Shadow Journals: The Story of Medical Advertising (Part 3 of 3)

Today we have the third and final part of a guest post written by David Herzberg, Ph.D., who will present “The Other Drug War: Prescription Drug Abuse and Race in 20th-Century America” on Tuesday, October 22. Read part one here and part two here.

We don’t have a definitive history of medical advertising (dissertators, take note!). In fact, the world of medicine barely appears in the standard histories of advertising beyond 19th-century patent medicines. We know all about the key campaigns that transformed the wider advertising industry: Uneeda Biscuit and Oleo margarine in the Progressive Era, Wonder Bread and Dwight Eisenhower in the 1950s, the Volkswagon Beetle in the 1960s, and so forth. The annals of medical advertising begin promisingly with a chapter on patent medicines but then basically peter out.

"The obvious anxieties that preoccupy many middle-aged minds often obscure a coexisting depression." From JAMA, volume 209, number 1 (September 22, 1969). Click to enlarge

“The obvious anxieties that preoccupy many middle-aged minds often obscure a coexisting depression.” From JAMA, volume 209, number 1 (September 22, 1969). Click to enlarge.

Obviously any such history would need to be based, in part, on the records of a medical advertising company or the in-house marketing arm of a pharmaceutical company. But they also require access to the advertisements themselves, in the context in which they appeared—i.e., among other places, in medical journals.

It’s not just historians of medical marketing who need the advertisements. Anyone interested in the history of medicine, or of medicine’s relationship to society at large, should care about them. The ads and the articles talked to each other, either through their joint acceptance of larger cultural beliefs or through vigorous debate when professional and profit-seeking agendas clashed. Advertisements also provide a bridge to connect such medical histories to broader developments, via the same links that contemporaries deplored. “They sell medicine like soap!” raged witnesses before Congress in the 1950s, believing that this was argument enough to win the day. This same observation, less polemically framed, might tell us as much about soap and the consumer culture as it does about medicine.

"In many cases the result of 'empty-nest snydrome.' From JAMA, volume 232, number 2 (April 14, 1975). Click to enlarge.

“In many cases the result of ’empty-nest syndrome.'” From JAMA, volume 232, number 2 (April 14, 1975). Click to enlarge.

This is why it was a historic mistake to cut out the ads. And it’s a mistake that we may still be making: today’s online databases offer a la carte articles without the surrounding advertisements, nearby articles, particular layouts, cartoons, etc. (Medical journals used to have cartoon pages; editorial policy apparently insisted that these mostly be nasty pokes at women patients. These pages, too, were often sliced out by well-meaning librarians.)

As I noted before, the New York Academy of Medicine was the only library I have found that did not cut out the advertisements. And even there policy changed for a while in the 1970s. I still don’t know why they had the prescience to spare the advertisements, but we are lucky that they did. It makes for a precious collection that is unlikely to be made obsolete in the digital era.

Thank You! Festival of Medical History and the Arts Wrap-Up

By Lisa O’Sullivan, Director, Center for the History of Medicine and Public Health

Whew!

Our first Festival of Medical History and the Arts was a great success; more than 1,000 people attended and responded enthusiastically to our mix of talks, demos, films, etc. Now that we have had a chance to draw breath, here are a few details from the day:

It’s hard to pick highlights, although of course Dr. Oliver Sacks speaking about his intellectual influences and the patients who inspired his Awakenings was hugely exciting for all of us. We are grateful to Dr Sacks and all the speakers who came and shared their knowledge.

Our guest curators did an amazing job. Lawrence Weschler’s Wonder Cabinet started with a (big) bang, a banjo-accompanied cosmic/neuronal slapdown, and ended with fascinating insights from Riva Lehrer into how an artist’s body can affect her art and her anatomy teaching. In between, spectators had the chance to get a glimpse into the experience of having an epileptic fit; share anatomical adventures; and witness some cringe-inducing treatments suffered by monarchs through the ages.

The cosmic/neuronal smackdown.

