https://collections.louvre.fr/en/ark:/53355/cl020200814]]> Height: Height: 28 centimetres
Excavated/Findspot: Fayum, el- (historic)
Africa: Egypt: Fayum, el- (historic)]]> https://www.britishmuseum.org/collection/object/G_1882-1014-2]]> Black chalk.]]> This drawing and W44, both executed in light black chalk, represent the same antique torso seen from the front and rear. They almost certainly originate from the same side of one sheet. W44 has been so closely cut at the top that a little of the drawing itself has been lost. These drawings show clear pentimenti in the outer contours, Michelangelo's lightly drawing the chalk over the paper before thickening the chosen line. Within the forms Michelangelo uses both cross hatching and curves to convey a 'morbidezza magistrale' (de Tolnay) and a synthesis of a live model and an antique torso - in this latter respect it is interesting to note the considerable projection of the l. thigh in W43, and the elongation of the torso in relation to the upper body.

Two drawings of similar character equally in black chalk in the Casa Buonarroti, CB 41 F (de Tolnay 231) and CB 16F (de Tolnay 234) show the same torso in exact profile to the l. and r. and from a rear oblique angle, and surely derive from the same sheet as W43-4, Joannides (2002) considering CB 16 F to have adjoined Wilde 43, beneath it and at right angles to it. For Joannides the two BM fragments show a concern by Michelangelo for 'epidermis', CB 41 F for structure, 'with the view in left profile registered in a manner that deliberately undermines the idealism of the antique form'.

Wilde resolutely attributes W43 4 to Michelangelo, in contrast to the earlier hesitancy of Berenson and Thode. For Hirst (1988), W43 4 are 'slight drawings' which nevertheless 'reveal the instinctive response of the sculptor to a three dimensional object'. Wilde and de Tolnay consider a far earlier sheet at Chantilly, dated 1501-5 (de Tolnay 24) and in Michelangelo's characteristic pen and ink style, to represent the same antique torso. In fact the model for the Chantilly drawing is a statue formerly in the Sassi collection in Rome, see David Ekserdjian, 'Parmigianino and Michelangelo', "Master Drawings", XXXI, Winter 1993, pp.390-4. Wilde notes that the technique of W43 4 is consistent with Michelangelo's of the 1520s and that he may well have used such a torso as an exemplar for his first female nude sculpture: the full size clay model for the sculpted figure of 'Dawn' to be placed in the Sacrestia nuova (1524 or 1525). De Tolnay concurs. Wilde's description of the torso as being of the type of the 'Aphrodite of Cnidus' by Praxiteles is challenged by Otto Kurz (1953) but acknowledged by most subsequent scholars including Joannides (2002). To this group de Tolnay links a sheet in the Louvre (de Tolnay 230), equally representing a female nude, which he regards as deriving from the Capitoline Venus.

Dussler (1959) doubts whether the torso represented in the Chantilly drawing is the same as that seen in the BM and Casa Buonarroti sheets. He regards the Chantilly sheet as autograph but not those in the BM and Casa Buonarroti, judging the execution of line in the two BM sheets to be inexpressive and the surfaces to be represented with 'eine beschrankte Skala zeichnerischer Formeln'('a restricted range of graphic form').

Watermark: Star B: star in circle with cross: large (J. Roberts, 'A Dictionary of Michelangelo's Watermarks', Milan, p. 25).

