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John Lizars' (1792-1860) 'A System of Anatomical Plates of the Human Body' is widely recognized as one of the finest British anatomical atlases published in the nineteenth century. Lizars' commentators always praise his illustrations for their artistry and accuracy, but no one ever provides an account of why they are artistically significant or what makes them veracious. The principal aim of this paper is to begin a discussion of both of those subjects and to show how Lizars used the resources of the visual arts as analytical tools to extend his audience's understanding of the human body., Competing Interests: Declaration of conflicting interestsThe author declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Aby Warburg's Bilderatlas Mnemosyne, left unfinished in 1929, has attracted significant interest in recent decades. This essay offers a new interpretation of Warburg's "picture atlas," not in relation to modernist collage and photomontage, but as an heir to scientific pedagogical exhibitions of the late Wilhelmine period. It deals in particular with two "public enlightenment" shows curated by the Leipzig medical historian Karl Sudhoff, whose work Warburg admired and employed: the first on with the history of hygiene in Dresden in 1911, the second in Leipzig, three years later, on the development of scientific images. Like Warburg, Sudhoff appreciated artworks and artifacts as sources for the history of science and medicine. His exhibitions consisted of assemblages of photographic reproductions-some of which were provided by Warburg himself-and uncannily anticipate Mnemosyne in both form and content. By examining the exchange of materials and display methods between the two scholars, the article explores how their respective visual projects reflected deeper disagreements over the public role of science, the epistemic power of images, and the persistence of the irrational in the human psyche., (© 2024 The Authors. Berichte zur Wissenschaftsgeschichte published by Wiley-VCH GmbH.)

Objective: The first case of Legg-Calvé-Perthes disease (LCPD) in Greece is presented. LCPD, a rare disease, is discussed using the Digital Atlas of Ancient Rare Diseases (DAARD), which tests the benefits of the database for diagnosing and contextualizing the new case with 42 archaeological cases of LCPD recorded in the DAARD., Materials: A 30-40-year-old, probable male individual was found at the archaeological site of Olympia, Greece, dating to 500-700 CE., Methods: Biological sex, age-at-death and pathological changes were investigated using macroscopic and osteometric methods. The DAARD provided the typical characteristics of LCPD., Results: Pathological changes in both hip joints without any other related changes in the skeleton corresponded to the skeletal features of LCPD. The DAARD produced 42 cases of LCPD, most of which from Europe, with a preference for male sex and unilateral involvement of the hip joint., Conclusions: The DAARD aids in diagnosing rare diseases and interpreting new cases in the context of already known studies., Significance: This study shows that the DAARD has the potential to help researchers move beyond the level of single case studies and create a broader picture of the history of rare diseases., Limitations: This paper focuses on the benefits of the DAARD in relation to LCPD but not all rare diseases have been included in the database., Suggestions for Further Research: More rare diseases from archaeological contexts should be added to the DAARD to create a base for the interpretation of their history and expand our understanding of rare diseases in the past., (Copyright © 2024 The Authors. Published by Elsevier Inc. All rights reserved.)

The stereotaxic brain atlas is a fundamental reference tool commonly used in the field of neuroscience. Here we provide a brief history of brain atlas development and clarify three key conceptual elements of stereotaxic brain atlasing: brain image, atlas, and stereotaxis. We also refine four technical indices for evaluating the construction of atlases: the quality of staining and labeling, the granularity of delineation, spatial resolution, and the precision of spatial location and orientation. Additionally, we discuss state-of-the-art technologies and their trends in the fields of image acquisition, stereotaxic coordinate construction, image processing, anatomical structure recognition, and publishing: the procedures of brain atlas illustration. We believe that the use of single-cell resolution and micron-level location precision will become a future trend in the study of the stereotaxic brain atlas, which will greatly benefit the development of neuroscience., (© 2021. Science China Press and Springer-Verlag GmbH Germany, part of Springer Nature.)

