7 10 414 https://www.european-mastectomy.artinterp.org/files/original/6a8fca05c343eec1a11ee9ff72b42504.tiff 45a95be15dfdc0ed8d59fe2577a7ebee 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 Le mal du pays Subject The topic of the resource A patient sitting up in bed is having his pulse taken by a nun; a dog is lying on the foot of the bed. Description An account of the resource 1 print : 28 x 41 cm. Technique: lithograph Creator An entity primarily responsible for making the resource Bellangé, H. (Hippolyte), 1800-1866, artist Source A related resource from which the described resource is derived NLM http://resource.nlm.nih.gov/101393040 Publisher An entity responsible for making the resource available Paris : Lith. by Gihaut, 1832 nun nurse pulse sickbed https://www.european-mastectomy.artinterp.org/files/original/5d35549defcc14d44d66d7fd19a6287b.tiff 8bd84ba97efe3442e182e4732d332911 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 Surgical Tracts 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 [Forceps for the extraction of the stone] Subject The topic of the resource Forceps with small jaws and large curving handles used for removal to stones. Description An account of the resource Is part of: A system of surgery, Plate XVI.; See related catalog record: 2543021R Extent: 1 print Technique: engraving Creator An entity primarily responsible for making the resource Benjamin, Bell Source A related resource from which the described resource is derived NLM http://resource.nlm.nih.gov/101435384 Publisher An entity responsible for making the resource available Worcester, Massachusetts: Isaiah Thomas, 1791 forceps lithotomy mastectomy pincers shears surgery https://www.european-mastectomy.artinterp.org/files/original/75fa1952a8abd171ba60285f0ec3faea.jpeg 2da6235ea0712235ec189cdee2dc9f0d 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 Reparata Tortured with Red-Hot Irons Description An account of the resource "Martyred under Emperor Decius (ruled 249–51 A.D.), Saint Reparata was a patron saint of Florence, for whom its cathedral was named. This exquisitely painted panel is from the high altarpiece of the cathedral (the main panels are now in the Uffizi , Florence). Unusually, it had a double, or two-tiered, base (predella), the lower level of which showed eight scenes from the saint’s life. The Met owns two other badly damaged panels from the series. In this work Daddi transposed the grave manner of Giotto into a charming and rich narrative style." Medium: Tempera on wood, gold ground (tooled pattern added possibly in the late nineteenth century) Dimensions: 13 x 16 1/2 in. (33 x 41.9 cm) Creator An entity primarily responsible for making the resource Bernardo Daddi (Italian, Florence (?) ca. 1290–1348 Florence) Date A point or period of time associated with an event in the lifecycle of the resource 14th century Contributor An entity responsible for making contributions to the resource The Met https://www.metmuseum.org/art/collection/search/436071 Credit Line: Bequest of George Blumenthal, 1941 cathedral of Santa Reparata, Florence (demolished 1375); cathedral of Santa Maria del Fiore, Florence (until 1442; sold to Giovanni di Andrea Minerbetti); church of San Pancrazio, Florence (1442–at least 1568); Léon de Somzée, Brussels (until 1904; his sale, J. Fievez, Brussels, May 27, 1904, vol. 2, no. 295, as by Taddeo Gaddi); Madame Léon de Somzée, Brussels (until 1907; her sale, J. Fievez, Brussels, May 28, 1907, no. 206, as by Taddeo Gaddi); George Blumenthal, New York (by 1914–d. 1941; cat., vol. 1, 1926, pl. II, as "The Martyrdom of Saint Agatha," by School of Giotto) Relation A related resource Giorgio Vasari. Le vite de' più eccellenti pittori, scultori, ed architettori. Ed. Gaetano Milanesi. 1906 ed. Florence, 1568, vol 1, p. 639, mentions among the works of Agnolo Gaddi a painting for the high altar of San Brancazio [sic] with a predella composed of eight stories of the Madonna and Saint Reparata which may have included this work. Oswald Sirén. "Pictures in America by Bernardo Daddi, Taddeo Gaddi, Andrea Orcagna and His Brothers: I." Art in America 2 (June 1914), p. 264, as in the collection of George Blumenthal, New York; identifies the subject as the Martyrdom of Saint Agatha, and attributes it to Bernardo Daddi. Osvald Sirén. "Giuliano, Pietro and Giovanni da Rimini." Burlington Magazine 29 (October 1916), p. 281, as "The Martyrdom of S. Agatha"; tentatively suggests an attribution to Pietro da Rimini. Osvald Sirén. Letter to George Blumenthal. February 20, 1916, states that it is not by Bernardo Daddi, but by a painter of the Giottesque school in the Romagna, possibly Giovanni Baronzio da Rimini; dates it about the middle of the fourteenth century. Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 3, The Florentine School of the 14th Century. The Hague, 1924, p. 408 n. 1, as "the martyrdom of St. Agatha" by Daddi's school. Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. II, calls it the "The Martyrdom of Saint Agatha" by the School of Giotto, reporting that Perkins ascribes it to the Romagnole School of Giotto; illustrates it with the latter attribution . Helen Comstock. "The Bernardo Daddis in the United States—Part II." International Studio 89 (March 1928), pp. 75–76, calls it the "Martyrdom of St. Agatha," not by Daddi himself but very close to him. Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, New York, 1930, p. 9, as the "Martyrdom of St. Agatha"; lists it among works attributed to Bernardo Daddi. Luigi Serra in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 27, Leipzig, 1933, p. 27, as the Martyrdom of Saint Agatha; lists it among works attributed to Pietro da Rimini. Mario Salmi. "Nota su Pietro da Rimini." Dedalo 13 (1933), p. 17 n. 8, as the Martyrdom of Saint Agatha; calls it a Florentine work derived from Daddi. Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 4, section 3, New York, 1934, pp. 165–66, pl. LXII, as the "Martyrdom of St. Agatha"; attributes it to a remote follower of Daddi, observing its similarities to other panels from the same predella; dates it about 1345. George Kaftal. Iconography of the Saints in Tuscan Painting. Florence, 1952, col. 892, fig. 1001, identifies the subject as Saint Reparata tortured with red-hot irons, and attributes it to a remote follower of Daddi. Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 26. Klara Steinweg. "Contributo a due predelle di B. Daddi." Rivista d'arte 33 (1956), pp. 37–40, fig. 7 (reconstruction), attributes it to Daddi and identifies the saint as Reparata, citing the opinion of Ulrich Middeldorf; reconstructs the original predella to include, from left to right, Saint Reparata before the Emperor Decius (The Met, 43.98.3), Saint Reparata in Prison (Pechère collection, Brussels), this picture, Saint Reparata in a Furnace (Wallraf-Richartz-Museum, Cologne), Saint Reparata Being Prepared for Execution (The Met, 43.98.4), and the Beheading of Saint Reparata (Gemäldegalerie Alte Meister, Dresden; see Hipp 2010); suggests the predella belonged to a five-panel polyptych probably painted for the church of Santa Reparata in Florence, demolished in 1375. Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 8, section 3, New York, 1958, pp. X, XIV–XV, XVII–XVIII, 29, 202, pl. VI (reconstruction), accepts the reconstruction and provenance suggested by Steinweg (1956) and dates the predella about 1345. Ugo Procacci. "Recensioni." Rivista d'arte 8 (1958), p. 135. Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, pp. 52, 56, lists it, along with the other two MMA scenes of Saint Reparata (43.98.3 and 43.98.4), as by Daddi, connecting them with the other panels of the predella. Brigitte Klesse. Italienische Gemälde der Gotik und Frührenaissance im Wallraf-Richartz-Museum. Cologne, 1964, pp. 7–8, follows Steinweg (1956) on the reconstruction and provenance of the predella. Brigitte Klesse. Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts. Bern, 1967, p. 357, no. 305a, dates it about 1345, based on the patterned textile hanging from the loggia. Alessandro Conti. "Quadri alluvionati 1333, 1557, 1966 (II)." Paragone 19 (September 1968), pp. 4, 21 n. 7, identifies the predella as belonging to the altarpiece for the church of San Pancrazio, Florence, mentioned by Vasari (1568). Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 26–29, ill., identify the saint as Reparata; attribute the predella to Daddi, placing it in his late period, about the mid-1340s, and state that it belonged to an unidentified altarpiece. Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 62, 446, 608. Arno Preiser. Das Entstehen und die Entwicklung der Predella in der italienischen Malerei. PhD diss., Julius-Maximilians-Universität, Würzburg. Hildesheim, 1973, pp. 325–26, accepts Conti's (1968) identification of the predella and suggests that it is missing two panels that probably showed scenes from the life of Saint Reparata, rather than her martyrdom. Brigitte Klesse. Kataloge des Wallraf-Richartz-Museums. Vol. 6, Katalog der italienischen, französischen und spanischen Gemälde bis 1800 im Wallraf-Richartz-Museum. Cologne, 1973, pp. 43–44, under no. 878. Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 9, section 3, The Fourteenth Century: The Painters of the Miniaturist Tendency. new ed. Florence, 1984, p. 74, cites Conti 1968. Wolfgang Fritz Volbach. Catalogo della Pinacoteca Vaticana. Vol. 2, Il Trecento: Firenze e Siena. Vatican City, 1987, p. 28, erroneously as in the Galleria degli Uffizi, Florence. Il Duomo di Firenze: documenti sulla decorazione della chiesa e del campanile tratti dall'archivio dell'opera. Ed. Giovanni Poggi. Florence, 1988, vol. 2, p. 141, nos. 2125–26, publishes two documents of August 25, 1442, detailing the sale of the altarpiece with its predella to Giovanni di Andrea Minerbetti for 200 lire. Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, The Fourteenth Century: The Works of Bernardo Daddi. new ed. Florence, 1989, pp. 22, 71, 263, 277, 280, 283, 286, 386, pls. XIV (hypothetical reconstruction of polyptych), XV (reconstruction of predella), XV/4, considers it likely that the predella originally belonged to the polyptych painted by Daddi for the church of San Pancrazio, Florence (later dismembered, now in the Galleria Degli Uffizi), and believes it must have included two more scenes now missing. Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 4, section 3, The Fourteenth Century: Bernardo Daddi, His Shop and Following. new ed. Florence, 1991, pp. 332, 463, 510. Mary Bergstein. "Marian Politics in Quattrocento Florence: The Renewed Dedication of Santa Maria del Fiore in 1412." Renaissance Quarterly 44 (Winter 1991), pp. 690–91, notes that Spilner's study "currently in preparation" (see Spilner 1997) will propose that the San Pancrazio altarpiece was originally made for the high altar of the Florence cathedral. Anna Padoa Rizzo. "Bernardo di Stefano Rosselli, il 'polittico Rucellai' e il polittico di San Pancrazio di Bernardo Daddi." Studi di storia dell'arte 4 (1993), p. 214, argues that the polyptych recorded by Vasari (1568) was painted by Daddi for the high altar of the cathedral of Florence, and later moved to the church of San Prancrazio by 1568. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 6, ill. Enrica Neri Lusanna in The Dictionary of Art. Ed. Jane Turner. Vol. 8, New York, 1996, p. 443, mentions the predella as one of two that Vasari assigned to an altarpiece painted by Daddi for Florence Cathedral and later in the church of San Pancrazio . Paula Lois Spilner. The Case for the Missing Maestà: New Documents and a Proposal for the High Altar of Florence Cathedral. April 1997 [see Bergstein 1991, Lavin 1999, Strehlke 2004, and Strehlke 2015], demonstrates that the San Pancrazio altarpiece was commissioned and executed between 1337 and 1344 for the high altar of the cathedral of Florence. Irving Lavin. Santa Maria del Fiore: il Duomo di Firenze e la Vergine incinta. Rome, 1999, pp. 40–41, cites Spilner's (1997) unpublished study. Miklós Boskovits et al., ed. "The Fourteenth Century: Bernardo Daddi and His Circle." A Critical and Historical Corpus of Florentine Painting.. By Richard Offner. Vol. 5, section 3, new ed. Florence, 2001, p. 572, catalogue a panel depicting Saint James Major from the upper register of the San Pancrazio altarpiece; do not include the Saint Reparata panels in the reconstruction of the work (add. pl. V; see Boskovits 1989, pl. XIV). Carl Brandon Strehlke. Italian Paintings 1250–1450 in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, 2004, pp. 96, 219, 222 n. 8, accepts Spilner's (1997) evidence showing that the San Pancrazio altarpiece was originally in the Florence cathedral. Lisa Monnas. Merchants, Princes and Painters: Silk Fabrics in Italian and Northern Paintings, 1300–1550. New Haven, 2008, pp. 80, 82, 349 nn. 63–64, 70. Elisabeth Hipp. "Eine 'verschollene' Florentiner Predellentafel in Dresden." Dresdener Kunstblätter 54, no. 1 (2010), pp. 8–13, 15 