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The biography of Colonel Hermann Schwyter, equine surgeon of the Swiss Army from 1928 to 1937, and the history of training of farriers in Switzerland since the 18th century are presented. Hermann Schwyters dissertation examined the changes of equine hoof confirmation as a result of standing and gait in approximately 2,000 horses and numerous anatomical specimens. He defines the foot placement, describes possible variations, their causes and effects. Significant is also his study of the compression pathology in horses and mules. His recommendations are still valid today. The present article refers to his authored textbook "The Swiss military farrier" and to his established journal, which is bearing the same title.Die Biographie von Oberst Hermann Schwyter, Oberpferdarzt der Schweizer Armee von 1928 bis 1937, und die Geschichte der Ausbildung der Hufschmiede in der Schweiz seit dem 18. Jahrhundert werden dargestellt. Hermann Schwyter hat in seiner Dissertation die Gestaltsveränderung des Pferdefusses infolge Stellung und Gangart bei rund 2000 Pferden und anhand zahlreicher Präparate untersucht. Er definiert die Normalstellung des Fusses, beschreibt die Abweichungen, deren Ursachen und die Auswirkungen. Bedeutsam ist auch seine Studie über die Druckschäden bei Pferden und Maultieren. Seine Empfehlungen sind noch heute gültig. Es wird ferner auf sein Lehrbuch «Der Schweizerische Militärhufschmied » und auf die den gleichen Titel tragende, von ihm begründete Zeitschrift hingewiesen.On présente la biographie du colonel Hermann Schwyter, vétérinaire en chef de l’armée suisse de 1928 à 1937 et l’historique de la formation des maréchaux en Suisse depuis le XVIIIe siècle. Dans sa thèse, Hermann Schwyter a examiné l’évolution de la forme du pied du cheval en fonction des aplombs et des allures sur environ 2000 chevaux et de nombreuses préparations. Il a défini la position normale du pied, décrit les déviations, leurs causes et leurs effets. Il faut également souligner son étude sur les dommages dus aux pressions chez les chevaux et les mulets. Ses recommandations sont toujours valables aujourd’hui. Il est également fait référence à son ouvrage «Le maréchal-ferrant militaire suisse» ainsi qu’au journal portant le même titre qu’il avait créé.Vengono qui presentate la biografia del colonnello Hermann Schwyter, capo clinica equini dell’esercito svizzero dal 1928 al 1937 e la storia della preparazione dei maniscalchi in Svizzera nel XVIII secolo. Nella sua tesi di laurea, Hermann Schwyter ha esaminato il cambiamento di forma del piede del cavallo risultato dalla posizione e dall’andatura di circa 2000 cavalli con l’uso di molte preparazioni. Egli ha definito la posizione normale del piede e descritto le deviazioni con le loro cause e i loro effetti. Di particolare importanza sono pure i suoi studi sui danni da pressione nei cavalli e nei muli. Le sue raccomandazioni sono tutt’oggi valide. Inoltre si segnala il suo libro di testo „Der Schweizerische Militärhufschmied“ (Il maniscalco militare svizzero) e la rivista omonima fondata da lui.

Background and aims Summer squash, the young fruits of Cucurbita pepo, are a common, high-value fruit vegetable. Of the summer squash, the zucchini, C. pepo subsp. pepo Zucchini Group, is by far the most cosmopolitan. The zucchini is easily distinguished from other summer squash by its uniformly cylindrical shape and intense colour. The zucchini is a relatively new cultivar-group of C. pepo, the earliest known evidence for its existence having been a description in a book on horticulture published in Milan in 1901. For this study, Italian-language books on agriculture and cookery dating from the 16th to 19th centuries have been collected and searched in an effort to follow the horticultural development and culinary use of young Cucurbita fruits in Italy. Findings The results indicate that Cucurbita fruits, both young and mature, entered Italian kitchens by the mid-16th century. A half-century later, round and elongate young fruits of C. pepo were addressed as separate cookery items and the latter had largely replaced the centuries-old culinary use of young, elongate bottle gourds, Lagenaria siceraria Allusion to a particular, extant cultivar of the longest fruited C. pepo, the Cocozelle Group, dates to 1811 and derives from the environs of Naples. The Italian diminutive word zucchini arose by the beginning of the 19th century in Tuscany and referred to small, mature, desiccated bottle gourds used as containers to store tobacco. By the 1840s, the Tuscan word zucchini was appropriated to young, primarily elongate fruits of C. pepo The Zucchini Group traces its origins to the environs of Milan, perhaps as early as 1850. The word zucchini and the horticultural product zucchini arose contemporaneously but independently. The results confirm that the Zucchini Group is the youngest of the four cultivar-groups of C. pepo subsp. pepo but it emerged approximately a half-century earlier than previously known.

