By Marieke M a Hendriksen

"In based Anatomy Marieke Hendriksen bargains an account of the fabric tradition of the eighteenth-century Leiden anatomical collections, that have now not been studied intimately sooner than. the writer introduces the unconventional analytical thought of aesthesis, as those old clinical collections could appear unusual, and undeniably have a morbid aesthetic, but are neither curiosities nor artwork. As this e-book bargains with concerns concerning the protecting and exhibiting of old human is still, it truly is hugely suitable for fabric tradition and museum experiences, cultural background, the heritage of medical collections and the heritage of drugs alike. in contrast to latest literature on historic anatomical collections, this ebook takes the items within the collections as its start line, rather than the folks that created them"--From publisher's web site.

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Historical Ontology, 8–9. 77 Shapin, Never Pure. CHAPTER 3 Quicksilver Anatomy: Exploring the Lymphatic System with Mercury Quicksilver was an appreciated but notoriously challenging material for anatomists in the long eighteenth century. Preparations injected with a mixture of mercury and hardening agents gain an attractive silvery shimmer if the injection is successful. This chapter analyses the use of quicksilver in anatomical preparations in Leiden in the eighteenth century, revealing aesthesis in all its complexity.

26 Like slavery, prostitution, relics, headhunting, and corpse medicine, anatomical preparations are a form of commodification of the human body. Yet unlike most other forms of commodification of the human body, the creation of anatomical preparations was not aimed at the consumption of the body or its services, nor at stabilizing it for primarily symbolic, ritual, spiritual or decorative reasons (although these could also play a role). Making an anatomical preparation is first and foremost aimed at rendering knowledge, gained through sensory perception and experimentation with the body, stable and tradable.

77 In this chapter, aesthesis has been defined as a useful historiographical analytical category to describe an eighteenth-century epistemic culture. Aesthesis was largely tacit, based in sensory perceptions and materiality, and its most important characteristic is that its epistemic culture was strongly concerned with seeking and bringing out beauty, perfection, and elegance in both its objects and its makers. In addition, it also entailed the quest for beauty and elegance for dealing with the inevitable disgust connected with doing anatomy, and the commodification, objectification, and domestification of the other, both exotic and familiar.

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