Charles Bell: Artistry and Anatomy

By Anne Garner, Curator, Rare Books and Manuscripts

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Close-up of plate 1 showing the heart, from Charles Bell’s Engravings of the Arteries, 1801.

Imagine you’re a medical student, and inside your go-to study text is this astonishing, hand-colored image of the heart (above). Twenty-first century medical students should be so lucky!

Engravings of the Arteries by the Scottish anatomist, Charles Bell (1774-1842), was first published in 1801, some 57 years before the first edition of Henry Gray’s Anatomy. Devised for medical students, it aimed to offer accurate and simply-rendered illustrations of the arteries to “present to the student at one glance the general distribution of the vessels and to fix them in his memory.”  The book was used by students as a preparatory text for surgical study and practice.

The ten beautifully-rendered engravings in this volume were delicately colored by hand, and labelled with letters corresponding to explanatory descriptions of the arteries on the opposite page.  In the preface to this work, Bell is explicit in his instructions on how the book was to be used:

In studying the arteries, or any part of anatomy, we should, in the first place, run the eye over the corresponding plate, then read the general description in the text; and lastly, proceed to study more closely, step by step.

For Bell, true anatomical understanding was aided in pairing accurate drawing with thorough description.  Bell also believed that a variety of bodies should be used as subjects, and that the artist must choose the most typical anatomical examples to copy accurately. Any deviation from usual forms would be preserved in the illustration, but noted and explained in the description.

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Plate 3, showing the carotid artery, the lower thyroid artery and the upper thyroid artery in Charles Bell’s Engravings of the Arteries, 1801.

Engravings of the Arteries was the second volume of two; Charles’ brother, John Bell, an eminent surgeon, had written the first volume of this companion set, Engravings, Explaining the Anatomy of the Bones, Muscles, and Joints, in 1794. The elder brother mentored the younger in medicine, though Charles’s formal training occurred at Edinburgh University (he earned his medical degree there in 1798.)  Both Charles and John taught anatomy at the Royal College of Surgeons, until 1804, when the brothers were banned from practicing medicine in Edinburgh by the faculty there, jealous of the success of their anatomy classes.  They moved to London that year and established a new anatomy school, as well as a thriving surgical practice.

On the left: Plate 6, showing the arteries of the arm, and on the right, plate 9, showing the arteries of the lower extremity, both from Charles Bell’s Engravings of the Arteries, 1801.

Trained as an artist, Charles Bell’s skill in this respect is a landmark of his considerable body of anatomical work.  In 1806, Bell wrote an important book, Essays on the Anatomy of Expression in Painting, combining his interest in art and medicine in a book rich in information.  This new book, for an audience of visual artists, advanced ideas he’d first voiced in Engravings, arguing for great attention to anatomy to render the human body accurately (this time, for art’s sake.)

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Bell argued in Essays on the Anatomy of Expression in Painting (1806) that the ancient models often imitated by painters did not accurately reflect anatomical realities.

During his career, Bell also made important inroads in determining the sensory functions of the nervous system.  He was an early advocate of the idea that different parts of the brain controlled different functions; his pioneering work on the brain and cranial nerves influenced the work of other important brain researchers for decades[1].  Bell’s palsy, or facial paralysis caused by nerve dysfunction, is named after him.

For art lovers–and heart lovers too, on our minds this National Heart Month of February–Bell’s gossamer drawings have a special place in the history of anatomical illustration.  Bell understood that image and text could work in concert to save laborious use of words to convey anatomy.  But he also understood the added value of drawing the body with attention, skill, and reverence.  Bell knew that accurate and clear drawings could dramatize with nuance the systems of the body, in all their astonishing perfection. That idea is very much on display in this beautiful book.

Reference:

[1] Bell C. On the nerves; giving an account of some experiments on their structure and functions, which lead to a new arrangement of the system. Philosophical Transactions of the Royal Society of London. 1821 Jan 1;111:398-424.

