88 HUMAN DISSECTION. ITS DRAMA AND STRUGGLE 



Pavia and Bologna (1502-1527), where he taught surgery and 

 anatomy. Since he is classified as one of the restorers of anatomy, 

 he should be given consideration. That he was a prolific dissector, 

 is indicated by the statements that he anatomized more than 100 

 cadavers, possibly as many as 300. As an investigator, of the Renais- 

 sance period, he refused to be a blind follower of Galen. In his 

 book. Carpi Commentaria super Anatomia Mundini, he intro- ^ 

 duced, for the first time, a set of anatomical figures, twenty-one in 

 number, drawn from human dissections. It was published in 

 1521. They surpassed in quality those of his predecessors. He 

 also pioneered by writing a short introduction to his book. 



The life of da Carpi was made miserable by the machinations 

 of the agents of the Inquisitors, who objected to some of his opin- 

 ions regarding the organs of generation. Because he advocated 

 that surgeons study the living body through opportunities pre- 

 sented in wounded persons, he was unjustly accused of dissecting 

 living men. He was the first anatomist to give a correct descrip- 

 tion of many structures of the human body (Buck, '17; Korns, 

 '37; McMurrich, '30; Singer, '25). 



4, Anatomical Illustrations during the Renaissance, 



Not much was done in the way of anatomical illustrations 

 before the Renaissance; it wasn't until the beginning of the IGtl 

 Century that this aspect came to the forefront and was integrate< 

 with textual material in books. 



The dawn of medical literature in Europe began in A.D| 

 1070 with the introduction of Constantine's Pantegni, two book! 

 on anatomy, based on animal dissection. Following this, durin| 

 the 12th Century, five books were written by authors of the medi- 

 cal department at the University of Salerno; all were based oi 

 the earlier work of Constantine's Pantegni. 



Between 1491 and 1543, about 100 different anatomical wood^ 

 cuts were published. The noteworthy ones were stylized drawinj 

 or "primitives" in John Peyligk's Philosophiae Nahiralis (1499)j 

 Magnus Hundt's Antropologium (1501) and Laurentius Phryj 

 esen's Spiegel der Artzny (1518), whose illustrations were the besi 

 of the group. Characteristic of tlie times, was widespread plagij 



