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The study of anatomy has played a large part in the progress of scientific observation throughout the centuries and was pivotal in elevating anatomy from the magical thinking of the Hippocrates era and freeing it from subservience to medicine which was all-powerful in the past. Anatomy theaters appeared in Northern Italy in the 14th century and developed in Western Europe from the early 16th century to the beginning of the 19th century. Anatomy theaters lived their golden age in France during the 18th century when the Royal Academy of Surgery (Académieroyaledechirurgie) was created in 1743. These theaters were open to the public, and therefore offered the double vocation of teaching and public entertainment: they were used to teach anatomy and surgery to students and surgeons and offered distraction for the well-informed public that was fascinated by death, ever-present and familiar to all. Anatomical dissection accomplished a double ritual: the "profane" ritual of valorization of scientific knowledge and the "sacred" ritual, where mankind, obsessed with death, respected the human body considered as a divine image. Anatomy theaters declined as they became overshadowed by progress in anatomical teaching using well-illustrated works in well-equipped medical schools while exhibition of anatomic oddities for public amusement was relegated to fairs and circus sideshows. Nonetheless they opened the way to modern anatomo-clinical methods and surgery., (Copyright © 2020. Published by Elsevier Masson SAS.)

College biology courses commonly use diagrams to convey information. These visual representations are embedded in course materials with the expectation that students can comprehend and learn from them. Educational research, however, suggests that many students have difficulty understanding diagrams and the conventions (e.g., labels, arrows) they contain. The present study evaluates biology students' ability to comprehend scientific diagrams and the diagram characteristics that affect this comprehension. Participants were students in a physiology course who completed a multiple-choice test of diagram comprehension ability (DCA) (Cromley JG, Perez TC, Fitzhugh SL, Newcombe NS, Wills TW, Tanaka JC. J Exp Educ 81: 511-537, 2013). We coded the conventions used in each test diagram and used these codes to capture the diagram characteristics of conventions and complexity. Descriptive analyses examine students' ability to understand scientific diagrams and which diagram characteristics cause the most difficulty. We also compared groups with low and high DCA scores to evaluate how students at different levels of comprehension ability are affected by diagram characteristics. Results show relatively poor DCA; the average total test score was only 69.5%. The conventions used in a diagram also affected diagram comprehension, and results show students had the most difficulty comprehending diagrams using a letter or numbering system, where arbitrary letters/numbers were used to signify objects and diagrams using cut-outs that showed cross sections and magnified interior views. Additionally, students' comprehension was higher on diagrams with higher complexity (i.e., more types of conventions used), potentially indicating students are able to take advantage of the supports that different conventions provide. Implications for instruction are identified.

Accurate and clear representation of scientific data is essential for the advancement of science. In this instalment of the Words of Advice series, we feature guidelines and tips on best practices for writing manuscripts, designing experiments and preparing figures and images for publication., (© 2017 Federation of European Biochemical Societies.)

Although the contribution to anatomical illustration by Vesalius and his followers has received much attention, less credit has been given to Veslingius and particularly Fabricius. By 1600, Fabricius had amassed more than 300 paintings that together made the Tabulae Pictae, a great atlas of anatomy that was highly admired by his contemporaries. Many of his new observations were incorporated into subsequent books, including those by Casserius, Spighelius, Harvey and Veslingius. Also of importance were the Tabulae by Eustachius (1552), which, although only published in 1714, greatly influenced anatomical wax modelling. In 1742, Pope Benedict XIV established a Museum of Anatomy in Bologna, entrusting to Ercole Lelli the creation of several anatomical preparations in wax. Felice Fontana realised that the production of a large number of models by the casting method would make cadaveric specimens superfluous for anatomical teaching and in 1771 he asked the Grand Duke to fund a wax-modelling workshop in Florence as part of the Natural History Museum, later known as La Specola. Fontana engaged Giuseppe Ferrini as his first modeller and then the 19-year-old Clemente Susini who, by his death in 1814, had superintended the production of, or personally made, more than 2000 models. In 1780, the Austrian Emperor Joseph II visited La Specola and ordered a great number of models for his Josephinum museum; these were made by Fontana with the help of Clemente Susini and supervised by the anatomist Paolo Mascagni. It is, however, in Cagliari that some of Susini's greatest waxes are to be found. These were made when he was free of Fontana's influence and were based on dissections made by Francesco Antonio Boi (University of Cagliari). Their distinctive anatomical features include the emphasis given to nerves and the absence of lymphatics in the brain, a mistake made on earlier waxes. The refined technical perfection of the anatomical details demonstrates the closeness of the cooperation between Susini and Boi, whereas the expressiveness of the faces and the harmony of colours make the models of Cagliari masterpieces of figurative art.

Style is a familiar category for the analysis of art. It is less so in the history of anatomical illustration. The great Renaissance and Baroque picture books of anatomy illustrated with stylish woodcuts and engravings, such as those by Charles Estienne, Andreas Vesalius and Govard Bidloo, showed figures in dramatic action in keeping with philosophical and theological ideas about human nature. Parallels can be found in paintings of the period, such as those by Titian, Michelangelo and Hans Baldung Grien. The anatomists also claimed to portray the body in an objective manner, and showed themselves as heroes of the discovery of human knowledge. Rembrandt's painting of Dr Nicholas Tulp is the best-known image of the anatomist as hero. The British empirical tradition in the 18th century saw William Cheselden and William Hunter working with techniques of representation that were intended to guarantee detailed realism. The ambition to portray forms life-size led to massive volumes, such as those by Antonio Mascagni. John Bell, the Scottish anatomist, criticized the size and pretensions of the earlier books and argued for a plain style adapted to the needs of teaching and surgery. Henry Gray's famous Anatomy of 1858, illustrated by Henry Vandyke Carter, aspired to a simple descriptive mode of functional representation that avoided stylishness, resulting in a style of its own. Successive editions of Gray progressively saw the replacement of Gray's method and of all his illustrations. The 150th anniversary edition, edited by Susan Standring, radically re-thinks the role of Gray's book within the teaching of medicine.

Putative textual proof for Titian's central involvement in producing illustrations for Vesalius's anatomy book "De fabrica" (1543) requires reexamination. On the basis of orthographic, literary, and historical evidence, a phrase in Annibal Caro's after-dinner speech, here dated to 1536, is shown instead to refer ironically to a surgeon's notorious execution in 1517. "Anatomia" was a word in the satirical as well as the medical lexicon. It is important to understand the satirical tone of Caro's speech about a priapic statuette. Delivered during Carnival to the Roman Academy of Virtue, the speech respects neither antiquities nor artists like Michelangelo in its obscene humor.