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Celebrate Valentine’s Day with 19th-century Medical Trade Cards

By Becky Filner, Head of Cataloging

During the last two decades of the 19th century, the United States witnessed an explosion of mass-market advertising in the form of trade cards. A combination of factors contributed. Lithography, first invented in the late 1700s, made it practical to print large runs of images relatively inexpensively. Heavy paper became less expensive because it was being made from bleached wood pulp instead of cloth. The invention of the camera supplied endless images for reproduction. Advances in high-speed steam presses made it practical to mass produce trade cards, and new modes of transportation made it possible to distribute them throughout the country.[1]

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This medical trade card for Pond’s Bitters (“cures constipation, headache, indigestion, biliousness, malaria, dyspepsia”) encourages the couple depicted to focus on each other and “let the dog have the lunch!”[2]

The cards pictured here are all from an extraordinary new collection. Late last year, the Academy library received The Bingham Patent Medicine Collection as a bequest. This rich collection – a complement to our William Helfand Collection of trade cards – contains approximately 4,900 trade cards produced by pharmaceutical manufacturers in the 19th century.

These cards advertising “El Tricofero de Barry” and “Pildoritas de Reuter” were printed in New York by Barclay & Co., but the text is in Spanish. Click to enlarge.

The late Walker Bingham was a completist, and his carefully assembled collection reflects years of assiduous collecting and research. An announcement will be made when the collection is available to the public. Meanwhile, have a look at Bingham’s book, The Snake-Oil Syndrome: Patent Medicine Advertising, for more of his cards and an excellent overview of pharmaceutical advertising. Here he writes of patent medicine:

It is probable that most of the nineteenth century patent medicines had no effect at all on the diseases that they were sold to cure. They were not even palliatives. Some sufferers may have been misled into taking patent medicines instead of more effective (and possibly more expensive) drugs prescribed by a doctor, but generally speaking, at that stage of medical learning there was often little that any doctor could do for a patient with a serious disease except give emotional support.[3]

The medicines that did have more than a placebo effect often relied on ingredients like morphine, cocaine, heroin, opium, chloroform, and alcohol. These drugs were especially dangerous when given to children or self-administered in large doses. The patent medicine business was booming in the late 19th century, and it relied heavily on advertising to attract customers since the medicines were ineffectual at best. In addition to trade cards, patent medicine companies produced millions of newspaper ads, almanacs, show cards, and other mailing pieces.

Most trade cards were designed to appeal to women and children, with sentimental images of animals, flowers, babies, families, and scenery.[4] The Valentine’s Day images below fall into this category, with roses, doves, and cherubs promoting Brown’s Iron Bitters (“Cures Malaria, Dyspepsia, Weakness, &c.”), Burdock Blood Bitters (“It makes pure, healthy blood, and regulates all the organs to a proper action, cures constipation, liver and kidney complaint, female weakness, nervous and general debility, and all the distressing miseries from which two-thirds of the women in American are suffering”), Boschee’s German Syrup (“No person suffering with consumption, coughs, colds, croup, bronchitis, asthma, or any disease of the throat, lungs or chest can take it without getting immediate relief”), and Wilson’s Popular Corn Salve (we are not told what this product does, but “every box [is] guaranteed or money refunded.”)

Most trade cards were designed to appeal to women and children, with sentimental images of animals, flowers, babies, families, and scenery. Click to enlarge.

Sentimental images of couples also sell products, including a trio of kissing couples selling Smith’s Bile Beans (they “cure biliousness”), two different images of couples with umbrellas, one selling Dr. P.O. Baldo’s Blood and Liver Pills and the other selling Wilbor’s Compound of Cod Liver Oil and Phosphates, and a trade card that recommends buying a bottle of Race’s Indian Blood Renovator for your new wife “to prove to her [your] fervent love.”

Sentimental images of couples also sell products. Click to enlarge.