Sir Alexander Morison's The Physiognomy of Mental Diseases and the original art work that formed the basis of the book have not had the scholarly attention they deserve. The published book and the commissioned portraits have not been studied in any detail. Historians have tended to offer cursory assessments that have reflected their own preconceived ideas rather than properly engaging with the material. This is a pity because Morison's work is a rich source that tells us much about the history of psychiatry. The pictures and text give us a glimpse into the world of the asylum and that of the patient. Although we see the patient through the eyes of the artist and Dr Morison, they do emerge as individuals. The accompanying texts reflect the psychiatric approach of the time and reveal contemporary notions of diagnosis, aetiology and treatment. Morison's work can also be located in the history of ideas about physiognomy. He himself was particularly influenced by Jean-Étienne-Dominique Esquirol, and Morison's work, in turn, influenced WAF Browne. These papers will outline Morison's career and consider in detail his book on The Physiognomy of Mental Diseases.

Abstract Sir Alexander Morison's The Physiognomy of Mental Diseases and the original art work that formed the basis of the book have not had the scholarly attention they deserve. The published book and the commissioned portraits have not been studied in any detail. Historians have tended to offer cursory assessments that have reflected their own preconceived ideas rather than properly engaging with the material. This is a pity because Morison's work is a rich source that tells us much about the history of psychiatry. The pictures and text give us a glimpse into the world of the asylum and that of the patient. Although we see the patient through the eyes of the artist and Dr Morison, they do emerge as individuals. The accompanying texts reflect the psychiatric approach of the time and reveal contemporary notions of diagnosis, aetiology and treatment. Morison's work can also be located in the history of ideas about physiognomy. He himself was particularly influenced by Jean-Étienne-Dominique Esquirol, and Morison's work, in turn, influenced WAF Browne. These papers will outline Morison's career and consider in detail his book on The Physiognomy of Mental Diseases.

Note from the Editor-in-Chief: I am pleased to introduce our latest Art in Science column, written by Francine Mary Netter and Gary Friedlaender. Francine Mary Netter is the author of Medicine’s Michelangelo: The Life & Art of Frank H. Netter, MD, a biography of her father, the renowned medical illustrator. Gary Friedlaender is the Chair of the Department of Orthopaedics and Rehabilitation at Yale School of Medicine. Together, they will share observations from a fascinating vantage point: the interface of art and medicine. The authors certify that they or any member of their immediate families have no funding or commercial associations (eg, legal, consultancies, stock ownership, equity interest, patent/licensing arrangements, etc) that might pose a conflict of interest in connection with the submitted article. All ICMJE Conflict of Interest Forms for authors and Clinical Orthopaedics and Related Research ® editors and board members are on file with the publication and can be viewed on request. The opinions expressed are those of the writers, and do not reflect the opinion or policy of CORR ® or the Association of Bone and Joint Surgeons®.

This paper examines the relationship between two extraordinary artists, father and son--N.C. Wyeth (1882-1945) and Andrew Wyeth (1917-2009)--and their art. N.C. Wyeth, the father, the most famous illustrator of his day, painted scenes full of drama and action, often of men engaged in violent life and death struggles. N.C. was unable to separate from his powerful mother and yearned for his iconic father. He thought himself an artistic failure and dedicated himself to raising his children to be geniuses. The youngest son, Andrew Wyeth, who lived a "secret life," painted scenes often characterized by pathos: bleak and barren landscapes, leaden skies, tire tracks, gray framed houses, desiccated fields, and circling buzzards. In the father-son relationship, we often seen three themes perpetuated developmentally: (1) the son's identification with the innermost conflicts of his father; (2) the yearning for the iconic father of his youth; and (3) a continuation and disavowal of his father's life. These themes are played out in the relationship between Andrew Wyeth and his father.

