Tuesday, April 29, 2014

Henry Morton Stanley’s Human Tooth Necklace: Guest Post by Kristin Hussey, Hunterian Museum, London

Kristin Hussey--Assistant Curator of the Hunterian Museum at the Royal College of Surgeons with responsibility for the Odontological Collection--has kindly agreed to write a series of guest posts for Morbid Anatomy about some of the most curious objects in her collection.

The fifth post from that series follows; you can view all posts in this series by clicking here.
Henry Morton Stanley’s human tooth necklace and his infamous last African Expedition (1886-1889)
Of all the museum objects related to teeth, human tooth necklaces hold an enduring fascination. The Odontological Collection contains one such necklace associated with one of the most infamous colonial explorers, Henry Morton Stanley (1841-1904). Stanley was a Welsh-born journalist who is remembered as a controversial figure for his expedition to find Scottish explorer David Livingstone and his role in the exploitation of the Congo, on behalf of King Leopold II of Belgium. In 1886, Stanley set out on what was to be his last African expedition from which he returned with the human tooth necklace and the idea for his book In Darkest Africa.

The Emin Pasha Relief Expedition was organised in 1886 with Stanley at its head to rescue Eduard Schnitzer (known as Emin Pasha), the Governor of the Egyptian Province of Equatoria who was thought to be trapped by the Mahdist uprising. The trip took three years and was met by constant set back and controversy. While Stanley travelled ahead with the ‘Advance Column’ (Figure 1), a large proportion of the expedition was left behind to form a part of the ‘Rear Column’ which dissolved into violence, desertion and illness. Emin Pasha was eventually located and reluctantly brought to the East Coast city of Bagamoyo in 1889. Inspired by his journey, Stanley wrote In Darkest Africa (1890). Upon his return to England, Stanley and the surviving members of the Expedition initially received acclaim, although they later faced criticism for the numbers of deaths incurred by the party.

This necklace, composed of 34 human teeth held by braided fibres, was donated to the Museum of the Odontological Society in November 1890 by R.H. Woodhouse accompanied by a letter from Stanley himself. Stanley reported that the necklace was taken from a fallen warrior after a fight between his party and a tribe on the Ituri River. The necklace was brought back to England as evidence of the cannibal tribes Stanley claimed to have encountered on his expeditions into the Congo. In their discussions, the members of the Odontological Society were particularly interested in the prevalence of caries, or tooth decay, in the teeth of the necklace. Tooth decay was thought at the time to be a disease of what they referred to as the ‘civilised world’ due to its association with sugar. The President noted in the Transactions of the Society that such human tooth necklaces were commonly known to be worn as trophies. The teeth for this necklace were reportedly obtained by burning the skulls of vanquished enemies.

Many museum collections contain human tooth necklaces brought back by colonial explorers who used them as evidence of cannibalistic practices amongst the tribes they encountered. Although certain indigenous groups in this region and elsewhere in the world such as the South Pacific performed cannibalistic rituals, the connection with tooth necklaces is not as clear. The cultural meanings of human tooth necklaces are complex. Some scholars consider them to be prestige items in which power from slain enemies or ancestors is passed to the wearer. Human and animal teeth have been used in cultures around the world in personal ornamentation to indicate status, wealth or for medical purposes such as charms to ward off tooth-ache.

Images:
  1. H.M. Stanley and the officers of the Advance Column, Cairo, 1890. Wikicommons
  2. Necklace of human teeth brought back from the Congo region by H.M. Stanley, RCSOM/M 4.2. Copyright the Hunterian Museum at the Royal College of Surgeons
  3. Meeting the Rear Column at Banalya, In Darkest Africa (1890) Wikicommons.

Monday, April 21, 2014

Announcing the 2014 "Congress for Curious People," in Conjunction with Coney Island USA, April 25th - May 4th

Morbid Anatomy is thrilled to announce, in conjunction with Coney Island USA, the 2014 "Congress for Curious People"--a ten day series of lectures and performances culminating in a two day symposium, all of which explore curiosity and curiosities broadly considered. This year's Congress takes "simulation" as its theme, and will feature many of our all-time favorite international scholars, artists, performers and thinkers, including Evan Michelson, Edgar Oliver, Les the Mentalist, Shannon Taggart, Biran Catling, Anthony Matt, Zoe Beloff, John Troyer, Mat Fraser, Salvador Olguin, Amy Herzog, Jennifer Miller, Betsy Bradley, Ronni Thomas and Chris Muller.