The cosmic/neuronal smackdown. Photo by Amy Hart.

Joanna Ebenstein’s Morbid Anatomy presentation of 12(!) talks throughout the day were standing-room only, forcing us to move to a larger room, which filled up just as quickly. The day started with Mexican traditions around death, took a detour to human zoos, wax anatomical models, medical library pleasures, memento mori, and skull theft before ending with the little-discussed practice of bookbinding with human skin.

Sigrid Sarda gives a medical wax moulage demonstration.

Sigrid Sarda gives a medical wax moulage demonstration. Photo by Amy Hart.

Our conservation team prepared a wonderful exhibit of models demonstrating development of the book over time (no human skin involved), as well as a whimsical look at the life of miniature books. We put highlights from our collections on display, and welcomed visitors to our conservation laboratory. Meanwhile, visitors could learn the art of making anatomical wax moulage and see Gene Kelly struggle with combat fatigue.  And the after party cocktails and cartoons were just the things needed to wind down after the long day.

Cocktails and cartoons at the after party.

Cocktails and cartoons at the after party. Photo by Amy Hart.

With so many people, some events did fill up. Particular apologies to those who couldn’t make it on a behind-the-scenes tour. With such overwhelming demand, we’re planning to make them a much more regular feature, so if you missed out you’ll get another chance at a future event. Our two anatomical workshops were also full; for those of you in New York, we are investigating offering courses on a more regular basis, so please let us know if you are interested!

A tour of the Gladys Brooks Book & Paper Conservation Laboratory. Photo by Amy Hart.

A tour of the Gladys Brooks Book & Paper Conservation Laboratory. Photo by Amy Hart.

Pictures from the day are up on our Facebook page, and winners of the caption competition and the raffle will be announced soon.  Meanwhile, keep an eye out for more details of our Performing Medicine mini-fest, coming in the spring. Hope to see you then, if not before for some of our stand-alone events!

Shadow Journals: The Story of Medical Advertising (Part 2 of 3)

Today we have part two of a guest post written by David Herzberg, Ph.D., who will present “The Other Drug War: Prescription Drug Abuse and Race in 20th-Century America” on Tuesday, October 22. Read part one here and part three here.

This story of medical journal advertising is typically cast as what historians call a “declension narrative,” a tale whose main arc tracks a decline from the honorable virtues of past generations to the immoral venality of today. In this telling, commerce and marketing slowly colonized the therapeutic endeavor, transforming from the noble pursuit of health into an untrustworthy, buyer-beware precinct of the larger consumer culture.

But this story can also be told very differently.

After all, there had always been advertisements in the medical journals, and subscribers had always been able to see them—they had no librarians to slice-and-dice for them. Subscribers read the articles in the context of having also seen the ads.

From JAMA, volume 207, number 11 (March 17, 1969)

“For the ‘Cheater Eater.'” From JAMA, volume 207, number 11 (March 17, 1969). Click to enlarge.

What might they have drawn from the experience of flipping through the unexpurgated journals? Well, historians have had a field day analyzing the messages of particular ads or particular articles. But the overall structure of the journals also sent its own message. When subscribers flipped past the bundle of advertisements before the table of contents to the ad-free material within, they saw to their satisfaction that commerce had been carefully contained where its self-interested values would not contaminate the real work of medicine—the empirical pursuit of truth, the professional sharing of new ways to alleviate illness and suffering, etc.

And yet, as historians have repeatedly demonstrated, commerce, especially the pharmaceutical kind, had long been a powerful force in medicine. From Parke-Davis’ hyping of cocaine in the 1880s, to Smith Kline French’s careful orchestration of research on amphetamine in the 1930s and 1940s, to Carter Product’s “launching” of minor tranquilizer Miltown with a public relations campaign worthy of a Hollywood starlet, drug companies and their marketing departments are ubiquitous in the history of medicine if you look for them. Their influence was only heightened, ironically, by their loud protestations that their marketing campaigns had no influence on physicians’ therapeutic decisions—doctors, they said, were obviously far too smart and well educated to be swayed by Madison Avenue gimmickry. Few physicians were inclined to argue with such logic, and so the marketing hoopla remained paradoxically below the radar, relatively free of scrutiny or regulatory oversight.