In a time when social isolation heavily relies on the use of digital representation, photography, and e-books, it is easy to take for granted the impact imagery has on our society and the pedagogical purposes of illustration, particularly in the teaching of surgery. Illustrations after all are the basis of all anatomical atlases and are quintessential tools that allow for an expedient and thorough understanding of concepts underlying the fabric of the human body. Yet, surgery has not always been taught with an atlas. Illustrations, much like surgery, have seen an incredible transformative process spanning across the ages to achieve their status in modern medicine. Through this brief review, we will not only glean an understanding of the evolution of anatomical illustrations but also the social context in which surgery has also evolved throughout history.

Human brain atlases have been evolving tremendously, propelled recently by brain big projects, and driven by sophisticated imaging techniques, advanced brain mapping methods, vast data, analytical strategies, and powerful computing. We overview here this evolution in four categories: content, applications, functionality, and availability, in contrast to other works limited mostly to content. Four atlas generations are distinguished: early cortical maps, print stereotactic atlases, early digital atlases, and advanced brain atlas platforms, and 5 avenues in electronic atlases spanning the last two generations. Content-wise, new electronic atlases are categorized into eight groups considering their scope, parcellation, modality, plurality, scale, ethnicity, abnormality, and a mixture of them. Atlas content developments in these groups are heading in 23 various directions. Application-wise, we overview atlases in neuroeducation, research, and clinics, including stereotactic and functional neurosurgery, neuroradiology, neurology, and stroke. Functionality-wise, tools and functionalities are addressed for atlas creation, navigation, individualization, enabling operations, and application-specific. Availability is discussed in media and platforms, ranging from mobile solutions to leading-edge supercomputers, with three accessibility levels. The major application-wise shift has been from research to clinical practice, particularly in stereotactic and functional neurosurgery, although clinical applications are still lagging behind the atlas content progress. Atlas functionality also has been relatively neglected until recently, as the management of brain data explosion requires powerful tools. We suggest that the future human brain atlas-related research and development activities shall be founded on and benefit from a standard framework containing the core virtual brain model cum the brain atlas platform general architecture.

This article reviews the collaboration between clinician and illustrator throughout the ages while highlighting the era of cardiac surgery. Historical notes are based on Professor Sanjib Kumar Ghosh's extensive review, literature searches, and the archives of the Johns Hopkins University Department of Art as related to Medicine in Baltimore. Personal communications were explored with medical illustrators and medical practitioners, many of whom are colleagues and trainees, to further chronicle the history of medical illustration and education in the era of cardiac surgery. Medical illustrators use their talents and expressive ideas to demonstrate procedures and give them life. These methods are (1) hovering technique; (2) hidden anatomy, ghosted views, or transparency; (3) centrally focused perspective; (4) action techniques to give life to the procedure; (5) use of insets to highlight one part of the drawing; (6) human proportionality using hands or known objects to show size; and (7) step-by-step educational process to depict the stages of a procedure. Vivid examples showing these techniques are demonstrated. The result of this observational analysis underscores the importance of the collaboration between clinician and illustrator to accurately describe intricate pathoanatomy, three-dimensional interrelated anatomic detail, and complex operations. While there are few data to measure the impact of the atlas on medical education, it is an undeniable assertion that anatomical and surgical illustrations have helped to educate and train the modern-day surgeon, cardiologist, and related health-care professionals.

