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History and Bibliography of Anatomic Illustration in Its Relation to ...
Johann Ludwig Choulant
No preview available - 2015
abdominal cavity Academy Albinus Amsterdam anatomic illustrations anatomic plates anatomic representation anatomist Andreas Andreas Vesalius apud artistic anatomy Basel beautiful Berlin bloodletting Bologna bones born cadaver Casserius century Choulant Codex colophon colored contains copper engravings copper-title copperplates copy corporis humani dissected drawings drawn Dresden edition Epitome Ercole Lelli Eustachius fabrica Fasciculus medicinae female folio German Giuseppe Bossi graphic and plastic Haller hand human anatomy human body humani corporis Italian Johann Ketham Kunstkatalog large fol later Latin Leipzig Leonardo Leonardo da Vinci lithographic liver London Lugd male manikin Mascagni medicine mentioned Moehsen Mondeville Mundinus muscles myologic nature nerves nude organs osteologic painter painting Paris physician Pieter Camper plate represents preface printed proportions published repre reproductions Santorini sculpture sheet shows skeleton sketches skull Soemmerring Strassburg Sudhoff surgeon Tabulae tion title-page translation treatise uterus veins Vesalian Vesalius Vinci viscera Weigel woodcuts
Page 349 - The Anatomy of the External Forms of Man ; intended for the Use of Artists, Painters, and Sculptors.
Page 144 - A man cannot tell whether Apelles or Albert Durer were the more trifler; whereof the one would make a personage by geometrical proportions; the other, by taking the best parts out of divers faces, to make one excellent. Such personages, I think, would please nobody but the painter that made them. Not but I think a painter may make a better face than ever was; but he must do it by a kind of felicity (as a musician that maketh an excellent air in music), and not by rule.
Page 70 - Psalms, which has been referred to the end of the thirteenth or the beginning of the fourteenth century.
Page 411 - Anatomy in its Relation to Art. An Exposition of the Bones and Muscles of the Human Body, with Reference to their Influence upon its Actions and External Form.
Page 129 - Dialogo nel quale si ragiona del modo di accrescere e conservar la memoria, Venezia, 1562, 8°, 120 pages, on page 5The later edition of the Margarita philosophica Choulant did not see.
Page 402 - He goes on to show how in regard to the human figure we have been taught to see what we do see. "Created by Donatello and Masaccio, and sanctioned by the Humanists, the new canon of the human figure, the new cast of features . . . presented to the ruling classes of that time the type of human being most likely to win the day in the combat of human forces. . . . Who had the power to break through this new standard of vision and, out of the chaos of things, to select shapes more definitely expressive...
Page 387 - ... dissected many human bodies to study the anatomy, and was the first who investigated the action of the muscles in this manner,* that he might afterwards give them their due place and effect in his works.
Page 100 - Leonardo, who tilled a book with drawings in red crayons, outlined with the pen, all copies made with the utmost care (from bodies) dissected by his own hand. In this book he set forth the entire structure, arrangement, and disposition of the bones, to which he afterwards added all the nerves, in their due order, and next supplied the muscles...
Page 401 - ... a masterpiece and miracle of imbecility ; the unimportant little woman grows into a slow horror before your eyes. It is always the unpleasant aspect of things that he seizes, but the intensity of his revolt from that unpleasantness brings a touch of the sublime into the very expression of his disgust. Every sentence is an epigram, and every epigram slaughters a reputation or an idea. He speaks with an accent as of pained surprise, an amused look of contempt, so profound that it becomes almost...
Page 211 - ... trifle, I deemed it sufficient to keep him always in my heart. Yet, finding that the drama of my life requires his presence, I shall introduce him here at the moment of my greatest trials, in order that, as he was then my comfort and support, I may now recall to memory the good he did me." Well, then, Messer Guido came to Paris; and not long after making his acquaintance, I took him to my castle, and there assigned him his own suite of apartments. We enjoyed our lives together in that place for...