Other more satiric and risqué trade cards are clearly aimed at an adult audience. The card below, “The Five Senses,” is one of the racier examples in the Library’s trade card collection. The back advertises Lash’s Kidney & Liver Bitters, described as “a mild cathartic and sure cure for constipation, indigestion, biliousness, dyspepsia, malaria, chills and fever, nervous or sick headache.” The front of the card shows a series of five images of a woman “seeing” a man, “hearing” him approaching, “smelling” a flower he has given her, and sitting in his lap while he is “feeling” her bottom. The final image, “Tasting,” shows the edge of a bed and the woman’s dress, undergarments, and stockings thrown across a chair. Apparently taking Lash’s Kidney & Liver Bitters will ensure a happy Valentine’s Day!

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“The Five Senses” (above) is one of the racier examples in the Library’s trade card collection.

References:

[1] Summarized from A. Walker Bingham’s account of trade cards in The Snake-Oil Syndrome: Patent Medicine Advertising (Hanover, Massachusetts: The Christopher Publishing House, 1994), p. 117-119.
[2] All trade cards in this post are from The Bingham Patent Medicine Collection in the Library of the New York Academy of Medicine.
[3] Bingham, p. 7.
[4] According to Bingham, mothers used to paste trade cards into albums as birthday or Christmas presents for their children (p. 117.)

#ColorOurCollections: Day 5

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Thank you to all the
institutions that took part in  #ColorOurCollections, and to all the talented artists who colored! We loved seeing your work, and some of our favorites are shared below.

We’re still tallying up participants, but so far 100 institutions have registered on ColorOurCollections.org and contributed to the collection of coloring books located there. Many more participated on social media. Institutions, it’s not too late to register and add your coloring book! The registration page will remain open until next Friday, February 17th at 5PM.

Many of this year’s coloring books featured art, plants, and animals (you can’t go wrong!), but we also saw a few other themes emerge. We saw women’s history in the coloring books of the Brooklyn Public Library, the New York State Library, Frances Willard Memorial Library and Archives, University of Houston Special Collections, and our own coloring sheet. Architecture and buildings were highlighted in Numelyo, Macalester College, DeWitt Wallace Library, Gore Place, the Watson Library at the Metropolitan Museum of Art, and many others. University archives joined in full force this year with participants such as New Mexico State University Library Archives & Special Collections, Loyola University New Orleans Special Collections & Archives, Hunter College Archives & Special Collections, and University of Manitoba Archives & Special Collections

#ColorOurCollections will return February 5-9, 2018! Until then, ColorOurCollections.org is there for all your coloring needs!

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Coloring book: Wangensteen Historical Library of Biology and Medicine, University of Minnesota Libraries

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Coloring book: University of Reading Museums and Collections Coloring Book

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Coloring book: University of Missouri Libraries, Special Collections and Rare Books

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Coloring book: Cambridge University Library

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Coloring book: Smithsonian Libraries

Check out even more beautiful colored pages in the below slideshow.

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Aldrovandi’s Quadrupeds, and #ColorOurCollections: Day 4

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It’s the fourth day of #ColorOurCollections, a week-long special collections coloring fest we’ve organized on social media. Check out all the coloring books at colorourcollections.org.

A set of charming four-footed beasts from the quadrupeds volume of Ulisse Aldrovandi’s (1522-1605) multi-volume  natural history encyclopedia is our choice for today’s coloring sheets.

Aldrovandi grew up in Bologna as the privileged son of a noble family.  His father, Teseo Aldrovandi, served as secretary for the Senate of Bologna and his mother was a first cousin of Pope Gregory XIII.  From an early age, Aldrovandi displayed a restless intelligence, studying mathematics, law and philosophy before finally earning a degree in medicine and philosophy from the University of Padua in 1553.

By the time he earned his degree, Aldrovandi had already developed a passionate interest in natural history.  A popular teacher, he taught philosophy and other subjects at the University of Bologna before he was appointed the first professor of natural sciences in 1561.  Aldrovandi’s interest was sparked by personal encounters with other major figures in the world of 16th century natural history, including the ichthyologist Guillaume Rondelet and the botanist Luca Ghini. While Ghini failed in his attempts to garner support for the establishment of a botanical garden in Bologna, Aldrovandi was successful, founding the garden with the support of the Senate in 1568 and serving as its director for almost 40 years.  He also travelled widely, often with students, to collect plants  and natural history specimens.