From JAMA, volume 207, number 10 (March 10, 1969). Click to enlarge.

“A sleeping pill for night squawks.” From JAMA, volume 207, number 10 (March 10, 1969). Click to enlarge.

From this perspective, we might all have breathed a sigh of relief when the 1950s rolled around and medical journals finally came clean, giving advertisements the pride of place they had long ago earned and beginning the process by which Americans would come to recognize, and grapple with, the centrality of commerce in their medical system. It is no accident that formal regulatory control of medical advertisements was finally given to the FDA less than a decade later.

Shadow Journals: The Story of Medical Advertising (Part 1 of 3)

Today we have part one of a guest post written by David Herzberg, Ph.D., who will present “The Other Drug War: Prescription Drug Abuse and Race in 20th-Century America” on Tuesday, October 22. Read part two here and and part three here.

It’s a historian’s nightmare: librarians spent the better part of a century diligently cutting out and throwing away some of the most important parts of the journals they received each week before binding and shelving them. Precious historic material—capstone work by some of the nation’s brightest and most creative minds—was destroyed by the very people devoted to preserving it, and destroyed only more thoroughly because of those peoples’ good intentions and zealous work ethic. Why would they have done such a terrible thing?

This is no hilariously nerdy horror movie. It really did happen all across America for most of the 20th century. As far as I can tell, the New York Academy of Medicine stood almost alone in deciding—who knows why—not to rip out the advertisements in their medical journals. We owe them sincere thanks for this.

From JAMA, volume 204, number 4 (April 22, 1968)

“‘Deprol helps brighten the depressed patient’s world.” From JAMA, volume 204, number 4 (April 22, 1968). Click to enlarge.

It’s pretty clear why most librarians cut out the ads, and it wasn’t just to preserve space on their shelves. Back in the day, the medical profession prided itself on being insulated from crass commercialism, and major journals like the Journal of the American Medical Association not only insisted on approving each advertisement, it also lumped together all the ads in an easily removable bunch before and after the main body of the journal. Ads were thus clearly identifiable as separate and unrelated to the pristine knowledge housed in the journal’s interior. Why would a good medical librarian save them?

We all know what happened next. Sometime during the consumer culture revolution of the 1950s, when commerce stopped being crass and instead became a beacon of liberty in the fight against communism and a practical organizing principle of most American institutions, consultants advised the American Medical Association to embrace journal advertising. Ads began to proliferate, and they became bigger, more colorful, and ever more dependent on emotionally charged images to convey the kinds of before-and-after miracles of Madison Avenue. Then, one day, they broke out of their quarantine and began to appear in between articles throughout the journal. Advertising became so ubiquitous, and so important, that a separate “Index of Advertisers” was provided in the back of JAMA to help readers locate the ads just like the table of context helped them locate the articles. In a sense, the ads became a shadow journal alongside the articles, providing more digestible (and typically more optimistic) reports from the cutting edge of medicine.

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Triavil: Tranquilizer-antidepressant for the anxiety/depression complex.” From JAMA volume 194, number 8 (November 22, 1965). Click to enlarge.

It was only a matter of time until ads became so thoroughly enmeshed that it was no longer possible to cut them out without also removing parts of articles. Librarians continued to try, however: as late as the 1970s and 1980s, they diligently sized up each page and sliced out whatever advertising they could. Those decades are especially frustrating for historians, if you ask me. We can see the appetite-whetting first and last page of, say, an eight-page mega-advertisement on Valium and “the modern man,” but the meat of the sandwich was long ago pilfered.