In early twentieth-century France, syphilis and its controversial status as a hereditary disease reigned as a chief concern for physicians and public health officials. As syphilis primarily presented visually on the surface of the skin, its study fell within the realms of both dermatologists and venereologists, who relied heavily on visual evidence in their detection, diagnosis, and treatment of the disease. Thus, in educational textbooks, atlases, and medical models, accurately reproducing the visible signposts of syphilis - the colour, texture, and patterns of primary chancres or secondary rashes - was of preeminent importance. Photography, with its potential claims to mechanical objectivity, would seem to provide the logical tool for such representations. Yet photography's relationship to syphilographie warrants further unpacking. Despite the rise of a desire for mechanical objectivity charted in the late nineteenth century, artist-produced, three-dimensional, wax-cast moulages coexisted with photographs as significant educational tools for dermatologists; at times, these models were further mediated through photographic reproduction in texts. Additionally, the rise of phototherapy complicated this relationship by fostering the clinical equation of the light-sensitive photographic plate with the patient's skin, which became the photographic record of disease and successful treatment. This paper explores these complexities to delineate a more nuanced understanding of objectivity vis-à-vis photography and syphilis. Rather than a desire to produce an unbiased image, fin-de-siècle dermatologists marshalled the photographic to exploit the verbal and visual rhetoric of objectivity, authority, and persuasion inextricably linked to culturally constructed understandings of the photograph. This rhetoric was often couched in the Peircean concept of indexicality, which physicians formulated through the language of witness, testimony, and direct connection., (© The Author 2019.)

Tibetan medicine, one of the time-honored medical systems in the world, has increasingly been receiving attention the world over. Tibetan medical paintings (TMP, tib. Sman thang) has become one of the focal points in the studies of this medical system. To date, there are many atlases and publications on TMP, which are principally based on the two major sets of TMP series existing today in the world, the Lhasa set and the Buryat set. It has been found that the Buryat set is based on the Lhasa set, which was brought in late 19th to the first half of the 20th century from Tibet to Buryatia, Russia. A careful investigation on the basic structure of the two sets reveals that there are many differences between the two sets of paintings, including the total number of the paintings involved, of which some are missing in one set, the details of the captions of some of the paintings, the existence of the 80th painting and its supervisor, and the overall order of the entire set, etc. The details of the differences are elaborated and discussed, and the prospective of developing the research to arrive at a standard and perfect TMP set in the future is also analyzed and anticipated.

Although French psychiatrist-turned-neurosurgeon Jean Talairach (1911-2007) is perhaps best known for the stereotaxic atlas he produced with Pierre Tournoux and Gábor Szikla, he has left his mark on most aspects of modern stereotactic and functional neurosurgery. In the field of psychosurgery, he expressed critique of the practice of prefrontal lobotomy and subsequently was the first to describe the more selective approach using stereotactic bilateral anterior capsulotomy. Turning his attention to stereotaxy, Talairach spearheaded the team at Hôpital Sainte-Anne in the construction of novel stereotaxic apparatus. Cadaveric investigation using these tools and methods resulted in the first human stereotaxic atlas where the use of the anterior and posterior commissures as intracranial reference points was established. This work revolutionized the approach to cerebral localization as well as leading to the development of numerous novel stereotactic interventions by the Sainte-Anne team, including tumor biopsy, interstitial irradiation, thermal ablation, and endonasal procedures. Together with epileptologist Jean Bancaud, Talairach invented the field of stereo-electroencephalography and developed a robust scientific methodology for the assessment and treatment of epilepsy. In this article the authors review Talairach's career trajectory in its historical context and in view of its impact on modern stereotactic and functional neurosurgery.

The authors report the history of the Tabulae Anatomicae of Bartolomeo Eustachio (ca. 1510-1574). In the tables, the anatomical illustrations were drawn inside a numerical frame, with pairs of numbers on the y- and x-axes to identify single anatomical details in the reference table. The measures and the references could be calculated using the graduated margins divided by 5 units for each the x-axis and y-axis. The Tabulae Anatomicae can be considered a precursor to modern anatomical reference systems that are the basis of studies on cerebral localization mainly used for stereotactic procedures.