Over the course of his lifetime, Aldrovandi assembled a natural history museum of 18,000 specimens, as well as an extensive herbarium.  Only four of the thirteen volumes of his magisterial Storia Naturale were published during his lifetime; the others appeared posthumously over a period of decades.  He left the museum collections, his library, his unpublished manuscripts, drawings, water colors and the wood blocks that were meant to be used to illustrate the encyclopedia volumes to the city of Bologna when he died.  A portion of the specimen collections can be visited today in the Istituto delle scienze at the Palazzo Poggi, while the manuscripts, watercolors, and wood blocks are available for study in the library at the University of Bologna.

If you like Aldrovandi’s majestic beasts, you’ll love the following coloring pages from our participating institutions.

We’re mesmerized by Dittrick Medical History Center‘s beautiful Anatomy of an Horse (1683) by Andrew Snape.

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Enjoy coloring the many details of University of Strathclyde Glasgow‘s regal lion from Michael Maire’s Atalanta Fugiens (1618).

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Finally, here is the legendary manticore for your coloring delight. The Donald F. and Mildred Topp Othmer Library of Chemical History adds a bit of whimsy with Historie of foure-footed beastes(1658) by Edward Topsell.

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Check back in tomorrow for the last day of #ColorOurCollections!

 

Hebra’s Atlas of Skin Diseases, and #ColorOurCollections: Day 3

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It’s the third day of #ColorOurCollections, a week-long special collections coloring fest organized on social media. Every day on our blog, we will feature #ColorOurCollections coloring sheets from our library, along with content from participants worldwide.

Today’s Academy coloring sheets come from the works of Ferdinand von Hebra  (1816- 1880), a significant figure in the influential Vienna school of dermatology. Dermatology emerged as a clinical specialty in the early to mid-19th century, and in 1849, Hebra was appointed the first German language professor in the subject, at Vienna General Hospital.[i]

Hebra’s Atlas of Skin Diseases (1856 – 76) was a monumental work printed in 10 installments, with mostly life-sized illustrations, using the new technique of chromolithography, which allowed the artist to draw directly onto the lithographic stone and print in color. The illustrations were created by two Viennese painter physicians, Anton Elfinger and Carl Heitzmann. Each issue of the Atlas was dedicated to a group of disorders which affected the skin.

The “tattooed man” is an unusual addition to the Atlas, being presented as of cultural rather than the clinical interest. Unusually, the tattooed man is also identified by name, as Georg Constantin, a circus performer from Albania. Constantin was a well-known circus performer, who traveled extensively in Europe and North America. He spent time with Barnum’s Circus as “Prince Constantine,” where he also sold pamphlets describing his tattoos (which are variously described as Chinese and Burmese in origin).[ii] Constantin’s body was covered with 388 tattoos of animals and symbols in red and blue. As was Hebra’s habit, Constantin was depicted twice in the Atlas, once in full color and once as the outline drawing presented here.[iii]

Itching to color the tattooed man? Some of these intricate patterns from participating institutions may also be your groove.

From University of North Carolina at Chapel Hill’s Health Science Library: Adam Lonicer, Naturalis historiae opus novum (1551).
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From Amguedddfa Cymru – National Museum Wales: Benjamin Wilkes, Twelve new designs of English Butterflies (1742).

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We’re also loving Muhlenberg College Trexler Library‘s maps coloring book.  Check out this detailed world map of Johann Baptist Hormann’s Planiglobii terrestris cum utroq hemisphærio cælesti generalis repræsentatio (1720).muhlenbergcollege_colorourcollections_maps

References:

[i] Holubar, K. (1981), Ferdinand von Hebra 1816–1880: On the Occasion of the Centenary of His Death. International Journal of Dermatology, 20: 291–295. doi:10.1111/j.1365-4362.1981.tb04341.x

[ii] Margo DeMello, Bodies of Inscription: A Cultural History of the Modern Tattoo Community (Duke University press, 2000), p56. DeMello states that Constantin sold pamphlets describing the “Chinese cannibal natives” who had forced his tattooing on him. In Hebra’s Atlas the tattoos are identified as being Burmese. There is also a suggestion that Constantin had himself tattooed with an eye to displaying himself as a circus attraction.

