Abstract
This chapter explores Anna Morandi's renderings of the hand and the eye—those parts indispensable for anatomical dissection and sculpture, sense and cognition, perception and knowledge—and also describes the ascendant question of sexual difference. Morandi, who began her anatomical notebook by focusing on the eye, did not favor the conceptualizing powers of the eye over the kinesthetic functions of the hand. Her series on the hand visually and scientifically echoed Francesco Algarotti. The singular attention to the perceptive powers of the hand that Morandi represented in wax and her implicit engagement with contemporary philosophical discourse in her writings on sense perception would appear to extend the reach of her practice, of her own anatomizing hand, to the academic cathedra of Bologna and Enlightenment Europe.
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