Competing Interests: None

Background: Pernkopf's atlas of Anatomy contains anatomical plates with detailed images of the peripheral nerves. Its use is controversial due to the author's association with the "Third Reich" and the potential depiction of victims of the Holocaust. The ethical implications of using this atlas for informing surgical planning have not been assessed., Objective: To (1) assess the role of Pernkopf's atlas in nerve surgeons' current practice and (2) determine whether a proposal for its ethical handling may provide possible guidance for use in surgery and surgical education., Methods: Members of American Society for Peripheral Nerve and PASSIO Education (video-based learning platform) were surveyed and 182 responses collected. The survey introduced the historical origin of Pernkopf's atlas, and respondents were asked whether they would use the atlas under specific conditions to serve as a recommendation for its ethical handling. An anatomical plate comparison between Netter's and Pernkopf's atlases was performed to compare anatomical accuracy and surgical utility., Results: Fifty-nine percent of respondents were aware of Pernkopf's atlas, with 13% currently using it. Aware of the historical facts, 69% were comfortable using the atlas, 15% uncomfortable, and 17% undecided. Additional information on conditions for an ethical approach to the use of the atlas led 76% of those "uncomfortable" and "undecided" to becoming "comfortable" with use., Conclusion: While the use of Pernkopf's atlas remains controversial, a proposal detailing conditions for an ethical approach in its use provides new guidance in surgical planning and education.

In 1799, Matthew Baillie, William Hunter's nephew, published his famous atlas of pathology. It was entitled A Series of Engravings Accompanied with Explanations which are Intended to Illustrate the Morbid Anatomy of Some of the Most Important Parts of the Human Body. The present study aims to match the illustrations to extant specimens in the collections of William and John Hunter, preserved at the University of Glasgow and at the Royal College of Surgeons of England respectively. Baillie's book contains 10 fasciculi, consisting of 73 plates and 206 figures. The specimens Baillie illustrated came from his own collection and those of ten others, including his uncles, William and John Hunter. The book was illustrated by William Clift and engraved by James Basire, William Skelton and James Heath. Excluding eight illustrations of intestinal worms where the provenance of the specimens is uncertain, a total of 98 specimens from William Hunter's collection were illustrated in 104 figures. Eight of the specimens were calculi impossible to identify specifically. Excluding worms and calculi, 72 of William Hunter's specimens illustrated by Baillie are extant in the Hunterian Collection at the University of Glasgow. All but one of the 20 specimens illustrated that had belonged to John Hunter were identified in the on-line catalog of the Royal College of Surgeons of England. Baillie's own collection was destroyed when the Royal College of Surgeons of England was bombed in 1941. Baillie is credited with being the first to produce an illustrated systematic textbook of morbid anatomy and probably the first to illustrate emphysema and transposition of the great vessels. His book, however, was not comprehensive. It did not cover a number of topics such as muscles and bones and there is little coverage of the nervous system. Baillie's book, however, was an original concept as an atlas of morbid anatomy and showed his deep insight into pathology. Clin. Anat. 31:622-631, 2018. © 2017 Wiley Periodicals, Inc., (© 2017 Wiley Periodicals, Inc.)

The AFIP (Armed Forces Institute of Pathology) Atlases (Fascicles) have been in continuous publication for nearly 75 years and have enjoyed a highly regarded reputation for their excellence. Throughout this time period, more than 130 volumes, encompassing the 1st to 4th series have been published. Since their inception in the 1940's, the Fascicles have evolved from loose-leafed atlases illustrated with black and white images, to hardbound monographs with full color images and expansion of scope, including relevant clinical information, cytopathology, and the most recent advances in immunohistochemistry and molecular diagnostics. Each of the volumes undergoes a rigorous review process by the Editor-in-Chief, Associate Editors, members of the Editorial Advisory Board, and external reviewers. The 5th series, under the editorial direction of Drs. Elizabeth Montgomery and Jason Hornick, is well underway and will include an Epub version and a virtual slide box, in addition to the hardbound book. The Atlases of Nontumor Pathology will also continue to be published. With the closure of the AFIP in 2011, the American Registry of Pathology (ARP) has assumed full responsibility for the publication of both the Tumor and Nontumor Fascicles.