Around 1800, the scientific "illustrator" emerged as a new artistic profession in Europe. Artists were increasingly sought after in order to picture anatomical dissections and microscopic observations and to translate drawings into artworks for books and journals. By training and technical expertise, they introduced a particular kind of knowledge into scientific perception that also shaped the common image of nature. Illustrations of scientific publications, often undervalued as a biased interpretation of facts and subordinate to logic and description, thus convey an 'art history' of science in its own right, relevant both for the understanding of biological thought around 1800 as well as for the development of the arts and their historiography. The article is based on an analysis of botanical treatises produced for the Göttingen Society of Sciences in 1803, during an early phase of microscopic cell research, in order to determine the constitutive role of artistic knowledge and the media employed for the visualization and conceptualization of biological issues.

The purpose of this study was to reveal the major views of the early scientific period (18th and 19th centuries) on epilepsy as both a disease and a symptom. The shaping of thought about illness and medicine as a science, which began in the Renaissance and progressed into the Enlightenment, intensified during the 18th and 19th centuries. During this period of increasingly methodical investigation, researchers undertook a thorough study of epilepsy. Renowned doctors of this period from the Dutch and German medical schools, the “golden era” of French medicine, and British medicine, including, of course, John Hughlings Jackson, all left their mark in this era of epilepsy research. Epidemiological studies using large patient data sets were conducted for the first time, as was systematic research on the pathophysiological, pathological, neurological, and psychiatric aspects of the disease.

Recent studies show that in the sport of fencing left-handers have an advantage over right-handers. This was recognised by fencing masters as early as the sixteenth century. They also agreed that the advantage was due to left-handers' numbers-that being a minority gave them more opportunities to compete against right-handers than right-handers had against them. Fencing masters today have reached the same conclusion, as have laterality researchers, who see the advantage as an example of what is now called a "frequency-dependent" effect. However, some researchers have also suggested other possibilities that relate the advantage to natural differences in ability. This article presents a sampling of views of fencing masters from the past, along with a summary and analysis of explanations, old and new.

Thomas Hincks was born 15 July 1818 in Exeter, England. He attended Manchester New College, York, from 1833 to 1839, and received a B.A. from the University of London in 1840. In 1839 he commenced a 30-year career as a cleric, and served with distinction at Unitarian chapels in Ireland and England. Meanwhile, he enthusiastically pursued interests in natural history. A breakdown in his health and permanent voice impairment during 1867–68 while at Mill Hill Chapel, Leeds, forced him reluctantly to resign from active ministry in 1869. He moved to Taunton and later to Clifton, and devoted much of the rest of his life to natural history. Hincks was elected a Fellow of the Royal Society of London in 1872 for noteworthy contributions to natural history. Foremost among his publications in science were A history of the British hydroid zoophytes (1868) and A history of the British marine Polyzoa (1880). Hincks named 24 families, 52 genera and 360 species and subspecies of invertebrates, mostly Bryozoa and Hydrozoa. Hincks died 25 January 1899 in Clifton, and was buried in Leeds. His important bryozoan and hydroid collections are in the Natural History Museum, London. At least six genera and 13 species of invertebrates are named in his honour.

The historical development of anatomical terminology from the ancient to the modern can be divided into five stages. The initial stage is represented by the oldest extant anatomical treatises by Galen of Pergamon in the Roman Empire. The anatomical descriptions by Galen utilized only a limited number of anatomical terms, which were essentially colloquial words in the Greek of this period. In the second stage, Vesalius in the early 16th century described the anatomical structures in his Fabrica with the help of detailed magnificent illustrations. He coined substantially no anatomical terms, but devised a system that distinguished anatomical structures with ordinal numbers. The third stage of development in the late 16th century was marked by innovation of a large number of specific anatomical terms especially for the muscles, vessels and nerves. The main figures at this stage were Sylvius in Paris and Bauhin in Basel. In the fourth stage between Bauhin and the international anatomical terminology, many anatomical textbooks were written mainly in Latin in the 17th century, and in modern languages in the 18th and 19th centuries. Anatomical terms for the same structure were differently expressed by different authors. The last stage began at the end of the 19th century, when the first international anatomical terminology in Latin was published as Nomina anatomica. The anatomical terminology was revised repeatedly until the current Terminologia anatomica both in Latin and English.