Lit.: J. Wilde, 'Italian Drawings in the BM, Michelangelo and his Studio',London, 1953, no. 43, pp. 79-80 (with previous literature); O. Kurz, 'Michelangelo at the BM', 'The Burlington Magazine', XCV, 606, September 1953,p. 310; L. Dussler, 'Die Zeichnungen des Michelangelo', Berlin, 1959, no. 556, pp. 255-6 (as apocryphally attributed to Michelangelo); P. Barocchi, 'Michelangelo e la sua scuola: i disegni di Casa Buonarroti e degli Ufizzi', Florence, 1962, I, under no. 69 (= de Tolnay 234), pp. 91 2; C. de Tolnay, 'Sur des Venus dessines par Michel Ange, a propos de un dessin oublie du Musée du Louvre', "Gazette des Beaux Arts", 1967, p. 196, fig. 5; F. Hartt, 'The Drawings of Michelangelo', London, 1971, no. 241; J.A. Gere and N. Turner, in exhib. cat., London, BM, 'Drawings by Michelangelo', 1975, no. 95, p. 80; C. de Tolnay, 'Corpus dei disegni di Michelangelo', Novara, 1976, II, no. 232; M. Hirst, 'Michelangelo and his Drawings', New Haven and London, 1988, p. 61, fig. 112 3; P. Joannides, in exhib. cat. (F. Falletti and J. Katz Nelson eds), Florence, Galleria dell'Accademia, 'Venus e Amore', 2002, no. 4, pp. 150-1]]> https://museefabre.montpellier3m.fr/recherche/musee%3AMUS_BIEN%3A15521?is_search_page=1&search=agathe&currentPage=1]]> https://hdl.huntington.org/digital/collection/p15150coll7/id/48746]]> Jacobus de Voragine's Legenda aurea written in France, perhaps in Paris, during the next to the last decade of the thirteenth century. Manuscript in England by the third or certainly the last quarter of the fourteenth century, to judge by the script of the note added on f. 11v, correcting the king's name from "Edmundus" to "Edwardus." Span folios: ff. 1-164v. Support: Parchment. Layout: 1¹²(-1, 2, 3; this last now f. 164) 2¹² 3¹²(-1, 10, 11) 4¹²(-1, 5, 11) 5¹²(-8) 6¹²(-1; note that the 2nd, 3rd, 9th and 10th leaves-ff. 52, 53, 58, 59-are singletons, their conjuncts having evidently been cancelled, since the text runs continuously) 7¹²(-6) 8¹²(-4) 9¹²(-4, 5) 10¹² 11¹²(-2, no text missing) 12¹²(-7) 13-15¹² + one leaf (the third leaf of the first quire, misbound). Catchwords in simple yellow-washed frames through quire 5, that of quire 6 noted in a cursive hand, thereafter decorated with elaborate mouse-designs touched in red. Leaf signatures in a variety of methods: letters of the alphabet, a-h; an individual letter repeated, d, dd, ddd, dddd, vd (on quire 6); a series of horizontal slashes; letters of the alphabet surmounted by diacritical marks; a series of tangent circles. 2 columns of 59 lines, ruled in scratchy brown lead; pricking visible in the 3 outer margins. Written by two scribes in a gothic book hand: i, ff. 1-50 and 164; ii, ff. 51-163. Decoration: Extensively illuminated with 135 miniatures, usually 16 lines in height and width of 1 column (approximately 67 x 67 mm.). Written instructions to the illuminator are present for approximately one third of the miniatures; they tend to be more complex and closer to the text than the resulting miniature. Rudimentary sketches, or evidence of sketches, for the miniatures occur in about one quarter of the cases; a number of miniatures have both the written directions and the preliminary sketch. Other Decoration: Major initials, 9- to 7-line, in dull pink or blue, patterned in white against a cusped ground of the other color, infilling in a darker shade of the same color as the initial, with grotesque or leaf forms decorated with burnished gold, and marginal extensions. Initials, 4-line, to introduce the Etymologia of similar style; secondary initials, 2-line, alternating red and blue with flourishes of the other color. Line fillers in the shape of mice, the same as the decoration on the catchwords. Carefully corrected throughout by the scribe of the text, corrections in yellow boxes. Some marginalia in various hands up to 16th century. Input into Digital Scriptorium by: C. W. Dutschke, 8/2/2012. Cataloged from existing description: C. W. Dutschke with the assistance of R. H. Rouse et al., Guide to Medieval and Renaissance Manuscripts in the Huntington Library (San Marino, 1989). Bound in original[?] oak boards, quarter backed in modern mottled calf; remains of 2 fore edge straps of pink leather closing to pins on the center back; flyleaves, washed, contained a 15th century prose text in French in 2 columns, written in a Bâtarde script.

Henry E. Huntington Library and Art Gallery. Manuscript. HM 3027
]]> https://www.bl.uk/collection-items/the-queen-mary-psalter]]> Saint Agatha, Folio 179r

Agatha was punished for refusing the advances of the Roman governor. She is tied to a column and her breasts are removed by attackers wielding huge clippers ; one attacker raises his knee to brace himself in a pose like that in the Catherine cycle (Folio 17r), where the saint is tied to a column.]]> ]]>
Kamata Keishu, a pupil of the renowned surgeon Hanaoka Seishu (1760 - 1835), published a treatise in 1851 called 'Geka kihai'. In it, he made public the surgical techniques pioneered by his teacher and provided illustrations demonstrating his technique. These illustrations were empirically based on European examples. The use of colour in them functions mainly to distinguish flesh from clothing and to demonstrate the flow of blood. This image shows an operation which Hanaoka Seishu first carried out in 1804 using general anaesthetic.]]> https://wellcomecollection.org/works/ngg2kxv7]]> Les médications anti-goutteuses]]>
La torture est-elle bonne pour les goutteux?... Page 5. de Losques. Éditée par la "Pipérazine Midy"]]> https://wellcomecollection.org/works/kbvyc8aw]]>