The full schedule for the Congress for Curious Peoples follows. You can find out more about all events--and purchase tickets!--by clicking here. All events take place at Coney Island USA in Brooklyn, New York and are supported by The British Council and a grant from the New York Council for the Humanities. Hope very much to see you there!
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Opening Party

Friday, April 25, 2014 - 8:00pm
More here.
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Alumni Weekend
Saturday, April 26, 2014 - 1:00pm - Sunday, April 27, 2014 - 7:00pm
More here.
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Industrial Ladies - A lecture by Evan Michelson
Monday, April 28, 2014 - 7:30pm
More here.
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Desire and the Sea - A performance by Edgar Oliver
Monday, April 28 at 9:00pm
More here.
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Acep Hale: Chicanery, Counting, and Cee-lo: Memory and Simulation in Service to Skulduggery
Tuesday, April 29, 2014 - 7:30pm
More here.
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A Thrilling Journey Into the Mind with Les the Mentalist
Tuesday, April 29, 2014 - 9:00pm
More here.
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The Coney Island Beach Ball - A Vogue Competition between the House of Vogue 3D and The Coney Island Dancers
Wednesday, April 30, 2014 - 9:00pm
More here.
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Kirlian Devices, William Burroughs, and Radionic Photography - An Illustrated Series of Lectures by Shannon Taggart, James Riley, Doug Skinner and Anthony Matt
Thursday, May 1, 2014 - 7:30pm
More here.
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Mechanical Medium - A film by Zoe Beloff with live sound by Gen. Ken Montgomery
Thursday, May 1, 2014 - 9:00pm
More here.
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TravSD: From Angels to Anarchists: The Evolution of the Marx Brothers
Friday, May 2, 2014 - 7:30pm
More here.
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Penny Arcade at the Penny Arcade
Friday, May 2, 2014 - 9:00pm
More here.
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The Congress for Curious People Symposium on "Simulation"
Saturday, May 3 and Sunday, May 4 at 11:00 AM - 6 PM

Saturday, May 3, 2014 - 11:00am

11:00am: SIMULATION AND RELIGION
Sarah Johnson’s lecture on Jacques Marchais and the replica of a Tibetan Monastery on Staten Island. Followed by a film clip by Sal Olguin and a panel discussion moderated by Don Jolly and featuring Sarah Johnson, and Sal Olguin.

12:30pm: Lunch

1:30pm: POP, THE PARANORMAL AND OTHER MYTHS WE LIVE: CONTEMPLATING THE LIMINAL
Shannon Taggart, Acep Hale, and George Hansen who will give three short presentations on Myth and Popular Culture, Michael Jackson’s After Life, and Uri Geller at the Crossroads. Followed by a Q and A, moderated by Aaron Beebe

3:30pm: THE HISTORY OF DISPLAY
Chris Muller’s lecture on the history of display. Followed by World’s Fair home movies and a panel discussion moderated by Joanna Ebenstein and featuring Betsy Bradley and Chris Muller.
5:00pm: Break

5:30pm: Screening: “Vanished! A Video Seance” (1999, 75 minutes) by Brian Catling. Followed by a Q and A with the artist.

7:00pm Dinner for Congressional Pass Holders and Participants.

Sunday, May 4, 2014 - 11:00am

11:00am: “PASSING”
Adrienne Albright’s lecture on Medieval Cross-dressers. Followed by a performance by Tara Mateik, a simulated talk by Amy Herzog, and a panel discussion moderated by Amy Herzog and featuring Jennifer Miller, Martha Wilson, Tara Mateik, and Adrienne Albright.

12:30pm: Lunch

1:30pm: A VISIT TO THE SIDESHOW

3:00pm: Screening of Ronni Thomas' Morbid Anatomy Presents' “PHANTASAMAGORIA”

3:30pm: THE NORMAL, THE ABNORMAL, AND THE PATHOLOGICAL ON DISPLAY
John Troyer, Joanna Ebenstein and Mat Fraser on “the Normal, the Abnormal, and the Pathological on Display” followed by a panel discussion moderated by John Troyer.