Franciscan missionary Fray Bernardino de Sahagún arrived in New Spain (Mexico) in 1529 to proselytize Aztecs surviving the Conquest, begun by Hernán Cortés in 1519. About 1558 he commenced his huge opus “Historia general de las cosas de Nueva España” completed in Latin–Nahuatl manuscript in 1569. The best surviving version, the “Florentine Codex”, 1579, in Spanish–Nahuatl, is the basis for the editions published since 1829. The first English translation was issued in 13 volumes between 1950 and 1982, and the first facsimile was published in 1979. Book 11, “Earthly things”, is a comprehensive natural history of the Valley of Mexico based on pre-Cortésian Aztec knowledge. Sahagún's work, largely unknown among English-speaking biologists, is an untapped treasury of information about Aztecan natural history. It also establishes the Aztecs as the preeminent pioneering naturalists of North America, and Sahagún and his colleagues as their documentarians.

Anatomical illustration has evolved through the centuries, first having artistic and educational purposes and later more strictly medical objectives. Between the eleventh and fifteenth centuries, the analytical model (representation of individual parts, organs and systems) gave way to the composite model (description of the human body as a whole). Between the seventeenth and eighteenth centuries, there was a reversal of tendency: initially the anatomist requested the help of artists, but later the artist asked anatomists to check the accuracy of his work. In this way, anatomical illustration reached a high level of precision. This period also saw the creation of the “La Specola” Zoology Museum's collection of anatomical wax models. Initiated in the eighteenth century, it also included a series of contemporary colour illustrations executed by various artists. Most of the illustrations concern human anatomy, while a small number deal with comparative anatomy. These illustrations, each accompanied by one or more explanatory sheets, were produced to help explain the corresponding wax models. The anatomical wax model collection has been well preserved through the centuries, maintaining its ancient splendour, and it is the object of continuing research and restoration interventions.

Botany is a field that seamlessly merges science with art. On the one hand, the science of botany has long been associated with botanical illustration. On the other, flowers have been a major source of artists' inspiration. They remain the subject of countless metaphors and embellish rituals in cultures across the globe. For centuries, knowledge of plants was fundamental to the practice of medicine. Botany was at the very roots of pharmacology. A pupil of Aristotle, Theophrastus (ca 370-ca 286 BC) is regarded as its father. In ancient Rome, a Greek physician, Dioscorides, wrote a treatise entitled De Materia Medica , which combined what we would today call botany and pharmacology. It was written in Greek and was later translated into Latin and Arabic. A copy of it known as Codex Vindobonensis is the earliest example of an illustrated botanical book (1). Then there is the much broader in scope work by Pliny the Elder: Naturalis Historia, completed in 77 AD. It consists of 37 books, 7 of them containing information about medicinal plants. Information about the medical significance of plants is …

William Blake (1757–1827) was a Londoner. He started his artistic education by joining a London drawing school. His parents could not afford to send him to study painting, and instead he became an apprentice to the master engraver James Basire. However, after completing the apprenticeship he did study for a period at the London Royal Academy. He eventually became an accomplished printer–engraver (1–3). In his art, similarly to the Florentines in the Renaissance, Blake emphasized line rather than color. He was interested in the classical forms, in Michelangelo and Durer. As an apprentice, he was sent to sketch the gothic tombs of the kings at Westminster Abbey, and their style also influenced his future art. Importantly though, throughout his artistic career he believed that imagination was far more important than realistic rendering. Blake was also a poet, self-educated in literature. He started writing very early, around the age of 12. In 1783 a book of his poems, The Poetical Sketches , was published, funded by his friends. He lived in a …