n. 25, identifies the panel depicting the beheading of Saint Reparata in the Gemäldegalerie Alte Meister, Dresden. Stefano G. Casu. The Pittas Collection: Early Italian Paintings (1200–1530). Florence, 2011, pp. 42, 44, fig. 8.2 (altarpiece reconstruction), discusses the history of the San Pancrazio altarpiece in the entry for a panel depicting Christ Blessing which he proposes as the cimasa, or crown, of the polyptych. Victor M. Schmidt in Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Ed. Christine Sciacca. Exh. cat., J. Paul Getty Museum. Los Angeles, 2012, pp. 88, 91 n. 22. The Grove Encyclopedia of Medieval Art and Architecture. Ed. Colum P. Hourihane. Oxford, 2012, vol. 2, p. 251. Stefano G. Casu in La fortuna dei primitivi: tesori d'arte dalle collezioni italiane fra Sette e Ottocento. Ed. Angelo Tartuferi and Gianluca Tormen. Exh. cat., Galleria dell'Accademia. Florence, 2014, pp. 320, 322, 324, fig. 1 (altarpiece reconstruction), under no. 52a–c. Andreas Henning in An der Wiege der Kunst: Italienische Zeichnungen und Gemälde von Giotto bis Botticelli. Exh. cat., Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden. Berlin, 2014, p. 52, under no. 2, discusses the predella in the entry for the Dresden "Beheading of Saint Reparata". Carl Brandon Strehlke in Carl Brandon Strehlke and Machtelt Brüggen Israëls. The Bernard and Mary Berenson Collection of European Paintings at I Tatti. Florence, 2015, pp. 223–24 n. 1. Andrea De Marchi in Legati da una cintola: l'"Assunta" di Bernardo Daddi e l'identità di una città. Ed. Andrea De Marchi and Cristina Gnoni Mavarelli. Exh. cat., Museo di Palazzo Pretorio, Prato. Florence, 2017, p. 122, under nos. 4–6, dates the predella to the beginning of the 1340s. Carl Brandon Strehlke in Legati da una cintola: l'"Assunta" di Bernardo Daddi e l'identità di una città. Ed. Andrea De Marchi and Cristina Gnoni Mavarelli. Exh. cat., Museo di Palazzo Pretorio, Prato. Florence, 2017, pp. 137–39, fig. 1 (altarpiece reconstruction), under nos. 8a–b, dates the predella about 1340. breasts female saints hot pokers tools torture https://www.european-mastectomy.artinterp.org/files/original/230910c027fdd400700f98be55cd8df7.jpeg 307372a878709a4fd47aa6639fbb9e44 https://www.european-mastectomy.artinterp.org/files/original/c8264fe862a5820d1dbd9fa867684ea3.jpeg 9d4a09398b2f00a2deab19e56a050bb0 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 Description An account of the resource Black ink and white gouache on blue-gray prepared antique laid paper Dimensions 19.2 x 14 cm (7 9/16 x 5 1/2 in.) Creator An entity primarily responsible for making the resource Bernhard Strigel, German (1460 - 1528) Date A point or period of time associated with an event in the lifecycle of the resource 15th-16th century Contributor An entity responsible for making contributions to the resource Fogg Art Museum https://harvardartmuseums.org/collections/object/297272?position=2 [Steinmeyer] sold; to Paul J. Sachs, Cambridge, MA (by 1927), gift; to Fogg Art Museum, 1959 Relation A related resource Sydney J. Freedberg, "A Drawing by Bernhard Strigel", Bulletin of the Fogg Art Museum (November 1938), VIII, no. 1, pp. 18-24, pp. 18-24, fig. 2 Agnes Mongan and Paul J. Sachs, Drawings in the Fogg Museum of Art, Harvard University Press (Cambridge, 1940), no. 397, fig. 205 Allene Talmey, "The Fogg Art Museum at Harvard", Vogue, Conde Nast (New York, July 15, 1947), 15 July, pp. 44-49, 78-80, repr. p. 44 Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), no. 260, p. 223, repr. Penley Knipe, "Grounds on Paper: An Examination of Eight Early Drawings" (thesis (certificate in conservation), Straus Center for Conservation and Technical Studies, 1998), Unpublished, pp. 1-22 passim blacksmithing breasts pincers saint agatha tools https://www.european-mastectomy.artinterp.org/files/original/5520ce29a037ba45ea3790893103869c.jpg eaf0882ac1e0981ef357e700e85cbe01 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 Consultation de Medecins Subject The topic of the resource Cluster of five men shown half-length and with expressions of concern. Description An account of the resource 1 print : 33 x 25 cm. Technique: lithograph, color Creator An entity primarily responsible for making the resource Boilly, Louis Léopold, 1761-1845, artist Source A related resource from which the described