[iii] Mechthild Fend, “Skin portraiture ‘painted from nature’: Ferdinand Hebra’s Atlas of Skin Diseases (1856-76)”, in Hidden Treasure, Michael Sappol (ed), New York: Blast Books, 2012, pp. 122-26.

Elizabeth Blackwell’s A Curious Herbal, and #ColorOurCollections: Day 2

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Elizabeth Blackwell’s A Curious Herbal has quite a curious publication story.  We’ve transformed six images from this stunning eighteenth-century botanical first published in 1737 in London into coloring sheets.

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Blackwell’s melon, colored by library staff member, Emily Miranker.

Aberdeen-born Elizabeth Blackwell (1700-1758), the daughter of a successful merchant, married her cousin Alexander Blackwell at age 28.  Though trained in reading Greek and Latin, Alexander practiced as a physician in Aberdeen, without appropriate permissions. The couple relocated to London when his right to practice medicine in Aberdeen was challenged.  In London, Blackwell opened a printing shop—again without the proper credentials, and again with less than stellar results.  When he couldn’t pay his business debts, he was installed at the city’s Highgate Prison.

Elizabeth, by then a mother, needed to find a way to support her family.  The printer’s shop she operated with her husband had made her a savvy observer of the book marketplace.  She realized that a new high quality herbal including New World species didn’t yet exist.  She took a room next to the Chelsea Physic Gardens, which exhibited some of the new American plants.  Later, she ferried the finished drawings to the prison at Highgate, where her husband supplied the Latin and Greek names of the plants and their uses. Some American plants, like sassafras, native to Virginia, were given only the English and Latin names.

Alexander also offered counsel on the plants’ medicinal uses.  The text accompanying sweet gum, here, “sweet cistus of candy” attests that it “Stays Vomiting” and that “the Fume of it Comforts the Brain” (we’re hoping that these same effects can be said about the practice of coloring these images).

blackwell_watermarkblackwell3Elizabeth was not only responsible for the drawings themselves, but did the engravings of the drawings on copper plates for printing.  In many copies, she hand-colored every single plate.  The images were first published at a rate of four a week, beginning in 1737, but through her own connections and market-savvy, she soon secured a book deal.  With the profits, Elizabeth was able to secure Alexander’s release from Highgate Prison, though their reunion was temporary (later he was put to death in Sweden for treason, though that is another story).

This week, we’re grateful that our own copy of Blackwell’s Curious Herbal is gloriously pristine so that we could transform them into a bouquet of coloring sheets.

In need of color specifics?  Blackwell’s text gives vivid, precise descriptions of the hues of her selected plants.  Great Bindweed (v.1, plate 38), which blooms in the late summer, has leaves that are “a willow green” with “Flowers white,” while her Female Piony possesses “leaves a grass green and flowers a fire crimson.”

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We leave it to you imaginative colorists to fill in these pages in any range of glorious hues you like!

While we’re on a plant theme, let’s take a look at some beautiful coloring pages from participating institutions.

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New York Botanical Garden includes this lovely sunflower in their coloring book. Source: Basillius Besler, Hortus Eystettensis (1613).

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Williams College Libraries includes this ready-to-color image from Leonhart Fuchs’ De historia stirpium (1542).

Don’t forget to check out more coloring books at colorourcollections.org!

#ColorOurCollections 2017: Day 1

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The second annual #ColorOurCollections week has officially begun! From February 6th through 10th, libraries, archives, and other cultural institutions are showcasing their collections in the form of free coloring sheets. Follow the hashtag on Twitter, Instagram, Facebook, and other social media platforms to be introduced to new library collections, find out more about your favorites, and have some fun. Throughout the week, we will be featuring new coloring books from other institutions on the blog, and be sure to visit the #ColorOurCollections website for the list of participants and a collection of coloring books created for the campaign.