Sunday, April 20, 2014

Light and Dust: A Reading of Johannes Jacob Scheuchzer's 'Homo ex Humo': A Guest Post by Morbid Anatomy Scholar in Residence Richard Barnett

This April, we have been delighted to host Wellcome Trust Engagement Fellow and medical historian Richard Barnett as Morbid Anatomy Library Scholar in Residence. This is the first of what we hope will be many posts wherein Richard responds to objects, ideas and artifacts in our collection. Here, he draws out the intricate tangle of ideas in the the illustrations of Scheuchzer's 1731 Physica Sacra (top image) and the fetal skeleton tableaux of Frederik Ruysch (bottom image). Copies of both books now reside in the Morbid Anatomy Museum Collection.
Light and Dust: A Reading of Johannes Jacob Scheuchzer's 'Homo ex Humo'
By Richard Barnett

Homo ex Humo: man from the dust. Scheuchzer’s intriguing trompe l’oie presents a picture within a picture, and a meditation on some of the oppositions at the heart of Christianity – eternity and time, grace and sin, flesh and word, light and dust.

Everything within the frame is graceful, in the most literal sense. Scheuchzer shows us the Garden of Eden on the evening of the sixth day of creation, as set out in the Book of Genesis 1:26-27 (King James Version):
And God said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth. So God created man in his own image, in the image of God created he him; male and female created he them.
A landscape which to modern eyes bears such clear traces of deep time and evolution served Scheuchzer and his readers well as a symbol of creation. The first dew is hardly dry on the ground, and even the dust, the abject and impermanent dust, is fresh and new. A gentle, sylvan river valley is busy with life: trees, flowers, fruits, grasses, and most of all animals, paired off two by two like the figures in a Victorian Noah’s Ark (though not in the Biblical version – see Genesis 7:1-3). Rabbits and horses, muskrats and storks have been made whole through union with a mate, and their lives are as complete as the paradise they inhabit.

Only one creature lacks a partner. Adam, the first man, seems startled to have been vaulted so suddenly into existence, and the curious position of his hands indicates an absence in his life, even in the moment of his creation. He appears to be trying to pray, but each hand cannot find its natural counterpart. If he is to praise his creator, if he is to live as contentedly the animals over which he has been granted dominion, he needs a companion. The voluptuous shapes of roots and tree-trunks beside him foreshadow what is on God’s mind, but the fulfilment of Adam’s lack will destroy the paradise we see.

Everything outside the frame is imperfect, and this imperfection is a consequence of the story unfolding within the frame. God creates Adam, then Eve, causing Adam to fall into a deep sleep and making the first woman from his rib (Genesis 1:18-25). Eve is tempted by the serpent and tempts Adam; both taste fruit from the Tree of Knowledge of Good and Evil, and fall from their original state of grace. Dissected specimens around the frame contrast the messy, fleshly reality of human reproduction, in sin and without grace, with the purity of God’s original creation in the picture – a shaft of light and a word.

On the right side of the frame is one of the strangest figures in Western art, borrowed from the Dutch anatomist Frederik Ruysch’s 'Tableau With Three Skeletons.' Ruysch combines two near-universal representations of birth and death – an infant and a skeleton – into a single figure expressing the sublime tragedy of creation and fall. The largest figure in the engraving, it seems to have stepped out of the picture and on to the frame, and this movement from perfection to imperfection may help to explain why it is drying its empty eye-sockets with a caul.

Inverting the natural order of things, this skeleton has died before it could be born, and it weeps for what is to come. If it is a child of Adam and Eve, is it Cain, the first murderer, or Abel, the first victim of murder? Leaving Eden, carrying the burden of original sin, it enacts the fall and banishment of its parents, taking the first reluctant steps on a long and hard road to salvation. No wonder it weeps, then; what can dry bones weep but dust?

Monday, April 14, 2014

The Morbid Anatomy Museum Update, or, "Wow! This is Really Happening!"

Morbid Anatomy is currently fundraising to support our transformation from a tiny, overstuffed Library to a new 3-floor, 4,200 square foot Morbid Anatomy Museum. The new Museum will have a giftshop featuring waxworks, taxidermy, and obscure books; a café (which will eventually serve cocktails!); a greatly expanded permanent collection; and temporary exhibitions devoted to topics such as The Art of Death, Frederik Ruysch, and, of course, 19th century anthropomorphic taxidermist Walter Potter.  It will also have a larger, dedicated event space with, thanks to a recent grant from Awesome Without Borders, live-streamed lectures for the enjoyment of our non-New York followers!

