15 10 414 https://www.european-mastectomy.artinterp.org/files/original/d581d127fdb36a9a8197e27f8be29eff.jpg b71eb9e890feb21ec25b41914e567d31 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caricatures Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Metallic-Tractors Subject The topic of the resource An operator treating the carbuncled nose of an obese patient with "Perkins's tractors" Creator An entity primarily responsible for making the resource Gillray, James, 1756-1815 Source A related resource from which the described resource is derived Wellcome https://wellcomecollection.org/works/px2n4qhb Publisher An entity responsible for making the resource available Coloured aquatint after J. Gillray, 1801. Contributor An entity responsible for making contributions to the resource British Museum, Catalogue of political and personal satires, vol. VIII, London 1947, no. 9761A facial physician private quacks surgery tools https://www.european-mastectomy.artinterp.org/files/original/ffe2760c33752b8f3e5b9747d90972fd.jpg d16f45981ca4651d5cfcce12d152d2c3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caricatures Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource French Generals retiring on account of their health; with Lepaux presiding in the Directorial Dispensary Subject The topic of the resource Larevellière-Lépeaux sits in a disordered quack doctor's room, in the presence of seven wounded French generals, one of them vomiting; representing French defeats in 1799 and Bonaparte's failed imperial ambitions in the east. Coloured etching by J. Gillray, 1799. Description An account of the resource 1 print : etching, with watercolour ; platemark 26 x 36.2 cm Creator An entity primarily responsible for making the resource Gillray, James, 1756-1815 Source A related resource from which the described resource is derived Wellcome https://wellcomecollection.org/works/tztchawh Publisher An entity responsible for making the resource available [London] (St. James Street) : H. Humphrey, 20 June 1799. Contributor An entity responsible for making contributions to the resource British Museum, Catalogue of political and personal satires, vol. VII, London 1942, no. 9403 british cabinet of curiosity egyptian french jars military quacks tools https://www.european-mastectomy.artinterp.org/files/original/b179ca11a7a5a5cacaf027b18299bf24.jpg 8ed4c1ae38696d412951930aaf9d5b74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caricatures Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Doctor Sangrado curing John Bull of Repletion: with the kind offices of young Clysterpipe & little Boney Subject The topic of the resource John Bull, sitting in a weakened state on a commode, is being bled by a physician holding his arm and applying the knife; Bull is supported from behind by a man; two other men stand at left offering bowls of warm water; Napoleon collects blood at right. Description An account of the resource 1 print : 27 x 37 cm. Technique: etching, color Creator An entity primarily responsible for making the resource Gillray, James, 1756-1815, artist Source A related resource from which the described resource is derived NLM http://resource.nlm.nih.gov/101393185 Publisher An entity responsible for making the resource available [London:] : H. Humphrey, May 2, 1803 bloodletting english french lancet napoleon https://www.european-mastectomy.artinterp.org/files/original/f7d3de4f3fba059f1de8f0ae2e86044a.jpg 18405e46d67d3d1e28e2277a162d0580 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Martyrdom of Saint Agatha Description An account of the resource "One of the most classic creations from Tiepolo's Venetian years is the former high altar picture of the Benedictine monastery church of S. Agata in Lendinara near Rovigo, which the artist painted around 1755 after his return from Würzburg in 1753. It depicts the death of the titular saint, who lived in Catania in the first half of the 3rd century and suffered martyrdom in 251. She came from a wealthy noble family and dedicated her life to Christ from an early age. She was subjected to various temptations, arrested and tortured by young Quintian. An executioner severed her breasts. Brought back to the dungeon, Peter appeared to her and healed her. When tortured again, part of the building suddenly collapsed, burying two executioners. An earthquake broke out in Catania. After the prayer of thanks that her body was unharmed, she died. Etna erupted on the anniversary of her death. The cloth covering her grave was carried towards the flow of lava, stopping it. Her protection was henceforth invoked to ward off earthquakes. While