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This scholarly inquiry delves into the historical significance of two enduring medical symbols: the Rod of Asclepius and the Caduceus. Tracing their origins back to ancient Greek mythology, we uncover their distinct identities and profound meanings as symbols of healing, unity among medical practitioners, and ethical responsibilities. Beyond aesthetics, these emblems serve as powerful educational tools, fostering universal understanding and connecting modern medicine to its historical heritage. Consequently, embracing their true essence can inspire genuine dedication to the noble mission of caring for others., (© The Author(s) 2023. Published by Oxford University Press on behalf of Fellowship of Postgraduate Medicine. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.)

The serpent is the most popular representative symbol of medicine. The two main figures commonly used are the rod of Asclepius and the caduceus. Much controversy exists in the literature on whether the caduceus is a false symbol for medicine or not. The history of how these depictions came to be ambassadors of the medical science is elusive to many physicians. Scholars suggest that the origin of this false belief dates back to 1902, when the US Army Medical Corps first incorporated the caduceus as its symbol. This current essay is an attempt to discover and interpret how the snake came to be part of the rod of Asclepius and the caduceus, and constitute the symbol of medicine in our days. It is widely accepted that a doctor's obligation is not only in healing the ill, but the task that is bestowed upon him is more complex. Therefore, one should be considered more of a physician rather than simply a doctor., (© 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.)

Our purpose was to analyse the treatment of one of Galen's major contributions, his systematization of the doctrine of the four temperaments he inherited from his predecessors (Aristotle, Alcmaeon of Crotone, Empedocles, Philolaus), in Lodovico Casanova's Hieroglyphicorum et medicorum emblematum dodekakrounous (Lugduni, Sumptibus Pauli Frellon, 1626). We concentrated on the four temperaments to study how in medical emblems, allegory and symbols are used to represent medical knowledge through the device of visual loci destined to be decoded and memorized.

In his excellent work Anamorphoses ou perspectives curieuses (1955), Baltrusaitis concluded the chapter on catoptric anamorphosis with an allusion to the small engraving by Hans Tröschel (1585-1628) after Simon Vouet's drawing Eight satyrs observing an elephant reflected on a cylinder, the first known representation of a cylindrical anamorphosis made in Europe. This paper explores the Baroque intellectual and artistic context in which Vouet made his drawing, attempting to answer two central sets of questions. Firstly, why did Vouet make this image? For what purpose did he ideate such a curious image? Was it commissioned or did Vouet intend to offer it to someone? And if so, to whom? A reconstruction of this story leads me to conclude that the cylindrical anamorphosis was conceived as an emblem for Prince Maurice of Savoy. Secondly, how did what was originally the project for a sophisticated emblem give rise in Paris, after the return of Vouet from Italy in 1627, to the geometrical study of catoptrical anamorphosis? Through the study of this case, I hope to show that in early modern science the emblematic tradition was not only linked to natural history, but that insofar as it was a central feature of Baroque culture, it seeped into other branches of scientific inquiry, in this case the development of catoptrical anamorphosis. Vouet's image is also a good example of how the visual and artistic poetics of the baroque were closely linked--to the point of being inseparable--with the scientific developments of the period.

The elephant logo for the Turner Dental Hospital and School is illustrated and the design is attributed to Lady Worthington, wife of the architect Sir Hubert Worthington.

Studies suggest that medical students and physicians have higher rates of anxiety, depression, and suicidal ideation than their peers in the general population. Some authors have suggested that medical culture perpetuates these problems by erecting "barriers to treatment," preventing students and physicians from getting the help they need. Here, the author begins a broader examination of the potential role of culture by examining the myths and symbols that form the basis for medical culture and the medical self-image. The author argues that a medical self-image based on a de-contextualized medical mythology, the Asclepius myth, results in a sense of professional identity that is unbalanced, dehumanized, and characterized by unattainable expectations. The outward expression of this medical self-image, the medical culture, is often a-relational, unhealthy, stressed, or even toxic. The author suggests some ways of re-modeling medical culture, including its rituals and symbols, and medical education in ways that incorporate what is currently kept in its shadow.

The commonly accepted emblems of the Medical Profession are the staff of the Greek god of medicine--Asklepios (or Asclepius], on which one serpent is entwined. Later, around the 16th century C.E., the wand of the herald of the Greek Gods, e.g., Hermes, on which two snakes are entwined and facing each other, became popular as the emblem of the medical profession. We elaborate on the history of the evolution of these emblems as symbols of medicine, including earlier influences from the times of the ancient Egyptians and Babylonians, which were followed by Judeo-Christian traditions and concepts. The relevance of the use of the wand of Hermes as an emblem of our profession is further discussed.