Things have been progressing very quickly the new space! Walls are being built, windows installed, the exterior is beginning to move towards its final look, and our new Morbid Anatomy library door--see above!--has arrived, and is ready for stenciling!

We have been raising money for this project primarily via Kickstarter; we have just passed the 50% mark for our $60,000 goal, but we still need your help! You support the Kickstarter by clicking here: https://www.kickstarter.com/projects/1038582734/the-morbid-anatomy-museum.

To sweeten the deal, we have just added a new award: a hand-written poem and drawing "about a method of death of your choice" by Neil Gaiman and Amanda Palmer. Other awards include limited edition prints by artists Mark Ryden and Mark Dion; shooting antique guns with Mike Zohn of TV's "Oddities;" a collectable set piece from Tim Burton's Nightmare Before Christmas; special Morbid Anatomy merch; and much, much more!

You can also support by attending our Morbid Anatomy Museum Kickstarter fundraising party this Friday, April 18. Your admission will not only be an excellent act of charity; it will also act as a Kickstarter contribution, getting you a Morbid Anatomy Tote Bag as well as a credit for two free tickets to the future Morbid Anatomy Museum. More on that here.

Thanks so much for your support! It means the world to us, and is invaluable in helping us make this bizarre and beautiful dream into a fully-realized reality. Whether you can help support this project or not, hope very much to see you in the new space!

Images, top to bottom:
  1. Rendering of the Morbid Anatomy Museum by Architects Robert Kirkbride and Anthony Cohn
  2. Morbid Anatomy Museum exterior
  3. Grants and exhibitions coordinator Aaron Beebe with the new Morbid Anatomy Library door

Tuesday, April 8, 2014

Amsterdam Anatomy Weekend with Morbid Anatomy and The Incredible Vrolik Museum, May 10 and 11th

The Vrolik Museum--Amsterdam’s incredible anatomical museum, of which many photos above--and Brooklyn’s Morbid Anatomy Museum are proud to be teaming up to present Amsterdam Anatomy Weekend on May 10th and 11th, 2014 at the Museum Vrolik.

The weekend will feature a special program of lectures, workshops, demonstrations and exclusive museum and backstage tours showcasing The Vrolik's phenomenal and historical collection of osteology, teratology, natural history and curiosities. British Wax modeller and sculptor Eleanor Crook--artist in residence at Gordon’s Museum at Guy’s Hospital in London--will lead two workshops in which students will create---and leave with—their own dermatological wax model, or "moulage."

Other activities will include exclusive back stage tours of the Vrolik’s astouding storage rooms (2nd image down); lectures about amazing 17th century anatomical collections such as those of the “Artist of Death” Frederik Ruysch; demonstrations of wet specimen restoration and skeleton mounting and reconstruction; and special museum tours focusing on congenital malformations and historical highlights. There will also be a reception in the museum at which copies of The Morbid Anatomy Anthology will be available for sale and signing.

The Amsterdam Weekend of Anatomy is part of the Netherlands Month of Anatomy organized by the Museum Boerhaave in Leiden, the University Museum of Utrecht, and the Museum Vrolik in Amsterdam with the Morbid Anatomy Museum of Brooklyn, New York.

Full details below, and more here; hope very much to see you there!
The Amsterdam Weekend of Anatomy
The Vrolik--Amsterdam’s anatomical museum--and Brooklyn’s Morbid Anatomy Museum are proud to present a weekend devoted to anatomy over the weekend of May 10th and 11th, 2014. To celebrate, the Vrolik will be open to the public with a special program of lectures, workshops, demonstrations and exclusive museum and backstage tours showcasing its phenomenal and historical collection of osteology, teratology, natural history and curiosities.
Highlights include a workshop in wax modeling with sculptor Eleanor Crook in which students will create---and leave with—their own anatomical or dermatological wax model; demonstrations of liquid anatomical specimen restoration and skeleton mounting and reconstruction; a museum tour focusing on teratology, the specimens of congenital malformations in the Vrolik collection, and historical highlights of the collection; lectures about amazing 17th century anatomical collections such as those of “Artist of Death” Frederik Ruysch; and back stage tours of the Vrolik’s storage rooms.

