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Titolo: The Clemente Susini’s anatomical waxes of the University of Cagliari: their artistic, scientific, and teaching relevance
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Data di pubblicazione: 2012
Abstract: The waxes of Cagliari, having been made between 1803-1805, are later than those of the great collections of the La Specola in Florence and of the Josephinum in Vienna, and represent a work of the maturity of Clemente Susini (1754-1814) the chief modeler of La Specola museum. The dissections reproduced by Susini were performed by Francesco Antonio Boi (1767-1865), the anatomist from the University of Cagliari who had been sent on purpose to Florence by the Viceroy of Sardinia Carlo Felice of Savoy (1765-1831). The models (about 80), which arrived in Cagliari in 1806, contained in 23 showcases, are attached to 23 wooden tables that still bear the original tag with date and Susini’s signature The latter is a distinctive character in that, of the over 2000 models, said to have been accomplished under Susini’ guidance, only a few bear his signature. Moreover, they were made when Susini was eventually able to fully express his own artistic view, being eventually free from the somewhat oppressing influence of his great master Felice Fontana who, in that time, was no more the manager of La Specola. On the basis of the preparations displayed, the 23 showcases can be classified into 6 groups: 1 Microscopic and general Anatomy (case I). 2 Muscles (cases II; IV; V; VI, VII, VIII, IX, X). 3 Vessels and Muscles, with preparation of the perineum and of the left pectoral lymphnodes (case III). 4 Somatic -visceral nerves and vessels (cases XI, XII, XIII). 5 Sense Organs (cases XIV; XV; XVI, XVII, XVIII). 6 Abdominal and Pelvic Viscera (cases XIX, XX, XXI, XXII, XXIII). By order of Carlo Felice the models which consist of a special mix of waxes able to resist the hot climate of South Sardinia, had to be unique and no replicas of them are seen in other collections. Great relevance is given to the representation of organs of senses, muscles, and, in particular, to cranial and visceral nerves. Susini’s more mature style is particularly evident in the faces that are realistic portraits and veritable masterpieces of figurative art, in the skilful and harmonious use of colours, and in the perfect rendering of anatomical details. On the other hand, possibly thanks to Francesco Antonio Boi, a few mistakes, as the representation of lymphatic in brain, and omissions seen in the collections of Florence and Vienna, are absent here. Moreover, anatomical relationships of clinical relevance are frequently seen.
Handle: http://hdl.handle.net/11584/80106
Tipologia:4.2 Abstract in Atti di convegno

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