The Public Anatomy Lesson

Abstract

Abstract This chapter analyses a crucible of the state’s making in the sixteenth and seventeenth centuries, the public anatomy lesson. The body, this piece of ‘natural’ property that every human ‘has’, was being increasingly opened up and peered into for the purposes of finally seeing human nature itself. Bringing together visual studies and international relations, the chapter charts the scopic regime that established vision as modernity’s primary ordered instrument and that was honed upon the body dissected in public. To map its contours, it begins with the writings of anatomist William Harvey and scientist-statesman Francis Bacon. The chapter then tracks how this scopic regime was institutionalised by the spread of the highly popular public anatomy lesson across early modern Europe. It then analyses Renaissance and early modern representations of the public anatomy lesson, notably the frontispiece of the first manual of modern medicine, Andrea Vesalius’s On the Fabric of the Human Body (1943), and Dutch painter Rembrandt’s anatomy lesson paintings. The chapter examines the work of boundary-drawing and state-building wrought by these public performances by tracking the roles of the female and the poor body in their crafting.