Symbolism is one of the most archaic forms of human thoughts. Symbol derives from the Latin word symbolum, and the latter from the Greek symbolon or symballo, which means "I coincide, I make matches". The Medicine symbol represents a whole series of historical and ethical values. Asclepius Rod with one serpent entwined, has traditionally been the symbol of scientific medicine. In a misconception that has lasted 500 years, the Caduceus of Hermes, entwined by two serpents and with two wings, has been considered the symbol of Medicine. However, the Caduceus is the current symbol of Commerce. Asclepius Rod and the Caduceus of Hermes represent two professions, Medicine and Commerce that, in ethical practice, should not be mixed. Physicians should be aware of their real emblem, its historical origin and meaning.

Background: The history of military surgery claims many forebears. The first surgeon-soldiers were Homer's Machaon and Podalirius, followed a thousand years later by the Roman surgeons-general, Antonius Musa and Euphorbus; and later, e.g. Ambrose Paré, John Hunter and Sir John Pringle; and the 19th century innovators, Dominique-Jean Larrey (France), Friedrich von Esmarch (Prussia) and the Russian, Nikolai Pirogoff. The singular feature that distinguished modern military surgery from its earlier practice was the use of gunpowder. It was one of two inventions (the other was printing) that by the empowerment of individuals, lifted Western humankind from the medieval to the modern era., Methods: Research of primary and secondary archives., Results and Conclusion: Gunpowder was first used in European warfare at Algeceras (1344-1368). Hitherto, the destruction of tissue had been the result of (relative) low-energy wounding with tissue damage caused by incisional or crushing wounds. The founder of modern surgery, Master John of Arderne (1307-1380), wrote of his experience gained as a military surgeon on the battlefield at Crecy (1346). Following Crecy, Arderne was the only chronicler who described the origins of the Prince of Wales's feathers as a royal and later commercial symbol, and the motto 'Ich Dien', 'I serve', as that of hospitals in the Western World. Later advances in military surgery incorporated both clinical experimentation and the innovation of new systems of pre-hospital battlefield care., (© 2012 The Author. ANZ Journal of Surgery © 2012 Royal Australasian College of Surgeons.)

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.

This study presents some original data concerning the instruments used by Alsatian surgeons-barbers from the 16th to the 18th century. Emblems of professions frequently appear on private houses in Alsace, and 35 emblems of surgeons-barbers have been discovered; six, particularly chararacteristic, are analysed here (Soultz 1568, Marlenheim 1581, Sainte-Croix-en-Plaine 1587, Rosheim 1681, Rosheim 1733, and Wasselonne 1738). The razor (Schermesser), the lancet (Lanzette), and the "flame" (Lasseisen, Fliete) are the most frequently represented instruments. Unpublished inventories after death also bring instructive data and in particular those of the barbers Hans Artz of Molsheim (1597) and Jacob Pflieger of Obernai (c. 1608-1609). At last, are evoked unpublished mentions concerning two barbers originating from Obernai who exercised in Eastern Europe (Sebald Korn around 1583, and Johannes Baur around 1637).

The snake has served as a medical emblem for more than 2400 years, since its association with the ancient Greek god of medicine and healing, Asclepius, in the 4th century BC. Its symbolic background can be traced further back to the worship of gods of earth's blossom in ancient Egypt and earth-related deities of the archaic period of Greek antiquity. It is featured entwined around a staff of knowledge and wisdom in most anaglyphs depicting Asclepius. The snake was impressed in the Old and the New Testament as well as in the Christian tradition as a symbol of sin, rejuvenation, death, resurrection, asthenia, and therapy. It is postulated that the double-snake motif was reintroduced by Renaissance philosophers as a medical emblem due to the symbolic connections of Hermes with deliverance and redemption. However, its use during the last two centuries seems to lack substantial historical background. The historical, mythological, and traditional retrospection of the snake's symbolism validates its appropriateness in the health-care field.

Background: Humans use many ways to communicate with fellow humans. Symbols have been one of these ways. Shamans probably used these in the beginning and adopted other distinctive symbols as they were introduced., Discussion: The origin, the reason and use of three symbols in medicine and surgery are discussed. Some symbols currently remain the same and others have been modified or have disappeared. The oldest of these three symbols is the staff of Aesculapius, related to the Greek god of medicine and health. Since the 19th century, in some countries the symbol of the medical profession has become the caduceus, but the staff is the natural symbol. The second symbol is the barber pole that was created at the beginning of the Middle Ages. This was the means to locate the office and shop of a barber/surgeon in towns, cities and battlefields. On the other hand, the surgeon made use of the emblem of the union, trade or fraternity to which he belonged, accompanied by the bowl for bloodletting. The third symbol is the wearing of long and short robes that distinguished graduate surgeons from a medical school and the so-called barber/surgeons., Conclusions: Symbols facilitate the manner in which to identify the origin or trade of many working people. Some symbols currently remain and others have either been modified or are obsolete, losing their relationship with surgery and medicine.

