A. FOR ARTISTS is studied with reference to the effects produced by internal structure on the external form, and describes the organs, especially the muscles and tendons, not only in a state of rest, but also as modified by passion, action, and posture. Conse quently, observation of the nude living form is required iu this branch of study, which has been treated of by Errard and Genga (1691); and in modern times, by Lavater (1790), Camper (1792), Charles Bell (1806), Salvage (1812), Mascagni (1816). Koeck (1822). Gardy (1831), Fischer (1838), Salomon and Aulich (1841), Berger (1842), Seiler and Gunther (1850), etc.
PitAcricAL A. includes dissection (q.v.) and the making of preparations. Preparation consists in dividing parts or organs, so that their respective forms and positions may be clearly shown. Organs or parts thus treated are styled anatomical preparations of bones, muscles, vessels, nerves, etc. For example, a bone preparation is made by clear ing away all muscular and other adhesions; the whole structure of the bones, Ulm: prepared and bleached, when connected by wires in its natural order, forms an artificial skeleton.
For preparations of parts containing vessels with minute ramifications, injections are employed. Some colored fluid which has the property of gradually becoming solid, is gently injected into the arteries or other vessels, by means of a syringe. Formerly, materials which required a certain degree of warmth to preserve their fluidity were used; but as these were attended with inconvenience, a great improvement was made by Shaw and Weber, who introduced the use of linseed oil and turpentine, which, when mixed with certain metallic .compounds in due proportions, form a fluid which, after a time, becomes solid in ordinary temperatures. Quicksilver and colored lime water are also used for injection of the finer vessels. Preparations are either dried and varnished or preserved in spirit.
A series of such specimens, arranged in proper order, forms an anatomical museum. The valuable collections made by Ruysch, Rau, Loder, Walter, John and William Hunter, Merkel, Semmering, and Dupuytren, are all now public property. There is also a splendid collection in the university of Edinburgh, collected and prepared for the most part by John Goodsir. The college of surgeons of Edinburgh also possesses a
very valuable museum of pathological preparations. As it is impossible to preserve thus all parts in their integrity for any great length of time, artificial copies in wood, ivory, and wax, have been made with great exactitude, especially in Florence; and re cently Anzou, in Paris, has employed papier-mache for the same purpose. But, apart from dissections and preparation of the natural organs, the most general and available assistance in the study of A. is found in anatomical engravings and plates on wood and copper. This assist:nice was known in ancient times. Aristotle.affixed to his works on A. some anatomical drawings, which have been lost. In the 16th c., the greatest artists —Leonardo da Vinci, Michael Angelo, Raphael, Titian, and Darer—gave their aid in designing anatomical figures; but few of their works, in this department of art, have been preserved. Lately, lithography has been employed. Among the numerous illus trations of A. which we now possess, the old works by Vasal (1543), Eustachins (1714), Bidloo (1685), Albin (1747), Haller (1743-1756), and Vicq d'Azyr (1786-1700), may be mentioned. The present century has supplied works of first-rate excellence by Caldani (Venice, 1801-1814), Mascagni (Pisa, 1823), Langenbeck (Gottingen, 1826), Bourgery and Jacob (Paris, 1832), and Arnold (Zurich, 1838). For general use, we may commend the plates of Loder (Weimar, 1803), Cloquet (Paris, 1826), Osterreicher (Munich, 1827 1830), Weber (Dusseldorf, 1830), Bock (Leipsic, 1840), and D'Alton (Leipsic, 1848): in surgical A„ the works by Rosenmaller (Weimar, 1805), Pirogoff (Dorp, 1840), and Gaudier (Hamburg, 1844): in pathological A., Meckel (Leipsic, 1817-1896), Cruveilhier (Paris, 1828-1841), 1"roriep (Weimar, 1828), Albers (Bonn, 1832), Gluge (Jena, 1843-1850), and Vogel (Leipsic, 1843): in comparative A., Carus (Leipsic, 1826) and Wagner (Leipsic, 1841). Among English works may be mentioned those by Lizars, Jones, and Richard Quoin, in special A.; by Morton and Maelise, in surgical A.; and by Baillie and Bright in pathological A.