Introduction: To date, there has been no study examining the perceptions of first-year medical students regarding Eduard Pernkopf's atlas, particularly during their study of gross anatomy and prior to coursework in medical ethics. We present a discussion of Pernkopf's Atlas: Topographical Anatomy of Man from the perspective of U.S. medical students, and sought to determine whether medical students view Pernkopf's Topographical Anatomy of Man as a resource of greater accuracy, detail, and potential educational utility as compared to Netter's Atlas of Human Anatomy., Methods: The entire first-year class at Drexel University College of Medicine (265 students) was surveyed at approximately the midpoint of their gross anatomy course and 192 responses were collected (72% response rate)., Results: Of these, 176 (95%) were unaware of the existence of Pernkopf's atlas. Another 71% of students found the Pernkopf atlas more likely complete and accurate, whereas 76% thought the Netter atlas more useful for learning (p<.001). When presented with a hypothetical scenario in which the subjects used in creating Pernkopf's atlas were donated, or unclaimed, but with knowledge that Pernkopf was an active member of the Nazi party, 133 students (72%) retained their original position (p=.001). About 94% desired discussion of Pernkopf within a medical school bioethics course. The relationship between level of self-reported knowledge and whether or not students would advocate removal of the atlas was statistically significant (p=.013)., Conclusion: Discussing ethical violations in medical history, especially the Pernkopf atlas, must attain a secure place in medical school curricula, and more specifically, within a bioethics course., (Copyright © 2017 Elsevier GmbH. All rights reserved.)

Swedish anatomists Anders and Gustaf Retzius, father and son, collaborated with artists, photographers, and printers to produce image plates for their many publications in normal, comparative, morbid, and microscopic anatomy. This article explores the role of images in their oeuvres, identifying impacts of changing scientific ideals, aesthetic sensibilities, and technologies of observation and visualization. It examines how the Retziuses mobilized historically contingent concepts of truth and beauty to support claims to authority. Anders Retzius, influenced by post-Kantian philosophy, viewed truth and beauty as inherent in natural phenomena, independent of the researcher. Scientific authority rested on abilities to observe and convey the truth and beauty of examined specimens, preferably aided by a skilled artist. For Gustaf Retzius, epistemic authority depended on his expertise as scientist, publisher, and illustrator of his own works. Like Santiago Ramón y Cajal he favored an “anti-aesthetic” style, while at the same time publishing sumptuous image plates.

The main objective of this research was,for the first time, to partially edit an anatomical text in middle french, the ms FR 19.991, a 15th century manuscript held by the Bibliotheque Nationale de France. After restitution of the text (transcription, expansion of abbreviations and identification of rubricated sections) a glossary of all terms was compiled. The analysis of this anatomical treatise following the arabic galenic tradition revealed that it results from the assembly of at least three previous texts, the largest part of it (18 / 22 sections) following very closely the anatomia ricardi salertinani, translated from arabic to latin in the 12th century in the Salernitan school of medicine. The use of this treatise remains to be elucidated.

Giovanni Battista Morgagni (1682-1771) is considered the father of neuropathology and one of the most important innovators in the history of medicine. In his "opus magnum" De sedibus et causis morborum per anatomen indagatis (The Seats and causes of diseases investigated by anatomy), he established pathological anatomy as a science by correlating clinical histories with autopsy findings.

The first edition of Anatomy Descriptive and Surgical (1858) was greeted with accolades, but also provoked serious controversy concerning Henry Gray's failure to acknowledge the work of earlier anatomists. A review in the Medical Times (1859) accused Gray of intellectual theft. The journal took the unusual step of substantiating its indictment by publishing twenty parallel texts from Gray and from a pre-existing textbook, Quain's Anatomy. At the recent "Vesalius Continuum" conference in Zakynthos, Greece (2014) Professor Brion Benninger disputed the theft by announcing from the floor the results of a computer analysis of both texts, which he reported exonerated Gray by revealing no evidence of plagiarism. The analysis has not been forthcoming, however, despite requests. Here the historian of Gray's Anatomy supplements the argument set out in the Medical Times 150 years ago with data suggesting unwelcome personality traits in Henry Gray, and demonstrating the utility of others' work to his professional advancement. Fair dealing in the world of anatomy and indeed the genuineness of the lustre of medical fame are important matters, but whether quantitative evidence has anything to add to the discussion concerning Gray's probity can be assessed only if Benninger makes public his computer analysis., (© 2015 Wiley Periodicals, Inc.)