In part one of this article I reviewed the history of Asclepius and the Caduceus of Hermes as medical symbols and made a tentative suggestion of using the mythical bird Simurgh as an Iranian symbol of medicine. In this, the second part, I shall describe the evolution of the myth of the Simurgh and discuss the medical relevance of this bird in Iranian history.

Emblem chosen by the Parisian apothecaries, the symbol of the Palm tree, the Snake and Rocks reminds that the pharmaceutical skills concern three reigns of the nature from which arise the constituents of medicines. The hypothesis according to which Nicolas Houel was at the origin of this emblem when he was at the head of the Parisian community in 1556 is advanced, whereas an extension of its symbolic reach is looked for. The analysis of the symbolic senses associated with the snake, with the palm tree and with the rocks directs to a religious interpretation of the symbol in a Christian prospect.

This is the first of two articles reviewing the history of medical symbols. In this first article I have briefly reviewed the evolution of the Greek god, Asclepius, (and his Roman counterpart Aesculapius) with the single serpent entwined around a wooden rod as a symbol of western medicine and have alluded to the misplaced adoption of the Caduceus of the Greek god Hermes (and his Roman counterpart Mercury) with its double entwined serpents as an alternative symbol. In the second part of this article (to be published later), I have made a tentative suggestion of why the Simorgh might be adopted as an Eastern or an Asian symbol for medicine.

Although small beings such as the "qupirruit" (insects and worms) appear in many different contexts in Inuit culture, they have not received much attention from scholars. In this paper we examine the symbolism associated with these small animals. We show that their small size makes them suitable to operate on the level of the "tarniq," a miniature image of a being. We discuss how insects often connect different scales and easily transform into other beings. We first deal with the perceptions of insects as they take shape in narratives and practices, and their roles in the manufacture and use of amulets. Then we move to a more specific analysis of the distinctive features of the various "qupirruit".

Kepler's treatise on optics of 1604 furnished, along with technical solutions to problems in medieval perspective, a mathematically-based visual language for the observation of nature. This language, based on Kepler's theory of retinal pictures, ascribed a new role to geometrical diagrams. This paper examines Kepler's pictorial language against the backdrop of alchemical emblems that flourished in and around the court of Rudolf II in Prague. It highlights the cultural context in which Kepler's optics was immersed, and the way in which Kepler attempted to demarcate his new science from other modes of the investigation of nature.

Dentists' contributions to science and society extend beyond the practice of clinical dentistry and preventive oral health. Such service encompasses contributions to biology specifically and more generally to societal good works for which dentists are particularly esteemed. The profession of dentistry promotes the history and heritage of its craft and those who practise it. Enduring symbols of dentistry take many forms. These include metonymic emblems such as those of Cadmus and Saint Apollonia and the portrayal of effigies of twentieth century dentists on eponymous medals. Other enduring symbols are to be found in the names of streets and towns (eg Normanville in Australia) which commemorate dentists; and in the worldwide scientific names of plants and animal species which perpetuate singular contributions of dentists to biological science. Such include the scientific names of grasses (Deyeuxia rodwayi) after the Tasmanian dentist, Dr Leonard Rodway (1853-1936); seaweeds (Jeannerettia sp.) after a seaweed of the Pacific and Southern Oceans, after Dr Henry Jeannerett (1802-1886); gastropods (Typhina yatesi) after Dr Lorenzo Yates (1837-1909); copepods (eg Mimocalanus heronae) named to commemorate the life and works of Gayle Ann Heron (b.1923), a dental hygienist of the University of Washington, USA; and crabs (eg Cancer bellianus) named to commemorate the life and works of the leading British dentist of his day, Thomas Bell (1792-1880). This paper explores this theme of the creation and promotion of enduring symbols of dental science - enshrined in the civic, numismatic and taxonomic record.

After an annual introduction of new Fellows one of them viewed the neckties on display and, referring to their sagittary motif, was heard to say, 'I suppose it is the College crest.' Of course, it is precisely not that. The only crest the College has is that of its arms, which is completely different. However, one can sympathise with the new Fellow, for in the College he was surrounded by confusing reminders of the medical mythology of ancient Greece. This account is offered as a refresher course on the dramatis personae of the pantheon and some of their activities and attributes.