Winsome Fetal Skeletons Bearing Scythes: Monro’s Traité d’ostéologie of 1759: Guest post by Morbid Anatomy

A note from the Center for the History of Medicine & Public Health: This is the last post in Morbid Anatomy‘s guest series leading up to our Festival of Medical History and the Arts. If you’ve enjoyed these posts as much as we have, don’t despair! Tomorrow’s event holds a full day of lectures and activities from Morbid Anatomy, Lawrence Weschler, and the Center. We hope you can make it! See the full schedule here.

FrontispieceThe NYAM rare book collection holds a gorgeous copy of the first French edition of Alexander Monro’s (1697–1767) celebrated Traité d’ostéologie (or “Anatomy of Bones”). Monro was trained in London, Paris, and Leiden before going on to become the first professor of anatomy at the newly established University of Edinburgh. It was under his leadership, and that of his successors, that the school went on to become a renowned center of medical learning.

Monro originally published this book without images, thinking them unnecessary after William Cheselden’s lavishly heavily-illustrated Osteographia, or the anatomy of the bones of 1733 (more on that book at this recent post). The very fine copperplates you see here were added to the French edition by its translator, the anatomist Jean-Joseph Sue (1710–1792).

My favorite image in the book is a kind of memento mori–themed tableau morte of winsome, scythe-bearing fetal skeletons enigmatically arranged in a funereal landscape (images 1–3). I also love the frontispiece in which a group of plump putti proffer anatomical atlases and dissecting tools under the oversight of a skeletal bird (above).

This post was written by Joanna Ebenstein of the Morbid Anatomy blog, library and event series; click here to find out more. All images are my own, photographed at the New York Academy of Medicine.

A Renaissance Man at Work: Volcher Coiter’s “Externarum et internarum principalium humani corporis” of 1573: Guest post by Morbid Anatomy

Coiter2

 

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One under-seen and fascinating book to be found in the NYAM rare book collection is Externarum et internarum principalium humani corporis partium tabulae published by Dutch Renaissance man Volcher Coiter (1534–1576) in 1573. Not only was Coiter renowned as an anatomist, surgeon, and physician accomplished in the fields of physiology, ornithology, and embryology; not only did he establish the study of comparative osteology and describe cerebrospinal meningitis before any of his peers; he was also an artist, and signed many of the finely drawn copper engravings in his books, including those you see here.

 

All images are my own, photographed at the New York Academy of Medicine, save the painted portrait of Coiter, which was sourced here. The caption, attributed to Dorothy M. Schullian, reads: “Coiter’s portrait (1575) in oils, attributed to Nicolas Neufchatel and representing him demonstrating the muscles of the arm, with the écorché he had constructed on his left and a shelf of medical classics behind him, is preserved in the Germanisches Nationalmuseum, at Nuremberg; there are later portraits at Weimar and Amsterdam.” (source for caption here)

Sources: Lessico Volcher CoiterWikipedia

This post was written by Joanna Ebenstein of the Morbid Anatomy blog, library and event series; click here to find out more.

Remmelin’s Dissectible Cosmic Anatomical Extravaganza: Guest post by Morbid Anatomy

Johan Remmelin (1583–1632) was town physician of Ulm and Plague physician of Augsberg. He was also the man behind both the concept and the original drawings (engraved by Lucas Kilian) for the ingenious moving-parts anatomical extravaganza Catoptrum microcosmicum, published in 1619, with numerous editions in many languages thereafter.  NYAM has both the 1619 and a 1639 edition in its rare book collection

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This astounding book—in which flaps of paper can be drawn back to virtually dissect the human body—features a heady blend of the anatomical, the theological, and the metaphysical, beautifully expressing the worldview of Natural Philosophy, that precursor to science, which oversaw investigations into the human body in the early modern era. In this worldview, God and man, metaphor and the encountered world, were indivisible; the human being was the microcosm of all creation, so to understand the secrets of the human body would be to know the mind of God. Accordingly, as explained by Martin Kemp and Marina Wallace in their book Spectacular Bodies:

The purpose of anatomical images during the period from the Renaissance to the nineteenth century had as much to do with what we would call aesthetic and theological understanding as with the narrower intentions of medical illustration as now understood. . . .They were not simply instructional diagrams for the doctor technician, but statements about the nature of human beings as made by God in the context of the created world as a whole [as well as] the nature of life and death. . . .