The physician and philosopher Johannes Jessenius (1565-1621), an enthusiastic anatomist in Wittenberg, often had to defend his anatomical practices against Lutheran orthodoxy as is apparent from the invitations he wrote concerning his dissections. His most systematic defence can be found in the introduction to his description of the dissection performed in Prague in 16oo, where he provides three different strategies for the justification of anatomical research. The first method traditionally builds on the use of the ancient dictum 'know thyself;' the second strategy is based on teleology, which Jessenius adopted from Vesalius' work; and the final method is derived from the philosophical tradition of the Renaissance.Jessenius makes use of the concept of the dignity of man in order to support the dignity of anatomical practice. The fundamental meaning of the philosophical framework ofJessenius's approach emerges from the comparison with both Andreas Vesalius, whose Fabric was one model forJessenius's anatomical work, and with the speech delivered by Adamus Zaluzanius a Zaluzaniis prior to Jessenius's Prague anatomical performance.

During the 1950s through the 1970s, Hans Orthner and Fritz Roeder, two German neurologists from Göttingen, developed a sophisticated technique to perform functional stereotactic surgery with outstanding accuracy. They introduced direct air ventriculography performed in the same surgical session as the ablative stereotactic procedure. For individualized surgical targeting, Orthner prepared a stereotactic atlas (>60 brains) with an ingenious brain-slicing device, the Göttinger macrotome. Brains were grouped based on similarity of six different head and ventricle measurements. A brain cluster representing the best match for a patient was selected for stereotactic targeting. Stereotactic lesions were tailored in an individual manner and shaped by stringing together multiple small coagulations following intraoperative test stimulation. This was achieved from a single probe trajectory by using well-engineered string electrodes with calibrated curving and involved laborious calculations. Only high-frequency thermocoagulation was regarded as appropriate for lesioning. With this meticulous technique, the most advanced stereotactic procedures were performed, including bilateral pallidotomy that ultimately could be restricted to the ansa lenticularis and ventromedial hypothalamotomy, the most delicate stereotactic operation performed to date. Outside Göttingen, this technique has only been used by Prof. Dieter Müller in Hamburg, Germany. This elaborate stereotactic approach is widely unknown and deserves to be discussed in a historical context., (© 2016 S. Karger AG, Basel.)

This essay examines the illustrated pathological works by Matthew Baillie (London, 1799-1803) and Jan Bleuland (Utrecht, 1826-28). Both works relied on extensive collections of specimens preserved in London and Utrecht, respectively. The essay discusses changing notions of disease, the erosion of the boundaries between surgeons and physicians, the role and significance of pathological collections, and the relations between preserved specimens and their representations.

A number of anatomists working in the period 1700-1840 used expensive illustrated books to depict their greatest scientific work, establish priority of discovery for posterity, and enlist patrons. These anatomists drew on the grand traditions of anatomical illustration and asserted their right to a place within that history. But with artists mediating the expression of anatomists' vision, it was important that an anatomist assert his control over the illustrations commemorating his expertise. Anatomists used stylistic signatures to signal that a work was their own. Very different styles of illustration in the works of different anatomists, therefore, were made easily recognizable, and sometimes a single artist adopted notably different styles for different anatomists who employed him. Style became a marker of authorship, identifiable with the anatomist, even when he employed an artist to do the drawing and engraving, and it was also an important method of appealing to patrons.