The development of scientific academies during the 17th century in the old Italian States is illustrated on the basis of two examples: that of the Accademia dei Lincei with seat in Rome and that of the Accademia del Cimento with seat in the Grand Duchy of Tuscany. After a short survey of their activities follow some reflections on the causes of their ending.

The decorative panels in the foyer of the Teatro Amazonas, inaugurated in 1896, stand out from the rest of the building's ornamental iconography. The rubber trade brought great wealth to the capitals of Pará and Amazonas and as these cities gained national and international fame, their urban fabric and forms of sociability underwent significant changes. The article looks for parallels between the landscape representations of Amazonian nature adorning the building's foyer, the construction of the modern city, and social uses of the Teatro Amazonas, symbol of the era and emblem of the newly rich elite, who were then taking their place on the regional and national stages. The Teatro Amazonas formed the center of the era's social life and its foyer played host to veritable rituals of 'civilization', in which Brazilian and foreign guests enjoyed the fine setting of Amazon's nature as represented in the decorative wall panels.

Dr. Bernard J. Cigrand is acknowledged as the "Father of Flag Day." He relentlessly continued his activities for more than sixty years to have June 14 designated for the national observance of the birth of the American flag. That finally occurred in 1948, seventeen years after his death, when President Harry S. Truman signed a Congressional Act into law. However, the law designated a voluntary observance but did not create a legal national holiday. In addition to his fervent passion for Flag Day, Cigrand undertook a variety of other initiatives He was a practicing dentist, the dean of a dental school, an investigative journalist, an expert on heraldry and seals, a lecturer and an author of books. Despite all his achievements, Cigrand is more widely known in the European country from where his parents emigrated to the United States in 1852 - Luxembourg, than in the United States.

An emblem represents the identity of an organization. Through the emblem of an organization, they differentiate the members from others and reinforce the membership, homogeneity, and pride. It is also a tool that an organization officially publicizes its mission and values. The symbol designed by Cho, Byungduk was announced as the first emblem of Korean Medical Association (KMA) on October 31st 1947. His design work has the caduceus with the Taeguk sign on the top, the symbol of Korea, and the Red Cross in the background including the name, 'KMA'. Since then, the emblem was revised three times: in 1964, 1973, and 1995. The current symbol is based on the design of the first one. Although Asklepian, the single serpent-entwined staff of Asklepios, is the one known as the symbol of medicine, this emblem takes the caduceus of Hermes who is the patron god of merchants, thieves, and travelers. The mistake comes from the unawareness of the distinction between the caduceus of Asklepios and Hermes. Moreover, it proves that U. S. Army Medical Corps (USAMC) heavily influenced the reconstruction of Korean health care system including KMA. The USAMC has used the symbol of caduceus since 1902. In 1947, the year that the first emblem of KMA was established, Southern part of Korea was governed by the United States Military Government (USMG, 1945-1948). The current emblem of KMA brings up a question whether we should continue to use the symbol that was taken from USMAC in the historical period of USMG governance. Celebrating 100th anniversary year of KMA, KMA needs to re-evaluate the appropriateness of the KMA symbol.

L. Aelius Caesar is a little known co-regent of Hadrian who, having already been taken ill, was elected Princeps as Hadrian's successor and died soon afterwards. The city of Mytilene in Lesbos dedicated a bronze coin for him while he was still alive. The reverse of the coin shows the arrival of Asclepios in the shape of a snake. It is certainly a reference to the mythic translation of the cult of Asclepios to Rome in the third century B. C. which introduced the worship of the healing god on the Tiber Island. The community of Mytilene that struck the coin wanted to wish the ruler, whose illness was generally known, a good recovery or even to encourage him to convalesce at the famous ancient spa of Mytilene. At the same time they wanted to make a request on their own behalf. They wanted to gain the favour of the putative successor to the ruling Princeps in order to keep or regain certain liberties for their city which have been reduced by Vespasian in his centralization of the Roman Empire.

The constellations have some connections with neuromedicine. As neurosurgeons, we can learn something from the night sky. Medical terms or descriptions are generously used from mythology or celestial lore. Neurosurgeons spend so much time on their professional careers that they may ignore something wonderful which is worthy of their attention. The puzzling issues between the constellations and neuromedicine can be exciting. Imagination allows neurosurgery to make great strides and progression. With that same imagination we can take an odyssey!

With their mythical creatures and arcane symbolism, coats of arms seem to have little connection with modern science. Yet despite its chivalric origins, the ancient language of heraldry has long fascinated famous scientists. Although this idiosyncratic tradition was parodied by Victorian geologists, who laughingly replaced unicorns and griffins with images of dinosaurs that they had recently discovered, it has been perpetuated since by Ernest Rutherford, who liked to present himself as a new alchemist.