Abstract
ABSTRACT In the famous painting La Leçon Clinique à la Salpêtrière (A Clinical Lesson at the Salpêtrière) by André Brouillet (1857–1914), the neurologist Jean-Martin Charcot (1825–1893) is shown delivering a clinical lecture in front of a large audience. A hysterical patient, Marie Wittman (known as “Blanche”; 1859–1912) is leaning against Charcot’s pupil, Joseph Babinski (1857–1932). Lying on the table close to Charcot are some medical instruments, traditionally identified as a Duchenne electrotherapy apparatus and a reflex hammer. A closer look at these objects reveals that they should be identified instead as a Du Bois-Reymond apparatus with a Grenet cell (bichromate cell) battery and its electrodes. These objects reflect the widespread practice of electrotherapeutic faradization at the Salpêtrière. Furthermore, they allow us to understand the moment depicted in the painting: contrary to what is sometimes claimed, Blanche has not been represented during a hysterical attack, but during a moment of hypnotically induced lethargy.
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