In a long letter, Andreas Vesalius reacts to the comments made by Gabriel Falloppius to his work 'De Humani Corporis Fabrica'. In this letter, he proves Falloppius wrong in a number of assertions and corrects him on more than one occasion. In doing so, Vesalius as a renaissance humanist uses a classic Latin language with long elegant sentences in the style of the old Roman orator Cicero. Remarkably interesting is the fact that this whole argumentation is spiced with comparisons and examples from daily life. To make it clear to the reader what a certain part of the skeleton looks like, he compares this part with an object everybody knows. All parts of the human body are depicted in such an almost graphic way that even an interested reader without any medical or anatomic education can picture them. And Vesalius is very creative in doing so, an artist as it were with a very rich imagination. Moreover, it's remarkable how the famous anatomist manages to put himself on the level of any ordinary person, using comparative images on that level. This last work of Vesalius, which he himself considers to be a supplement to his De Humani Corporis Fabrica, deserves special attention, not only because it illustrates the scientific evolution of the anatomist Vesalius, but also because it offers an insight in the psychology of that fascinating scientist Andreas Vesalius.

This is the first complete translation of Heinrich Sachs' outstanding white matter atlas dedicated to the occipital lobe. This work is accompanied by a prologue by Prof Carl Wernicke who for many years was Sachs' mentor in Breslau and enthusiastically supported his work., (Copyright © 2014 The Authors. Published by Elsevier Ltd.. All rights reserved.)

It is often said that regional anesthesia is the practice of applied anatomy. Therefore, it is fitting that on the occasion of his 500th birthday, we celebrate the life and work of the brilliant Flemish anatomist, Andreas Vesalius (1514-1564), the founder of modern anatomy.

Dr. James Leonard Poppen (1903-1978) was one of the most renowned American neurosurgeons of the 20th century. The now eponymous Poppen approach to the pineal region is still used routinely in current neurosurgical practice. He was also one of the first to describe and practice the prefrontal lobotomy and appears to be one of the surgeons in the case of Eva Peron in 1952. Poppen was born in a Dutch family on February 28, 1903, in the town of Drenthe, Michigan. Poppen described the occipital transtentorial approach to the pineal region, this operative technique to access a deep-seated area was novel and effective, and now bears his name. His other well-known contribution includes the description of a tacking suture to prevent the formation of postoperative extradural hematomas (Poppen's stitch). Besides these, he described many novel procedures including bilateral lumbar sympathectomy, cervical rhizotomy for torticollis, and thoracolumbar sympathectomy and splanchnicectomy through small incisions. He was the first to advocate wrapping of an aneurysm neck with muscle or plastic rather than sacrificing the parent artery in difficult-to-clip aneurysms. His famous atlas on neurosurgical techniques was published in 1960. He retired from this post in 1970; however, he continued his practice of neurosurgery until his death. This historical vignette aims to highlight the work of James L. Poppen and the evolution of the surgery of the "Seat of the Soul." His work has had a lasting influence on neurosurgeons and neuroscientists over the years., (Copyright © 2014. Published by Elsevier Inc.)

This session focuses on the Fabrica (1543). Karger Publishers of Basel are producing a new English translation, by Daniel Garrison and Malcom Hast, to coincide with the quincentenary while Vivian Nutton's scholarly analysis of a newly discovered second edition indicates that the annotations are of Vesalius himself.

The Session looks at the contemporary role of the medical artist with strategies for the education of medical artists and medical students. The wider topic of medical art in forensics, research and literature is explored as a close look taken at European art and science courses and collaborations.

This session examines the relationship between the art and science of anatomy from the time of Vesalius to the present with particular emphasis on the role of the medical artist and the changing nature of anatomical illustration over the last five centuries. Pivotal changes in the art of anatomy will be examined including the evolution of media and brain imaging from Golgi to Geschwind.

Andreas Vesalius of Brussels (1514-1564) was a Renaissance physician and surgeon whose most famous work was the De humani corporis fabrica libri septem a monograph describing human anatomy, first published in 1543. The Fabrica precipitated advances both anatomical and pedagogical, and its influence was such that Vesalius has since been described as the 'founder of modern anatomy'.