Moulage/Wax Modelling Workshop
During the weekend of anatomy, British Wax modeller and sculptor Eleanor Crook will give two workshops. Crook has created anatomical and pathological waxes for several medical and science museums in Britain (e.g. the Science Museum and the Hunterian Museum), and is artist in residence at Gordon’s Museum at Guy’s Hospital, London. She has led many workshops in wax modelling, but this is her first in the Netherlands. For anyone familiar with the famous anatomical and pathological waxes in Vienna, Paris or Bologna, and who would like to experience the art of wax modelling for him or herself, this workshop offers a unique opportunity. All materials and tools are provided for this workshop, and each student will leave with their own beautiful wax model. Please note: Application for this workshop is separate from the rest of the program. See program and prices for separate charge.
Demonstration of Skeleton Mounting
In this demonstration, skeleton articulator Lucas Boer will put together a complete animal skeleton from its separate bones, explain the structure and function of these bones, and point out the differences in bone structure in the main groups of vertebrates. Visitors will also be invited to touch the animal bones and skulls.
Wet Specimen Restoration
In this demonstration, anatomical technician and specimen conservator Inge Dijkman will show the ways in which the Vrolik’s century-old collection of wet specimens are maintained and restored. Viewers will see the anatomical specimens removed from their jars, learn about the kind of liquids used for preservation, and witness all the steps needed for the care, upkeep and restoration of these incredible specimens.
Special Tours and Lectures
A series of special lectures and tours will focus on historical and medical aspects of some of the most famous and enigmatic Dutch anatomical collections, such as those of 17th century Frederik Ruysch, referred to as “Artist of Death” by his biographer Luuc Kooijmans. Experts in the history of the Vrolik collection and in the field of congenital malformations will give special tours showing the historical highlights of the collection, and the origin of the congenital malformations in the collection. There will also be exclusive backstage tours of the Museum Vrolik’s storage rooms and of the hospitals collection of dermatological wax models, neither of which are generally accessible to the public.

Program
Saturday May 10th
10:00 - 12:00     Lectures by Luuc Kooijmans (about the anatomist Frederik Ruysch); Frank Ijpma (about the surviving Ruysch specimens); Marieke Hendriksen (about beaded babies and decoration in anatomy) Joanna Ebenstein (about the persisting impact of Frederik Ruysch and about her new Morbid Anatomy Museum; and Eleanor Crook (about the art of wax modeling and its history).
12:00 - 13:00     Lunch
13:00 - 17:00     Workshops and demonstrations (wax models, mounting skeletons, liquid specimen restoration); historical highlights of Museum Vrolik-tour
From 17:00     Drinks in Museum Vrolik; sale and signing of The Morbid Anatomy Anthology
Sunday May 11th
10:00 - 12:00     Thematic city tour/ possibly visits to old anatomy tower in Waag on Nieuwmarkt
13:00 - 17:00     Workshops (Wax modeling) and museum tours (congenital malformations and historical highlights); backstage tour to wax models of dermatology and to the Museum Vrolik storage rooms.
Prices
  • Workshop medical wax modelling (Eleanor Crook): 65 euro per workshop (4 hrs)
  • Two day program (excl. workshop medical wax modelling): 25 euros
  • Program Saturday 10th of may (excl. workshop medical wax modelling): 15 euros
  • Program Sunday 11th of may (excl. workshop medical wax modelling): 15 euros
  • Lunch on Saturday: 7 euros
  • NB: lunch on Sunday is not provided due to the traveling between the city center and Academic Medical Center.
To sign up:
Please email museumvrolik@amc.uva.nl.  Please do not forget to select which part of the program you want to participate in.
Location
Academic Medical Center: Museum Vrolik (ground floor, building section J) and lecture room and dissection rooms of anatomy, second floor, building section L)

Month of Anatomy
The Amsterdam Weekend of Anatomy is part of the Netherlands Month of Anatomy organized by the Museum Boerhaave in Leiden, the University Museum of Utrecht, and the Museum Vrolik in Amsterdam with the Morbid Anatomy Museum of Brooklyn, New York. There will be three special weekends of lectures, tours and workshops concerning anatomy in May. Museum Vrolik is the first (10th and 11th of May); on the 24th and 25th of may a weekend of anatomy is organized by the University Museum of Utrecht and finally on 31st of may and the 1st of July Museum Boerhaave closes the month of anatomy. See for details about the activities of the other museums.
Photos of the museum overviews are by Paul Bomers; the other pictures are by Hans van den Bogaard, from the wonderful book Forces of Form.