We also plan to showcase the work of the talented colorists out there! Share your filled-in sheets on social media with the hashtag #ColorOurCollections for a chance to get featured on our blog.

Our coloring book this year features hooved creatures from Ulisse Aldrovani’s Qvadrvpedvm omniv bisvlcorv historia, 1621; beautiful botanicals from Elizabeth Blackwell’s A curious herbal, 1739; and a dashing tattooed fellow from Ferdinand Hebra’s Atlas der Hautkrankheiten, 1856-1876. Download our full coloring book and check back throughout the week for background on our sources.

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The coloring content shared by collections so far tell us we are in for an incredible week! We’re particularly taken with Europeana’s Art Nouveau coloring book. The style lends itself beautifully to coloring sheets and we cannot wait to get started on the nasturtium design.

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The Biodiversity Heritage Library’s new coloring book features the work of great naturalists such Pierre Belon, Mark Catesby, and John Gould.

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We’re excited to see some new participants this year! The Rosenbach created several coloring sheets based on bookplates from their exhibition The Art of Ownership.

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Keep following #ColorOurCollections on your favorite social media outlets. Happy coloring!

#ColorOurCollections: February 6-10, 2017

Get your crayons and colored pencils ready, we’re gearing up to #ColorOurCollections again! This year’s library social media coloring extravaganza will happen February 6th-10th. During that week, libraries, archives, special collections, and other cultural institutions around the world will share coloring sheets based on materials in their collections.  You will find these posts on social media with the hashtag #ColorOurCollections, as well as on our new website, colorourcollections.org.

Last year, more than 210 libraries and cultural institutions participated, representing 7 countries (United States, Canada, United Kingdom, France, Spain, Australia, and New Zealand). Institutions, let’s make it even bigger this year. If you work in a library or special collection, join us in this fun initiative! Find out how to participate here.

If you can’t wait and want to sharpen those coloring skills, try your hand at one of our new coloring sheets. This illustration of 26 notable women comes from the pamphlet Famous women of the world published by the Pepsin Syrup Company, circa 1920.

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Winter/Spring 2017 Catalog: Events with a Unique Perspective

library-programming-winter-spring-2017-thumbWelcome to The New York Academy of Medicine Library’s Winter/Spring 2017 cultural programming.  Today we launch a new season of events with a unique perspective on the history and culture of medicine and health, and what they mean for the future.

The upcoming season includes talks by prominent authors, historians and artists. Highlights include science writer Harriet Washington on the role of microbes in mental health (March 15), historian Lisa Rosner on the controversial history of vaccine advocacy starting in the 1700s (April 6), food journalist Sarah Lohman on garlic’s journey from a tuberculosis remedy to a food seasoning (June 5), and science writer Mary Roach on her new book GRUNT: The Curious Science of Humans at War (June 12).

Legacies of War: Medical Innovations and Impacts,” our special 2017 event series commemorating the 100th anniversary of the American entry into WWI, will explore how the experience of war has prompted medical innovation, including surgical techniques, prosthetics, ambulances, and trauma care. Speakers will also address the impact of conflict on the minds and bodies of soldiers and civilian populations, past and present. This series commences On February 21, with Prof. Margaret Humphreys (Duke University) speaking on “The Marrow of Tragedy: Disease and Diversity in Civil War Medicine.”

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To ensure the sustainability of our programs, we have added a nominal fee for our events. A number of events throughout the year remain free due to the generosity of our sponsors. Discounts continue to be available to our valued Friends of the Rare Book Room and Academy Fellows and Members, and we welcome students to attend for free.

Download the Winter/Spring 2017 programming catalog for more details. To register, click the names of events in the catalog, or visit www.NYAM.org/events.

We look forward to seeing you throughout the year.

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Welcome to Year of the Rooster: 新年快乐

By Emily Miranker, Project Coordinator

Growing up in the very multicultural city of San Francisco, Chinese New Year has always been one of my favorite holidays. It’s bright and noisy, with dancing, fantastic animals, cymbals, and vibrant costumes.

