. Studies in the history and method of science. Fig. 4. From the English translation of Bartholomaeus Anglicus, printed by Wynkyn de j^^Worde, 1495. The first picture of dissection in an English-printed VENETIIS ANNO ?D* M^CCCCCXXXV* Fig. 5. A LECTURE ON ANATOMYFrom the 1535 Venice edition of Berengar of Carpis Commentary on Mondino, 86 A STUDY IN EARLY RENAISSANCE ANATOMY third period in the history of our subject. From that time datesthe true era of anatomical renaissance, which may be regarded ascontinuing until the commencement of modern anatomy with thegreat work of Vesalius in 154
. Studies in the history and method of science. Fig. 4. From the English translation of Bartholomaeus Anglicus, printed by Wynkyn de j^^Worde, 1495. The first picture of dissection in an English-printed VENETIIS ANNO ?D* M^CCCCCXXXV* Fig. 5. A LECTURE ON ANATOMYFrom the 1535 Venice edition of Berengar of Carpis Commentary on Mondino, 86 A STUDY IN EARLY RENAISSANCE ANATOMY third period in the history of our subject. From that time datesthe true era of anatomical renaissance, which may be regarded ascontinuing until the commencement of modern anatomy with thegreat work of Vesalius in 1543. We have said that throughout the second period, the formaldemonstrations based on the declaimed text of Galen or Avicennaor Mondino were practically the sole opportunities afforded toeither teacher or pupil for the investigation of the minuter detailsof the human frame. But in making this statement concerning thearrest of anatomical progress, we must expressly exclude the pro-ducts of the mighty genius of Leonardo da Vinci (1452-1519), whoseanatomical researches were without influence, and remained longunnoticed.^ We must also omit evidence gathered from the workof such early Renaissance painters
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