Following an age-old tradition, since 1740, in the town of Kőszeg in western Hungary, samples of grapevine shoots are annually harvested on St. George’s Day, 24 April, and then are pictorially reproduced in the so-called Book of Vinesprouts. Given the strong relationships between temperature and grapevine phenology, the book represents a potential source for reconstructing past spring temperatures. However, this document has been little utilized so far, due to high varietal heterogeneity and lingering uncertainty regarding cultivar identity. This research developed an approach to address these difficulties, by means of a single-cultivar-based modeling analysis, associated with a set of alternative hypotheses about cultivar early development for the period to be reconstructed. Each hypothesis allowed the calculation of a different past temperature reconstruction, which was evaluated against contemporary independent observational data. The results showed that all the development stages recorded before 1900 were compatible with a vine type with a very low heat requirement for bud burst. Estimates were derived from a model calibrated on a subset of drawings of unknown cultivars executed between 1875 and 1898. The model based on this data subset was the only one giving a consistent reconstruction of spring temperatures, expressed as accumulated growing degree days going back to 1740. Although some uncertainty still exists regarding the reconstruction, the research shows that the Book of Vinesprouts contains generally consistent information about spring temperatures for a period of over 269 years for this region of Hungary.

We update the collation of the dates of publication of Smith's Illustrations of the Zoology of South Africa provided by Waterhouse (1880) and Barnard (1950, 1952). In the case of nine parts, we are able to provide more accurate dates of publication (including day-dates for seven of these parts). For workers of invertebrate taxonomy, we provide an accurate date of publication for W. S. Macleay's volume on Annulosa.

The huge growth of London in the first half of the nineteenth century projected the city’s financial and cultural dominance; but celebrations of ‘improvement’ coexisted with unease over the social effects of laissez-faire capitalism. Thus, the ubiquitous exploitation of animals in London, a direct effect of commercial competition and intensive building, acquired great symbolic force in the imagery of illustration. While efforts to end cruelty to animals apparently testified to the humane and civilizing impulses of the time, their relative failure suggested a fundamental barbarity in capitalism itself, in its heartless commodification of both men and animals. Conflicting impressions of human–animal relationships in nineteenth-century London are exemplified through a range of publications, from the Illustrated London News to George Cruikshank’s books and the journals of the anti-cruelty groups themselves. Animals and their treatment could evoke, at one extreme, the vital energy and aggressively competitive spirit of the capital, at the other its endemic cruelty and alienation from nature and God. The varying conventions of pictorial representation are shown to have had a crucial role in these constructs, particularly in the underlying imagined antithesis between ‘city’ and ‘country’.

Several sources are used to establish the dates of publication of the six parts of J.W. Bennett's Fishes of Ceylon(1828–1830). Previous datings of this uncommon work are confirmed for the year but refined dates are established for the month of publication in most cases. Attention is drawn to the number of copies available stated to be first editions, which by the dates on the plates are a mixture of editions. Bennett's specimens are no longer in existence.

Werner Spalteholz's Handatlas der Anatomie des Menschen is one of the most elegantly illustrated anatomical atlases of all time. Originally published in Leipzig as three volumes from 1895 to 1903, the atlas is still widely used and remains highly regarded by many. The atlas was remarkably popular during the first half of the 20th century, especially the English version in North America and the UK. Unfortunately, the original illustrations and printing plates for the work disappeared following the Second World War and their fate remains a mystery. And, in spite of the atlas's popularity, little is known to the men who prepared the artwork for Spalteholz. It is commonly believed that Max Brödel contributed illustrations to the atlas, but a close examination of the work does not confirm this. A century after its inception, Spalteholz's atlas remains a classic milestone in the history of anatomical illustration.

Wood engraving as a medium of book illustration emerged at the end of the eighteenth century. In spite of its immediate technical and economic advantages to publishers of medical and surgical books, engraving on metal continued to dominate book illustration until the fourth decade of the nineteenth century. This study examines the two phenomena principally responsible for propelling wood engraving to the forefront of surgical book illustration, i.e., the emergence of the mass-circulation illustrated periodical, and the use of wood engraving in the illustration of British surgical texts post-1840, the source of most surgical literature published in the United States until the 1860s. This study also examines the use of wood engraving in surgical book illustration after the universal acceptance of the medium by American publishers.

