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