early Baroque Italian painters were fond of depicting the episode of St. Agatha's healing by Peter in prison, Tiepolo's picture depicts her martyrdom. Half slumped on the steps of an ancient building, she gazes submissively upwards while a servant with the A cloth covers the mutilated breast and a youth next to her carries the severed breasts on a bowl. Tiepolo did not depict the moment of the execution of the torture, thus avoiding the drastic nature of the horrible, bloodthirsty man. Rather, what is decisive is the impression of firmness, calm trust in God and strength of faith that emanates from the saint. Her face is held and framed, as it were, by the heads of the youth and the servant, who gently and snuggly turn towards her, while the impetuous, threatening figure of the brutal executioner, appearing behind and above her on the right and pointing his right arm, forms the dramatic counterpart. The energy of his head, which is thrown to the left, is checked by the mighty towering column, the vertical of which symbolically and formally absorbs the saint's upward gaze. However, the column is no longer visible in its full original height. As the etching by Giovanni Battista's son Giovanni Domenico shows, the picture originally ended in a semicircle at the top. The shaft of the column ended in a fracture, the ruinous state perhaps alluding to the collapse of the palace and the earthquake. On the left in the clouds was the vision of the saints, the flaming heart of Christ surrounded by the crown of thorns, with two angels' heads hovering around it. As early as 1795 the picture was in poor condition. It disappeared from the church when the monastery was secularized in 1810 or at the latest in 1832/35 when a priest acquired the church building from the Austrian administration and handed it over to the Capuchins, who redecorated the church and dedicated the high altar to St. Francis. Tiepolo's image was also cropped by 15 centimeters at the bottom. Two preliminary drawings for the head of the saint are in the Berlin Print Room, a study for the youth's hands holding the bowl, is kept in the Museo Correr in Venice. | 200 masterpieces of European painting - Gemäldegalerie Berlin, 2019 ______________________________ One of the most classical creations of Tiepolo's Venetian years is the former high altar of the Benedictine monastery church of Sant'Agata in Lendinara near Rovigo, which the artist painted 1745–50 after returning from Würzburg in 1753. It depicts the death of the tutelary saint, who lived in Catania during the first half of the third century, and suffered martyrdom in 251. Saint Agatha came from a wealthy noble family, and devoted her life to Christ already in her younger years. She was exposed to various temptations, imprisoned, and tortured by the young Quintian. An executioner cut off her breasts. After she was returned to prison, Saint Peter appeared to her and healed her. Upon continued torture, a section of the building suddenly collapsed, burying two executioners. Then an earthquake occurred in Catania. After giving thanks for the fact that her body had remained unharmed, she died. On the anniversary of her death, Mount Etna erupted. The sheet that had covered her grave was held up to the stream of lava, bringing it to a standstill. She has been invoked as a protectress from earthquakes ever since. While the Italian painters of the early Baroque preferred as a rule to illustrate the episode when Agatha is healed in prison by Saint Peter, Tiepolo's picture depicts her martyrdom. She has slumped down halfway onto the steps of an antique building, and gazes upward into the heavens with an expression of surrender, while a female servant uses a cloth to cover her mutilated chest and a nearby youth carries the severed breasts on a tray. Tiepolo has not depicted the moment of the actual act of torture itself, hence avoiding the greatest extremes of cruelty and gruesomeness. Decisive here instead is an impression of steadfastness, of belief in God, and strength in faith that is expressed by the figure of the saint. Her face is held so to speak and framed by the heads of the youth and the female servant, who turn toward her with gentleness and solicitude, while the ferocious, brutal figure of the executioner, a dramatic antagonist, looms up behind her making an expansive pointing gesture with his right hand. The energy of his head, turned toward the left, is arrested by the powerfully towering column, whose vertical takes up the saint's upward gaze, both symbolically and formally. The column is however no longer visible in its original height. As shown by an etching executed by Giambattista's son Giandomenico, the upper terminus of this picture was originally semi-circular. The top of the shaft of the column was broken off, its ruinous condition perhaps an allusion to the collapse of the palace and the earthquake. Depicted on the left-hand side in the clouds was the saint's vision, the flaming heart of Christ surrounded by the crown of thorns and flanked by a pair of angel's heads. As early as 1795, the picture was found in poor condition. It vanished from the church when the monastery was secularized in 1810, or perhaps as late as 1832/35, when a priest acquired the church building from the Austrian administration and transferred it to the Capuchins, who redecorated the church and dedicated the high altar to Saint Francis. Approximately 15 centimeters were removed from Tiepolo's picture at the bottom. Two preliminary drawings for the head of the saint are found in the Berlin Kupferstichkabinett, while a study of the youth who holds the tray, is preserved in the Museo Correr in Venice.| 200 Masterpieces of European Painting - Gemaldegalerie Berlin, 2019" 187,8 x 135,5 cm Creator An entity primarily responsible for making the resource Giovanni Battista Tiepolo Publisher An entity responsible for making the resource available Place of manufacture: Italy (country) Place of origin: Venice (city) Date A point or period of time associated with an event in the lifecycle of the resource 1753-55 Contributor An entity responsible for making contributions to the resource Staatliche Museum https://id.smb.museum/object/866587/das-martyrium-der-heiligen-agathe 1878 Ankauf von Charles Sedelmeyer, Paris breasts saint agatha sword tiepolo torture https://www.european-mastectomy.artinterp.org/files/original/645d75414a29b0d2d0bf84fd5b287236.jpg eb90b9fc8d61772fd671e976a9ff2d56 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pietà Subject The topic of the resource death of Christ Description An account of the resource Christ in a similar position to Saint Agatha by Sebastiano Creator An entity primarily responsible for making the resource Giovanni Bellini Source A related resource from which the described resource is derived Pinacoteca di Brera, Milan Date A point or period of time associated with an event in the lifecycle of the resource c. 1460 christ death iconography painting https://www.european-mastectomy.artinterp.org/files/original/88774bae2463dd683e368b1136e02503.jpeg 7e80d04a67bb4cc6e06bf6272a5d2aad https://www.european-mastectomy.artinterp.org/files/original/2388f63ba8db09045e53455975a77dc9.jpeg 62b0ef85201ce1411c73bb28ca1d6c27 https://www.european-mastectomy.artinterp.org/files/original/008ad1b7dabc688b76b1af047d541ba7.jpeg 9a80bdd923968183d35c33f4bc8ce18f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saints Catherine of Alexandria, Barbara, Agatha, and Margaret Description An account of the resource "Together with two other female saints, these panels were originally stacked in two groups of three, one above the other, to form the piers flanking the main panels of an altarpiece. By this date Giovanni di Paolo’s work must have begun to seem out of step with the naturalism of Renaissance style. For more information about these four paintings, including the other panels of the altarpiece, visit metmuseum.org." Medium: Tempera on wood, gold ground Dimensions: (a) overall 18 3/4 x 6 in. (47.6 x 15.2 cm), painted surface 18 1/4 x 5 1/2 in. (46.4 x 14 cm); (b) overall 18 3/4 x 6 in. (47.6 x 15.2 cm), painted surface 18 3/8 x 5 5/8 in. (46.7 x 14.3 cm); (c) overall 18 3/4 x 6 in. (47.6 x 15.2 cm), painted surface 18 3/8 x 5 3/8 in. (46.7 x 13.7 cm); (d) overall 18 3/4 x 6 in. (47.6 x 15.2 cm), painted surface 18 1/4 x 5 5/8 in. (46.4 x 14.3 cm) Creator An entity primarily responsible for making the resource Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Siena 1398–1482 Siena) Date A point or period of time associated with an event in the lifecycle of the resource c. 1470 Contributor An entity responsible for making contributions to the resource The Met https://www.metmuseum.org/art/collection/search/436514 Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Alphonse Kann, Paris (in 1914); [Duveen, New York]; [Kleinberger, New York, until 1919]; Michael Friedsam, New York (1919–d. 1931) Relation A related resource F. Mason Perkins. "Dipinti senesi sconosciuti o inediti." Rassegna d'arte 14 (1914), p. 165 n. 1 [first], as Saints Catherine, Barbara, Agatha, and another saint, by Giovanni di Paolo; as in the Alphonse Kann collection, Paris. [Curt H.] Weigelt in Allgemeines Lexikon der bildenden Künstler. Ed. Ulrich Thieme and Fred C. Willis. Vol. 14, Leipzig, 1921, p. 136, erroneously as still in the Alphonse Kann collection, Paris; does not identify the fourth saint. Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 9, Late Gothic Painting in Tuscany. The Hague, 1927, p. 452 n. 2, erroneously as still in the Kann collection; does not identify the fourth saint. Luitpold Dussler. "Some Unpublished Works by Giovanni di Paolo." Burlington Magazine 50 (1927), p. 36, pl. IIA, notes the influence of Sassetta and suggests that the panels may be fragments of a large altarpiece dating from the 1430s. Bernard Berenson in The Michael Friedsam Collection. [completed 1928], pp. 97a–97b, identifies the saints as Catherine of Alexandria, Barbara, Lucy, and Dorothy; dates the works to the middle of the artist's career and states that they must have formed part of the same polyptych. Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 246. Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 34, no. 53, identify the fourth saint as Dorothy; state that the four panels must originally have formed part of the framework of a polyptych. Marialuisa Gengaro. "Eclettismo e arte nel Quattrocento senese." La Diana 7 (1932), p. 30. Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 212. Edward S. King. "Notes on the Paintings by Giovanni di Paolo in the Walters Collection." Art Bulletin 18 (June 1936), p. 237, includes them in a list of works that he tentatively attributes to Giovanni di Paolo's workshop or imitators. John Pope-Hennessy. Giovanni di Paolo, 1403–1483. London, 1937, pp. 93, 112 n. 87, p. 172, dates them before 1450; identifies the fourth saint as Dorothy. Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 88, ill. Cesare Brandi. Giovanni di Paolo. Florence, 1947, p. 120, identifies the fourth saint as Dorothy. Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 42. Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 178, calls them the pilasters of a polyptych. Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 90, 367, 376, 383, 392, 607. Michel Laclotte and Elisabeth Mognetti. Peinture italienne. Paris, 1976, unpaginated, under no. 90, mention Zeri's hypothesis connecting these four panels with the Avignon triptych [see Ref. Zeri and Gardner 1980]; add that Saints Barbara and Catherine would have appeared on the left and Saints Agatha and Dorothy [Margaret] on the right; date the Avignon triptych to after 1470. Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, pp. 23–24, pls. 42, 43, identify the fourth saint as Margaret; date the panels to the artist's late period; tentatively associate them with a triptych of the Nativity now in the Musée du Petit Palais, Avignon, where they would have formed two vertical pilasters, with one saint on top of another, on either side of the central panels; cite two other intact altarpieces with the same configuration of panels: one in the church of San Pietro Apostolo at Trequanda, and one in the Walters Art Gallery, Baltimore. Michel Laclotte and Elisabeth Mognetti. Avignon, musée du Petit Palais: Peinture italienne. 3rd ed. Paris, 1987, p. 110, under no. 90. John Pope-Hennessy. "Giovanni di Paolo." Metropolitan Museum of Art Bulletin 46 (Fall 1988), p. 39, figs. 48–51 (color), mentions and illustrates two additional panels from the series, depicting Saints Mary Magdalen and Agnes (private collection); believes that these six panels formed the left and right pilasters of an altarpiece, with Saints Barbara and Agatha at the top, Saints Catherine and Margaret in the middle, and Saints Mary Magdalen and Agnes at the bottom; suggests a Nativity in the Keresztény Múseum, Esztergom, Hungary, as the central panel of this altarpiece, based on the similarity of the haloes; associates the two panels of male saints in Avignon with the Esztergom Nativity rather than with the Avignon Nativity they currently flank [see Ref. Laclotte and Mognetti 1976]. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 56, ill., as "Saints Catherine of Alexandria, Barbara, Agatha, and Margaret". Meryle Secrest. Duveen: A Life in Art. New York, 2004, p. 445. Michel Laclotte and Esther Moench. Peinture italienne: musée du Petit Palais Avignon. new ed. Paris, 2005, p. 113, under no. 106, ill. pp. 113 and 237 (reconstruction), reconstruct the altarpiece with the Esztergom Nativity in the center, the two male saints in Avignon as the wings, and the four MMA saints forming the outer vertical pilasters. Dóra Sallay. "Early Sienese Paintings in Hungarian Collections, 1420–1520." PhD diss., Central European University, Budapest, 2008, pp. 107–9, figs. 11/14 (color, with Saints Mary Magdalen and and Agnes), 11/17 (reconstruction), favors identifying the fourth saint as Martha; locates the panels depicting Saints Mary Magdalen and Agnes in the Salini collection, Siena; supports the association of the two Avignon panels and the six panels depicting female saints with the Nativity in Esztergom. Carl Brandon Strehlke in La collezione Salini: Dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV. Ed. Luciano Bellosi. Florence, 2009, vol. 1, pp. 306, 309, ill. p. 308 (reconstruction, color), discusses them in connection with the two companion panels depicting Saints Mary Magdalen and Agnes in the Salini collection; reconstructs the altarpiece with the Esztergom Nativity in the center, flanked by the two male saints (identified as Savino or Vittorino and Ansano) in Avignon. breasts pincers saint agatha tools https://www.european-mastectomy.artinterp.org/files/original/1cd39ab746d1f026e0ce53984608bff0.jpg f392e8e24c9da361648bd34a0f48930d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Martyrdom of Saint Agatha Description An account of the resource etching Creator An entity primarily responsible for making the resource Giovanni Domenico Tiepolo after Giovanni Battista Tiepolo Italian Date A point or period of time associated with an event in the lifecycle of the resource c. 1727-1804 Contributor An entity responsible for making contributions to the resource The National Gallery of Art (Washington, D.C.) Ailsa Mellon Bruce Fund https://www.nga.gov/collection/art-object-page.54056.html Relation A related resource 1906 Vesme, Alexandre de (Baudi di Vesme, Alessandro). Le peintre-graveur italien; ouvrage faisant suite au peintre-graveur de Bartsch. Milan: Ulrico Hoepli, 1906. 1971 Rizzi, Aldo. The Etchings of the Tiepolos. Complete edition. London: Phaidon, 1971. breasts saint agatha sword torture https://www.european-mastectomy.artinterp.org/files/original/18e2370c8c11a3a86a83e69a57f57220.png 9b6e628a2d082e7b3060e3acf3b8addc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha's Breast is Shorn Description An account of the resource fresco, choir SS. Agata e Margherita, Cremona, Italy Creator An entity primarily responsible for making the resource Giulio Campi Source A related resource from which the described resource is derived Cheney, Liana De Girolami. "The Cult of Saint Agatha." Woman’s Art Journal 17, no. 1 (1996): 3-9. Date A point or period of time associated with an event in the lifecycle of the resource 1537 exposed pincers saint agatha tongs tools https://www.european-mastectomy.artinterp.org/files/original/017d3fca0d8f59833fad41ffc44ead51.jpg a09b6e505d107dbd37673605a7157e6c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Martyrdom of St Agatha Description An account of the resource pen and ink wash drawing Height 277 mm Width 207 mm watermark: Lamb in circle (45 x 47 mm, on P3 of 6P, vH, left), similar to Briquet 49 (with halo)(Florence 1511, Treviso 1514), similar to Piccard Online 86768 (Ferrara 1576) Creator An entity primarily responsible for making the resource Giulio Clovio Source A related resource from which the described resource is derived museums boijmans https://www.boijmans.nl/en/collection/artworks/60531/the-martyrdom-of-st-agatha Date A point or period of time associated with an event in the lifecycle of the resource c. 1567 Contributor An entity responsible for making contributions to the resource Van Parijs (rond 1800, L.2531, no. 8), Brussels; his sale Amsterdam (Muller) 11-12.01.1878, lot 117 (Vasari, with the etching by C. Cort, Fl 3); - ; art dealerJ.H.J. Mellaart, London-The Hague-Borgharen; Dr. J.C.J. Bierens de Haan, Amsterdam, acquired 1941; Bequest Dr. J.C.J. Bierens de Haan 1951 Legaat / Bequest: Dr. J.C.J. Bierens de Haan 1951 instruments pincers saint agatha shears tongs tools torture https://www.european-mastectomy.artinterp.org/files/original/9c9ce08ccd4ac024810f32eca3539299.jpg 1482439c5b0ada67f2e06528ef7e2b50 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eczema of the nipple associated with scirrhous of the breast Description An account of the resource Watercolour drawing of a case of eczema of the left nipple associated with scirrhous of the breast. The cancer was undergoing atrophy. It occurred in an anaemic woman, aged 48 years. Creator An entity primarily responsible for making the resource Godart, Thomas Source A related resource from which the described resource is derived Wellcome Collection https://wellcomecollection.org/works/way9y8q6 Relation A related resource St Barts Hospital Museum & Archives barts breast cancer portrait scirrhous