Illustrations constitute an essential element of learning anatomy in modern times. However it required a significant evolutionary process spread over centuries, for illustrations to achieve the present status in the subject of anatomy. This review article attempts to outline the evolutionary process by highlighting on the works of esteemed anatomists in a chronological manner. Available literature suggests that illustrations were not used in anatomy during the classical period when the subject was dominated by the descriptive text of Galen. Guido da Vigevano was first to use illustrations in anatomy during the Late Middle Ages and this concept developed further during the Renaissance period when Andreas Vesalius pioneered in illustrations becoming an indispensable tool in conveying anatomical details. Toward later stages of the Renaissance period, Fabricius ab Aquapendente endeavored to restrict dramatization of anatomical illustrations which was a prevalent trend in early Renaissance. During the 18th century, anatomical artwork was characterized by the individual styles of prominent anatomists leading to suppression of anatomical details. In the 19th century, Henry Gray used illustrations in his anatomical masterpiece that focused on depicting anatomical structures and were free from any artistic style. From early part of the 20th century medical images and photographs started to complement traditional handmade anatomical illustrations. Computer technology and advanced software systems played a key role in the evolution of anatomical illustrations during the late 20th century resulting in new generation 3D image datasets that are being used in the 21st century in innovative formats for teaching and learning anatomy.

We realized the looks of Gendai Kamada. At first, we found in a figure, in "Seishu Hanaoka and His Surgery" by Syuzo Kure, that the portrait described as that of Gendai is his father's. And we discovered the illustrations that illustrate the looks of Gendai in "Gekakihaizufu", which was a textbook of clinical anesthesia and surgery, printed in 1840. Using these illustrations, we realized the looks of Gendai Kamada.

This paper opens by drawing attention to the fact that there is some conceptual confusion with regard to "origin" and "creation." This has its historical roots in the beginnings of modern science and undoubtedly affects our positioning towards the evolutionism/creationism-debate. This article argues that there are relevant ontological, epistemological, thematic, methodological, and logical differences between "origin" and "creation." As a result, the analysis suggests keeping the usage of both concepts strictly quite separate. Creation is not simply another word for origin nor does it stand for an (from a rigid scientific point of view) awkward example of an origin. Irrespective of the apparent similarities as explanatory factors, origin and creation belong to fundamentally different types of concepts. Consequently, "origin of life" and those scientific projects connected to it present themselves as something distinct that neither competes nor meshes with thinking about creation.

Since 2002, a group of historians of medicine in Padua has been working on the creation of a iconographic database related to the professions described by Ramazzini, founder of occupational medicine, in his 1700's De morbis artificum diatriba. A specific example of iconography relevant to De morbis can be found in a 17th century manuscript written and illustrated by Giovanni Grevembroch (1731-1807), Venetian painter probably from a family of Flemish origins. This manuscript describes typical Venetian dress and costumes, accompanied by commentaries made by the artist himself. Here we can find costumes related to some of the very same professions described by Ramazzini and a comparative analysis reveals interesting elements. First of all, in his commentary Grevembroch frequently invokes concepts very similar to those of Ramazzini, related both to the dangers of the environment characteristic of a given profession and to the illnesses typical to each profession. Moreover, analysis of Grevenbroch's images and text often provides supplemental insights into to the context of and risks associated with selected occupations. Finally, the Grevembroch manuscript also supplies supplemental material pertinent to the social and cultural life of the epoch that, even if not strictly linked to questions of occupational medicine.