It should not be surprising, then, that the dissectible humans herein are inextricably entwined with images of Jesus Christ (image 9,17); memento mori mottos (16) and imagery (images 12, 17); allusions to God and the angels (image 1); and even the head of the devil, serving as a kind of fig leaf covering the female sex organs in one instance (image 2). There are also numerous biblical references, including a serpent slithering through a human skull holding a branch from the tree of knowledge in its mouth (image 13), lest we forget that original sin introduced death and disease into our world in the first place; without it, we would still be luxuriating in Eden with no need for medicine, or, by extension, books such as this one. The book also contains the occasional inadvertent (?) eroticism, as the peeling back of obscuring layers brings you, in a sort of pre-modern striptease, to the unveiled sexual organs below (image 14 and 15).

If you page through all of the images below, you will get a sense of the carnivalesque exuberance and dynamism of this book; you can also virtually dissect them yourself by clicking here, or here, compliments of The Hardin Library of The University of Iowa, which was also a source for much of the factual content of this piece.

This post was written by Joanna Ebenstein of the Morbid Anatomy blog, library and event series; click here to find out more. All images are my own, photographed at the New York Academy of Medicine.

William Cowper’s Myotomia reformata: or an anatomical treatise on the muscles of the human body, Guest Post by Morbid Anatomy

Cowper01

William Cowper (c. 1666–1709) was a British surgeon and anatomist best known today for describing “Cowper’s Gland,” part of the genito-urinary system. He has also been described by at least one scholar as “the first of the surgeon-scientists of Great Britain… the first to bring the power of the experimental method to bear on practical surgical problems… [anticipating] the celebrated Hunterian school of surgery by more than half a century.” (In the last half of the 18th century, famous London surgeon John Hunter made his reputation in part by advocating for the scientific method in medicine.)

Cowper02

Cowper’s book Myotomia reformata: or an anatomical treatise on the muscles of the human body, first published in 1694 (NYAM’s copy is from 1724), is filled with grimly literal anatomical and dissection-themed initial capital letters, and charming, if somewhat rough, illustrations.

This post was written by Joanna Ebenstein of the Morbid Anatomy blog, library and event series; click here to find out more.

William Cheselden’s Memento Mori and Skeletons at Prayer: Guest Post by Morbid Anatomy

Cheselden 1

Cheselden 1

William Cheselden (1688–1752) is remembered today as one of the greatest English surgeons; he was surgeon to Queen Caroline, wife of King George II, to whom he dedicated the wonderful, epically scaled book Osteographia, or the anatomy of the bones  (1733), which is described by the NYAM Library as “one of the finest of English works containing anatomic illustrations.” The copperplate images were done by Cheselden and his engravers, Gerard van der Gucht and Mr. Shinevoet, with the use of the camera obscura—a pre-photographic drawing aid; this is delightfully alluded to in this wonderful image featured on the title page (images 1 & 2) .

Cheselden 2

Cheselden 2

The book is best known for its large scale and exquisite renderings of skeletons brandishing bones (image 3); leaning on skulls (image 4); with “the same proportions with the venus de Medicis” (image 5); “in the same proportions and attitude with the Belvidere Apollo” (image 6); or, most famously of all, “the side view of the skeleton of a very robust man” at prayer (image 7).

Less seen—yet equally delightful—are the wonderfully imaginative anatomically-themed initial capital letters (8-12); the playful chapter openers (13-19); the memento-mori themed end piece (30); and delicately exquisite animal skeletons (20-22) which fill the book. Despite—or perhaps because of—these luxurious touches, this large-scale atlas was a financial failure.

This post was written by Joanna Ebenstein of the Morbid Anatomy blog, library and event series; click here to find out more.