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The vivacity and strength that the rooster symbolizes, prevalent in many traditions beyond Chinese astrology and the Greco-Roman West, is evident in the cheerful design by the late Clarence Lee. Lee designed an entire series of twelve stamps for the Chinese zodiac cycle, starting with the Year of the Rooster in 1992.[i]

The Year of the Rooster starts on the 28th thanks to a (legendary) challenge set by an emperor of China (for a fuller and charming retelling of the story, click here). Briefly, the emperor told all the animals to race across a river. The first twelve to reach the far bank would have a year named after them – these twelve years make up the zodiac. Famously, the trickster rat caught a ride on the powerful ox, and leapt off his head at the last minute onto the far bank thus coming in first. This year’s star, the rooster, found a raft and came across the river on it along with a goat, who cleared weeds from their path, and monkey, who paddled the raft. The rooster was awarded the eighth year in the zodiac in honor of his resourcefulness and teamwork.

In addition to the above qualities, the Chinese believe roosters symbolize moral fortitude and protection. Their role as protectors may originate from the habit of watching for the day to return; heralded by their crowing at dawn. Scientists have actually discovered that, in fact, it’s not the first light of morning that triggers roosters crowing (they can crow at any time of the day; how much and when depends on breed and personality).  Rather, it’s a roosters internal body clock.[ii] This watchful quality spoke not only to the Chinese, but to the ancient Greeks for whom the rooster was a symbol of the god of healing, Aesclepius.

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The god of medicine and physician, Aesclepius is depicted along with his daughter, Hygeia, goddess of health, over the entrance to the New York Academy of Medicine.

Aesclepius sometimes took the form of a rooster when appearing to supplicants, and the bird was also sacrificed in his honor. As it’s a symbol of restoring health, watching to keep illness and evil at bay, the rooster is one of many health and medicine icons that decorate the interior of the Academy building.

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In this painted ceiling ornamentation from our lobby, a rooster dances with a dog, also sacred to Aesclepius. Like the rooster, the dog stands for watchfulness, driving away death.

Other roosters you’ll find in our library include this rooster, with his hen and chicks, from the 1536 Hortus Sanitatis, a natural history from Germany.

Jumping fifty years ahead, still from Germany, we have one rooster with fantastic plumage and an eerily long tongue for a bird, and his more sedate and regale fellow. They feature in a cook book by Marx Rumpolt, head cook to the Elector of Mainz, which includes nearly 2,000 recipes and instructions on how to make wine.

The above rooster (mid-squawk?) is from the third of a five volume set, the Historia Animalium, the most famous work of Conrad Gessner. Gessner was a 16th-century Swiss physician and naturalist. The woodcuts in our 1555 edition of the third volume were hand-colored and have many of the birds’ French names added by a reader of the past. Gessner did draw, but most of the woodcuts in his volumes were the work of others. Their identities are largely unknown, except for Lucas Schan, an expert fowler, who drew images of birds.[iii]

For the grande finale, my favorite rooster is this glorious French fellow, the Coq Gallante, who is just a decoration made of plaster and not an actual fowl, atop a sumptuous Victorian savory pie featured in The Encyclopedia of Practical Cookery by Theodore Garrett (1898). The meat pie is surrounded by real, edible game birds, mini pies, and cooked eggs on a bed of parsley. ­Monsieur Gallante’s sash says, “A Votre Sante;” French for, “To your good health!” I can think of no better wish for the New Year.

References:
[i] Gregg K. Kakesako. “Clarence Lee, designer of New Years stamps, diesHonolulu Star Advertiser, January 30, 2015. Accessed 1/4/17.

[ii] Lee, Jane J. “How a Rooster Knows to Crow at Dawn,” National Geographic. March 19, 2013.

[iii] S. Kusukawa. “The Sources for Gessner’s pictures for the Historia animaliumAnnals of Science, Vol. 67, No. 3, July 2010. 322-323.