In the Edo period (c. 1600-1868), exposure to Western art, science and technology encouraged Japanese 'ukiyo-e' (pictures of the floating world) artists to experiment with Western perspective in woodblock prints and book illustrations. We can see its early influence in the work of Utagawa Hiroshige (1787-1858), as well as Utagawa Kuniyoshi (1797-1861). Unlike Hiroshige, Kuniyoshi lived to see the opening of the port of Yokohama to trade with the West in 1859. A whole genre of Yokohama prints emerged and one of the key artists was Utagawa Sadahide (1807-1873). In his illustrated books entitled 'Yokohama kaikō kenbunshi' (A Record of Things Seen and Heard in the Open Port of Yokohama) (1862), Sadahide plays with perspective in an effort to represent the dynamic changes that Japan was undergoing in its encounter with the West at the time. In the work of later artists such as Hiroshige III (1843-1894), Kobayashi Kiyochika (1847-1915) and Inoue Yasuji (1864-1889), we can see growing efforts to depict light, shadow and depth, and a continuing fascination with the steam locomotive and the changes occurring in the Tokyo-Yokohama region as Japan entered the Meiji period (1868-1912).

The generative relationship between text and image has long been established. Its structure evolved historically as a result of varying understandings of the functions of art and technology. Agriculture illustration, which emerged in China during the Song dynasty, is a prime example of this creative dialogue in which aspects of both disciplines were combined. Political, technological, and aesthetic concerns informed the reformulations of this new genre. This paper will address agricultural illustrations on nineteenth-century Korea, when notable changes occurred in the visualization of agricultural texts. It will explore changes in the understanding of the roles of agriculture, technology, and labor through an analysis of shifts in modes of illustration and the texts selected. The relationship between technology and visual representations during late Joseon Korea will be contextualized through an exploration of the evolution of technical drawing in East Asia. This paper will suggest that the recognition of imagery's ability to convey textual and technical information provided an important alternative paradigm for the presentation and use of knowledge.

This article analyzes the cultural dynamics of the construction and deconstruction of childhood images, by means of a case study of Heinrich Hoffmann's classic picture book, Der Struwwelpeter (1845/1859). Childhood images are the joint product of sciences (especially anthropology, pedagogy and developmental psychology) and arts (especially painting, photography and (children's) literature). These images are historically variable, because childhood is the permanent target of idealization and demystification. This article interprets Der Struwwelpeter as a demystication of Romantic idealizations of childhood as propounded by Romantic Naturphilosophie and, more specifically, the pedagogy of Friedrich Fröbel (1772-1852). In my view, this picture book satirizes the developmentalism and the pastoryl idyll which informed the Romantic image of childhood, through its verbal and visual components. As I argue at length, this satire directly bears upon leading scientific and political controversies of Hoffmann's time.

The nineteenth-century Anglican theologian Charles Kingsley was immediately impressed by Darwin's Origin of Species. Whilst many in Victorian Britain reacted against the idea of natural selection, Kingsley saw in the contingency of selection a divinely ordained imperative for human endeavour, not least the pursuit of scientific knowledge. Here, Kingsley believed, was a crucial insight into the seemingly indifferent laws of nature, one that humankind could use to elevate themselves to ever-greater heights. Kingsley chose to teach these lessons about the moral nature of evolution through 'Water Babies', one of the most charming and enduring of children's fairy tales.

Illustrations played an important role in the articulation of Wundt’s experimental program. Focusing on the woodcuts of apparatus and experimental designs in the six editions of his Grundzüge der physiologischen Psychologie (published between 1873 and 1911), we investigate the uses and functions of illustrations in the experimental culture of the physiological and psychological sciences. We will first present some statistics on the increasing number of illustrations Wundt included in each new edition of his handbook. Next we will show how Wundt managed to introduce the material and literary technologies of physiology into the ‘new psychology’. The distribution of Wundt’s material technology will be further demonstrated by highlighting the crucial role of technicians and instrument-makers. We will use Shapin and Schaffer’s notions of the ‘three technologies’ and ‘virtual witnessing’, combined with Latour’s concept of ‘immutable mobiles’, as analytical tools to explore the strategic aspects of Wundt’s illustrations.

Parameters must be defined for presenting and handling scientific information presented in the form of teaching materials. Through library research and consultations with specialists in the health sciences and in graphic arts and design, this study undertook a comparative description of the first examples of scientific illustrations of anatomy and the evolution of visual representations of knowledge on the cell. The study includes significant examples of illustrations which served as elements of analysis.