resource is derived NLM http://resource.nlm.nih.gov/101393648 Date A point or period of time associated with an event in the lifecycle of the resource 1823 examination physicians suits types https://www.european-mastectomy.artinterp.org/files/original/dfe4ed70ed912f036d1084f5d07a167c.tiff 56fd10f4dce5e01557dfa476c1196e8e 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 Le Baume d'acier Subject The topic of the resource A dentist uses forceps to extract a patient's tooth. Creator An entity primarily responsible for making the resource Boilly, Louis, 1761-1845, artist Source A related resource from which the described resource is derived NLM http://resource.nlm.nih.gov/101393503 Publisher An entity responsible for making the resource available Paris : Imp. d'Aubert, [1840?] boime dentist dentistry facial forceps patient physician pincers surgery surgical instruments tools torture https://www.european-mastectomy.artinterp.org/files/original/49da6a8388dc63e0eab179a910ca10c7.tiff 79a37c865e6efacfc615fd4c5807b7d4 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 Assemblee des Vieux Garcons: The Assembly of Old Batchelors Subject The topic of the resource A group of old men are sitting together in a half-circle; in the center an old man with gout is having his pulse taken by the man sitting to his right; three pictures hang on the wall in the background. Description An account of the resource 1 print : 24 x 30 cm. Provenance: Purchase; 1967. Technique: engraving, color Creator An entity primarily responsible for making the resource Booth, T. Boillard, Jean, artist Source A related resource from which the described resource is derived NLM http://resource.nlm.nih.gov/101393049 Publisher An entity responsible for making the resource available London: Bowles & Carver https://www.european-mastectomy.artinterp.org/files/original/3b83526e24f3dae4eeed1a29915d7862.jpg 92cdef2e87b59277426a8af980359d96 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 [Preparations for minor surgery] Subject The topic of the resource A woman sitting in a chair is having her arm prepared for minor surgery; a physician is applying a tourniquet, an assistant stands ready with a basin. The woman holds a cloth over her lap to protect her clothing. Description An account of the resource photoprint Creator An entity primarily responsible for making the resource Bosse, Abraham, 1602-1676, artist Contributor(s): Basse, A., Junior, artist Source A related resource from which the described resource is derived NLM http://resource.nlm.nih.gov/101448094 bloodletting domestic elite home paintings physician privacy surgeon https://www.european-mastectomy.artinterp.org/files/original/f04b33929bba918491ba296906ec2d89.tiff 89bdcab42136b22eb59cfa7a6c9210d1 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 Une consultation mis à profit Subject The topic of the resource A doctor takes a patient's pulse while another patient sticks out his tongue for diagnosis. Also shown are a clyster, various medicines, and other patients exhibiting a variety of ailments. An emaciated dog rests at the foot of a chair. Description An account of the resource 1 print : 25 x 33 cm. Provenance: Purchase; 1967. Technique: lithograph, color Creator An entity primarily responsible for making the resource Bouchot, Frédéric, 1798- ?, artist Source A related resource from which the described resource is derived NLM http://resource.nlm.nih.gov/101393105 Date A point or period of time associated with an event in the lifecycle of the resource 183- clyster death patients physical exam physician pulse referral tools https://www.european-mastectomy.artinterp.org/files/original/efb7978b288559f17b5d2a6765ec2e66.tiff 79aad6de187c58eac7c0ca1dd2d880bc 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 Le Malade Imaginaire Description An account of the resource A female patient is seated in a chair, next to her sits a pompous physician who is taking her pulse; to the left stands a servant, she is pouring from a decanter; another person stands on the patient's right. 1 print : 35 x 27 cm. Technique: engraving Creator An entity primarily responsible for making the resource Bourne, H. Solomon, A., artist Publisher An entity responsible for making the resource available New York: Appleton & Co., [18--] female patient melancholy physician pulse still life tools