Ces modèles reproduisaient des parties génitales atteintes de maladies et ils étaient exposés à l'hôpital Saint-Louis, un hôpital dont la spécialité était le traitement des maladies vénériennes et des maladies de la peau. By looking closely at some of the casts, I argue how the evolution of medical science, as we now know it, was entrenched in the phenomena of male voyeurism and sensationalist spectatorship.Ĭet article examine l'utilisation de pratiques formelles réalistes, de procédures et de médias par les professionnels de la médecine à Paris au dix-neuvième siècle il se concentre sur les modèles en cire commandés par le chirurgien Jules Émile Péan (1839–98). As artefacts, the wax moulages reveal a variety of art historical strategies at stake. Simultaneously, Baretta's practice often exceeded the medical requirements of lifelikeness. Manufacturing wax specimens of syphilitic cases encountered at L’Hôpital Saint-Louis in Paris underscored the claims to the truthfulness of representation. However, as I argue, the ultimate challenge to wax in the medical context happened in the nineteenth century with the production of dermatological moulages by Jules Baretta. Beginning with the first wax museums, such as La Specola in Florence, lifelikeness attributed to wax made it the medium of predilection for anatomical representations.
Later, my discussion focuses on the historical process of incorporating wax models into medical science. I try to understand how the unique qualities of the wax medium resonated with religious undertones. Those making a pilgrimage to churches in the Tuscan region sought not scientific documentation of an afflicted organ, but a devotional article on which their prayers could be projected. As a point of departure, I evoke the religious practice of ex-votos taking place in Early Modern Italy. I investigate a long-standing tradition of depicting pathological conditions in the form of wax models.
0 kommentar(er)
