei te verstaen (met dooden te sien viilen) Waer Muschels
beginnen/ oft eynden willen." ForVasari s words, seeVasari
1966, vol. 1 (text), pp. 114-115.
14. Van Mander 1604, fol. 263 verso; also see Van
Mander 1994, vol 1, pp. 312-313. On the history of dis­
section and its relation to the fine arts in general see Cetto
1967.
15. Angel 1642, pp. 52-53.
16. O'Mailey 1950, p. 92. For the life and works
of Vesalius: O'Mailey 1964. These anatomical plates
enjoyed an immense popularity, compare Huard 1980,
Pinault 1984, pp. 56-57 and Bolten 1985, pp. 234-236.
17. As mentioned, several prominent Italian
painters had envisaged books on anatomy for artists,
among them Michelangelo, Leonardo, Rosso Fiorentino
and Alessandro Allori. None of these projects seems to
have been brought to fruition, see Kernel! 1989a, p. 847.
However in Italy a slightly altered edition ofVesalius s De
humani corporis fabrica appeared, written by the Spanish
anatomist Juan Valverda de Hamasco, with plates engraved
by Nicolas Beatrket.This book was published in four edi­
tions between 1556 and 1589,in Spanish, Italian and Latin,
see TIB. 29, pp. 304-307. Monique Kornell also kindly
drew my attention to Giulio Bonasonc s series of anatom­
ical prints.This series of thirteen engravings certainly pre­
dates Gallc's Instruction et fondements - Bonasone died
around 1580 - and probably aimed at an audience of artists.
Unfortunately, no introduction nor any early references
to these illustrations have survived, leaving us in doubt
about the publisher's exact intentions. On this series, see
Bartsch 1803-21, vol. 15, pp. 167-169, nos. 329-341,TIB.
29, pp. 118-130, nos. 329-341 and Massari 1983, vol. 1,
pp. 190-194, nos. 172-184.
18. Voet 1980-83, vol. 5, pp. 2327-2336. Plantm
published Vesalius s treatise together with Vivae imagines
Notes Chapter 3
182
partium corporis humani by Juan Valverda de Hamasco, a
Spanish follower ofVesalius. Latin editions appeared in
1566,1572 and 1579, and a Dutch translation in 1568.
19. This portrait was included in the Viromm doc-
torum (1572), engraved and published by Philips Galle in
1572. On the complex history of the engravings in this
publication, see chapter 3. An illustrated but not entirely
reliable survey of the iconography ofVesalius s portrait is
found in Spielmann 1925; also seeVan Sorneren 1888-91,
vol. 3, pp. 650-651 and appendix 2E no. 140. In die UfEzi
in Florence there is also a painted portrait ofVesalius attrib­
uted to Jan Stefan van Kalkar; compare Hoogewerff 1957-
59, p. 64.
19a. Stradanus may have been influenced by
Melchior Meiers earlier engraving of the same subject,
dated 1581: see Hollstein (German), vol. 25, p. 28, no. 7
andCazort 1996-97, pp. 160-161, no. 47, with further ref­
erences. Although the anatomical interest in the slayed
nude is very similar, the print by Meier - who worked in
Tuscany in the period 1575 to 1582 - lacks the vigour of
Stradanus s composition.
20. "Corporis humani qui membra rninuta
secaret/ Vesalio nullus doctior extiterat./ Hie Medicis
auxit,Pictoribus auxit et artern,/ Dum subitinternas quae
latucre vias."
21. TIB, 56, pp. 315-322, nos. 84:1-8; also see
Cetto 1968, pp. 167-168 (as unknown sixteenth centu-
«y)-
22. For Diirer s experiments with detached arms,
prints of which were published in his illustrated book on
proportion in 1528, see Rupprich 1956-69, vol. 3, figs.
42-49.
23. On Cousin see Bolten 1985, pp. 179-186.The
importance of anatomy for artists in the seventeenth and
eighteenth centuries is discussed in Ameisenowa 1963,
pp. 56-68 and Lexnmens 1964, pp. 12-22.
24. On Galle as a draughtsman seeVeldman 1991.
On Galle as a print publisher see chapter 1 and Sellink
1992a, with further references,
25. Sea and riper gods: Hollstein, vol. 7, p. 78, nos.
316-322 and TIB. 56, pp. 345-353, nos. 90:1-17. Nymphs: