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                <text>List of physicians pictures: William Cobbett, Peter Finnerty, Dennis Hogan, John Cartwright, William Willberforce, William Pleydell-Bouverie Radnor, Samuel Whitbread, Francis Burdett, Charles Grey, William Wyndham Grenville, George Nugent Temple Grenville, Henry Clifford, Richard Temple Nugent Brydges Chandos, Charles Watkin Williams Wynn, Gwyllym Lloyd Wardle</text>
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                <text>1 print : etching ; platemark 32.2 x 41.3 cm&#13;
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                <text>Three despairing women, one of whom looks disapprovingly at three quack medicine vendors concocting a mixture; representing Britain's economic depletion and distress at the hands of her politicians</text>
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&#13;
Lettering continues: "High oe'r the gaping crowd, on market day. While Andrew drolls the blockheads pence away, see the bold rogue pretending to restore, loves long lost fountain, that must flow no more. To heal wounds, or ease the raging gum, and [cure] all ills - past, present and to come. With balm Hippocrates had neir in use, powder of post commix'd, with fat of goose. Thus melts the coin obtain'd by labours rules. That cunning knaves may thrive and laugh at fools thus bashless impudence provokes to give, while modest merit means the means to live."</text>
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                <text>[London?] : [publisher not identified], 6 March 1800]</text>
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                <text>J. Grego, Rowlandson the caricaturist, London 1880, vol. 2, pp. 3-5 (detailed description of the scene)</text>
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                <text>The Opposition politicians are represented as quacks beguiling the people with advocacy of reform and clamour against corruption in high places. Samuel Whitbread stands on a platform holding a placard inscribed "Infallible panacea-Reform"; in his coat pockets are medicine bottles, one of them labelled "Whitbreads intire". On the left Sheridan plays the part of the zany&#13;
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                <text>Coloured etching by G. Cruikshank after "Nathaniel NoParty"</text>
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                <text>British Museum, Catalogue of political and personal satires, London 1949, vol. 9, no. 11846&#13;
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                <text>[London] (5 Newgate Street) : M. Jones, 1 Feb[r]u[a]ry 1812</text>
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                <text>Surgical instruments laid out on a table, for use in cataract and hernia operations during the mid 1500s, with two men in 16th century dress standing behind it</text>
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                <text>Caspar Stromayr (fl. 1559) specialised as a cutter of hernias and a coucher of cataracts in 16th century Germany. Written in 1559, the manuscript reproduced here existed primarily as a surgical work dealing with hernia, and included a section on the anatomy and surgery of the eye. It was rediscovered in 1909 and published in this facsimile edition under the direction of surgical historian, Walter von Brunn, in 1925.&#13;
&#13;
The operation of a hernia, which Stromayr describes is extremely similar to a mastectomy of the period (non-operative) in which the surgeon would loop a thread around the maligned area and gradually strangulate it until the strangled area would scar and drop off.&#13;
&#13;
There are various versions of these prints, and their authenticity is hard to ascertain </text>
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                <text>"Holbein prepared this cartoon for a large-scale work to commemorate the grant of a royal charter to the Company of Barbers and the Guild of Surgeons on their merger in 1540. Presumably at the request of his clients, Holbein based the design on that of the miniatures painted on Tudor charters of privileges. Working from an old sketch, Holbein portrayed King Henry, who did not sit for him on this occasion, more as an icon than as a living person&#13;
The members of the company, in contrast, were conceived as individuals.&#13;
On the King’s right side are his two physicians, Dr. John Chambers and Sir William Butts and his apothecary Thomas Alsop.&#13;
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On the King’s left side are his Serjeant-Surgeon, Thomas Vicary (Master 1530, 1541, 1546, 1548, 1557); (in the final version:his surgeons, Sir John Ayliffe (Master 1538), James Monforde (Warden 1540, 1543) and Richard Ferris (Master 1551, 1562) and his barbers, Nicholas Simpson (Master 1537), Edmund Harman (Master 1540), and John Penn (Master 1539). Others portrayed and named are Nicholas Alcock, Christopher Salmon (Master 1552) and William Tilley (Warden 1540, 1546)).&#13;
&#13;
Beneath the overpainting and additions (such as the windows) by later hands, this cartoon reveals Holbein's original conception for the final work.&#13;
The painting itself, however, departs markedly from it in places, for example in the second row of figures on the right and in the background.[2] It was for a long time believed that this version was a copy, but X-rays have revealed that, under the paint, the paper is pricked all over, following the outlines of the composition. This shows that it was used to mark up the original version of the painting.&#13;
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                <text>The Royal College of Surgeons, who retained ownership of the painting, bought the cartoon in 1786 from a French art dealer</text>
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                <text>A historic moment in English surgery. In London prior to 1540, two distinct groups of surgeons who were in fierce competition over the right to practice the craft. The more elite became Guild of Surgeons. the other became the larger Barber's Guild (distinguishing selves from fraters). The latter had 185 members, becoming largest of livery companies in London. Together they became the United Company of Barbers and Surgeons, now barbers associated with elite surgeons and separated from mere shavers and haircutters. For the surgeons, their total numbers increased and had more funding. Henry holds the act of Union here to his own Sergeant surgeon . Problems quickly arose regarding training, status and income. The barbers outnumbered surgeons but contributed the most to organizations coffers. Near end of 17th c surgeons began to petition for a separation granted only in 1745. Over the next half-century great strides made in British surgery which led to a new charter in 1800 - the Royal College of Surgeons. The image here is a cartoon for the work which was purchased by the separate surgeons charter in late 18th century.  Prior, an engraving was made of the cartoon in  c. 1736  purpose unknown.</text>
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                <text>[6], cv, [1] leaves, [2] folded leaves of plates&#13;
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                <text>Zů Strassburg : Bey Hans Schotten zům Thyergarten, [1528]</text>
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