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  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • Compendium anatomicum, or A compendious treatise of anatomy adapted to the arts of painting and sculpture: in which the external muscles of the human body are represented as they appear when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • A compendious treatise of anatomy : adapted to the arts of designing, painting, and sculpture, on ten folio copper-plates; and in which the external muscles and bones of the human body are represented as they appear in the best chosen attitudes, when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • A compendious treatise of anatomy : adapted to the arts of designing, painting, and sculpture, on ten folio copper-plates; and in which the external muscles and bones of the human body are represented as they appear in the best chosen attitudes, when cleared of the skin, the membrana adiposa, and the veins and arteries that lie on their surface.
  • A young man and a woman finish painting a poster advertisement about AIDS featuring a body with crossed out symbols; a young man and woman on the left discuss the issues raised in the poster with their colleagues; an advertisement about AIDS and youths by Federal Agency for Clear Health, on behalf of the Federal Ministry for Youth, Family, Women and Health. Colour lithograph, 1988.
  • Shaman/medicine man, body paint, Australia
  • Anatomy improv'd and illustrated with regard to the uses thereof in designing: not only laid down from an examen of the bones and muscles of the human body, but also demonstrated and exemplified from the most celebrated antique statues in Rome. Exhibited in a great number of copper plates, with all the figures in various views / Intended originally for y use of the Royal French Academy of Painting and Sculpture. And carried on under the care and inspection of Charles Errard director of the same in Rome. The dissections made by Doc[to]r Ber[nardin]o Genga ... The explanations and indexes added by ... John Maria Lancissi ... First published at Rome by Dom di Rossi and now reengraven ... And republish'd by John Senex. A work of great use to painters, sculptors, statuaries and all others studious in the noble art of designing.
  • Circles representing heavenly bodies (?). Gouache painting by a Persian artist.
  • Four pink mythical beasts, composites of human bodies with wings, horses' heads and elephants' trunks. Gouache painting by an Indian artist, ca. 1750(?).
  • A pair of fabulous creatures, human in appearance but with no necks and with black and white patterns over their bodies. Gouache painting by an Persian artist, ca. 1600(?).
  • The mahatmya of the second adhyaya. The bottom third of the painting depicts the frame story of Devasusara of Purana. The top two-thirds illustrate the embedded story of Gadia the goatherd: one of his goats chases away a lion, the ascetic Bala explains the meaning of the events, and Gadia and his animals ascend to Visnu's celestial dwelling Vaikuntha in their divine bodies
  • The mahatmya of the second adhyaya. The bottom third of the painting depicts the frame story of Devasusara of Purana. The top two-thirds illustrate the embedded story of Gadia the goatherd: one of his goats chases away a lion, the ascetic Bala explains the meaning of the events, and Gadia and his animals ascend to Vishnu's celestial dwelling Vaikuntha in their divine bodies
  • The mahatmya of the fifth adhyaya. The bottom half of the painting depicts Pingala's life as a Brahman, his argument with his wife and his death by poisoning. The upper half illustrates the narrative of their subsequent births as birds: they fight in an ascetic's skull in a cremation ground and are given new divine bodies. In the new form they are taken to the court of Dharmaraja, the judge of the actions of mortals
  • The mahatmya of the fifth adhyaya. The bottom half of the painting depicts Pingala's life as a Brahman, his argument with his wife and his death by poisoning. The upper half illustrates the narrative of their subsequent births as birds: they fight in an ascetic's skull in a cremation ground and are given new divine bodies. In the new form they are taken to the court of Dharmaraja, the judge of the actions of mortals
  • Atropa belladonna L. Solanaceae. Deadly nightshade. Dwale. Morella, Solatrum, Hound's berries, Uva lupina, Cucubalus, Solanum lethale. Atropa derives from Atropos the oldest of the three Fates of Greek mythology who cut the thread of Life (her sisters Clotho and Lachesis spun and measured the thread, respectively). belladonna, literally, means 'beautiful lady' and was the Italian name for it. Folklore has it that Italian ladies put drops from the plant or the fruits in their eyes to make themselves doe-eyed, myopic and beautiful. However, this is not supported by the 16th and 17th century literature, where no mention is ever made of dilated pupils (or any of the effects of parasympathetic blockade). Tournefort (1719) says 'The Italians named this plant Belladonna, which in their language signifies a beautiful woman, because the ladies use it much in the composition of their Fucus [rouge or deceit or cosmetic] or face paint.' Parkinson says that the Italian ladies use the distilled juice as a fucus '... peradventure [perhaps] to take away their high colour and make them looke paler.' I think it more likely that they absorbed atropine through their skin and were slightly 'stoned' and disinhibited, which made them beautiful ladies in the eyes of Italian males. Distribution: Europe, North Africa, western Asia. Culpeper (1650) writes: 'Solanum. Nightshade: very cold and dry, binding … dangerous given inwardly … outwardly it helps the shingles, St Antonie's Fire [erysipelas] and other hot inflammation.' Most of the 16th, 17th and 18th century herbals recommend it topically for breast cancers. Poisonous plants were regarded as 'cold' plants as an excess of them caused death and the body became cold. They were regarded as opposing the hot humour which kept us warm and alive. Poultices of Belladonna leaves are still recommended for muscle strain in cyclists, by herbalists. Gerard (1633) writes that it: 'causeth sleep, troubleth the mind, bringeth madnesse if a few of the berries be inwardly taken, but if more be taken they also kill...'. He was also aware that the alkaloids could be absorbed through the skin for he notes that a poultice of the leaves applied to the forehead, induces sleep, and relieves headache. The whole plant contains the anticholinergic alkaloid atropine, which blocks the peripheral actions of acetylcholine in the parasympathetic nervous system. Atropine is a racemic mixture of d- and l- hyoscyamine. Atropine, dropped into the eyes, blocks the acetylcholine receptors of the pupil so it no longer constricts on exposure to bright light - so enabling an ophthalmologist to examine the retina with an ophthalmoscope. Atropine speeds up the heart rate, reduces salivation and sweating, reduces gut motility, inhibits the vertigo of sea sickness, and is used to block the acetylcholine receptors to prevent the effects of organophosphorous and other nerve gas poisons. It is still has important uses in medicine. Atropine poisoning takes three or for days to wear off, and the hallucinations experienced by its use are described as unpleasant. We have to be content with 'madness', 'frenzie' and 'idle and vain imaginations' in the early herbals to describe the hallucinations of atropine and related alkaloids as the word 'hallucination' in the sense of a perception for which there is no external stimulus, was not used in English until 1646 (Sir T. Browne, 1646). It is a restricted herbal medicine which can only be sold in premises which are registered pharmacies and by or under the supervision of a pharmacist (UK Medicines and Healthcare Products Regulatory Agency (MHRA)). Photographed in the Medicinal Garden of the Royal College of Physicians, London.
  • Illustrations of Acatrigatun cicatrization designs, Australia?
  • Tatooing in Abyssinia, two women of the Gurag' Tribe. Blue colouring matter is applied in the form of bracelets and rings to the hand and wrist. A needle or small brush is used.