Annals of medical history . cant six inchesmeasurement, of brassy tex-ture and without particularpatina; it dates from the firstquarter of the XVI centuryand is said to be the work ofJacobo Sansovino. With equalreason, we should think, itcould be assigned to Andrea,Jacobos teacher, pu-pil of Antonio Pol-laiuolo who was thevirtual beginner ofartistic anatomy inItaly. Whatever attribution wegive it, this choice bronze nug-get still serves to blazon andproclaim a new passion (or isit the revival of an old?), name-ly a passion for uncompromis-ing realism on the part of thegreat figure-painters and
Annals of medical history . cant six inchesmeasurement, of brassy tex-ture and without particularpatina; it dates from the firstquarter of the XVI centuryand is said to be the work ofJacobo Sansovino. With equalreason, we should think, itcould be assigned to Andrea,Jacobos teacher, pu-pil of Antonio Pol-laiuolo who was thevirtual beginner ofartistic anatomy inItaly. Whatever attribution wegive it, this choice bronze nug-get still serves to blazon andproclaim a new passion (or isit the revival of an old?), name-ly a passion for uncompromis-ing realism on the part of thegreat figure-painters and sculp-tors of Florence; realism thatled into paths of purely objec-tive inquiry. Artists, for thenonce, became ceased to be symbolicand became scientific. Act-ually, at times, more humandissections were performed inthe city of Florence by masters of art thanby the appointed masters of was a discipline which no workerin the round could ignore. To such itwas the supreme enabling gift. It meant. XVI Century Italian bronzefigurine of an ecorche orflayed man. Attributed toJacobo Sansovino. (Reproduced bv permission of Gimpel andWiklenstein.) technical excellence, power to portray pres-sures and mass beneath contour. It gavereality and firm substance to the represen-tations of form and movement. It broughtfresh vision and vigor to assail each vitalplastic problem. The new naturalism, aimingat a scientific reproduction ofnature, took the FlorentineSchools by storm. No bot-tega but felt the vast stir ofthis momentous Ars et Mysterium offigure-drawing and of form-modeling was revolutionized ;her ancient ante-chambersconverted into veritable hallsfor dissection. Donatello andAndrea del Castagno witnessedanatomies; PoIIajuolo and Ver-rocchio, their pupils, performedthem. From 1450 until thedecline of the school of theCarracci at Bologna, anatomyhad a more or less secure placein North Italian schools ofArt. Leonardo, Michelange-lo, and all t
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Keywords: ., bookauthorp, bookcentury1900, bookdecade1910, booksubjectmedicine