Friday, April 4, 2014

Basel's Fasnacht Carnival and The Dance of Death: Guest Post by Jordan Marzuki


Morbid Anatomy reader Jordan Marzuki just sent in a fascinating guest post about Basel's Fasnacht Carnival and its relationship to death and pre-Christian rituals; he has also made a rather wonderful video of the parade which you can view above or by clicking here.
"Fasnacht" carnival takes its name from the start of the fasting season of lent. But this, the most important event in the life of Basel, Switzerland, is also fixed by Christian holy days. Carnival is always held six weeks before Easter, a week later than the Fas(t)nacht widely celebrated throughout neighboring German-speaking Catholic areas. The city of Basel is also associated with the "Totentanz" or dance of the death. That reminded people that whether rich or poor, and no matter one's station in life, everyone has to die.
Locals describe the event as the the three most beautiful days of the year. Up to 12,000 carnival participants march around the city in groups according to in their themed costumes and masks. Most of themes are associated with the topic of death – which is revering to the Basler Totentanz.

The Basler Fasnacht is now a part of the cultural identity of the city of Basel, and is often depicted as ancient tradition. Although the officially organized Carnival has only existed since 1920, it draws on traditions tracing back to pre-Christian times, and is connected with the spirits of the night, which are personified by masks. The masks represent a kind of struggle with the negative powers. With the end of winter, these spirits are driven away, the "expulsion of the winter," and the victory of spring.

Tuesday, April 1, 2014

On the Collection and Display of Human Remains: Guest Post by Evan Michelson, TV's "Oddities" and Morbid Anatomy Museum

The debate about the ethics of collecting and displaying human remains went mainstream recently with this CNN article about a man who stole over sixty human brains and other specimens from the Indiana Medical History Museum and tried to sell them on Ebay. Morbid Anatomy Museum's scholar in residence Evan Michelson is a researcher into the history of such collections, in contexts both sacred and secular. Following is her thoughtful and considered response to the CNN article, which went so far as to single out her show "Oddities" as "being illustrative of a growing trend for collecting curiosities, particularly anatomical specimens."
A CNN article published on January 3, 2014 chronicled the arrest of a young man who stole some early brain specimens from an Indiana medical museum to sell on Ebay. In the article the TV show "Oddities" was cited as being illustrative of a growing trend for collecting curiosities, particularly anatomical specimens. Said the executive director of the museum: "it's definitely bizarre. It's infuriating that they do not have respect for the human remains." This statement raises a few important points: I think everyone can agree that the illegal buying, selling and hoarding of exhumed or pilfered human remains is deeply disrespectful, repugnant, and indefensible on moral and legal grounds. No one can condone or defend such ghoulish goings-on. What is not being addressed, however, is an unavoidable truth: humans have always lived with, loved, and learned from our dead.

The urge to collect, display and venerate human remains is nothing new: it stretches back through the millennia, and plays a vital role in the history of science, medicine and many religions across cultures and around the globe.The widespread practice of ancestor worship originated at a time before recorded history (and is still practiced to this day). The gathering of bones is an irrepressible and primal human urge. Humans have long honored our dead with altars, elevating bones (particularly skulls) to a level of intimate spiritual totem. In many cultures the presence of human remains brings both comfort and continuity. From the Tibetan Kanling (a flute made from a human thigh bone) to the mummies of Palermo to the gorgeous calligraphy of 19th century French memorial hair work, to be in the material presence of the dead is to be one with generations past, to commune with the spirits, to ask favors, to remember, to harness power and to connect with the infinite.

In the service of science and medicine, human remains (such as those pilfered from the museum) have long been essential. It is only through contact with the dead that the secrets of the living have been revealed. The great anatomical insights of the classical physician and philosopher Galen (who primarily studied the anatomy of primates and pigs) are often overshadowed by the many glaring inaccuracies. These fatal mistakes ruled the study of anatomy for more than 1300 years, until anatomists like Andreas Vesalius delved into the human body proper to uncover a more accurate and comprehensive map of our internal architecture. In the 16th century depictions of these anatomical discoveries entered our collective human consciousness, and human dissections became works of high art and an essential part of the great humanist movement that flowed through the Renaissance and powered the scientific revolution. There followed the era of the beautiful corpse, when ceroplasts like Ercole Lelli and Clemente Susini created wax corpses and anatomical moulages of such surpassing beauty and accuracy that they inspired Popes, Emperors and commoners alike to see human anatomy as an important discipline worthy of respect and wonder. The human corpus had at last become a part of high and low common visual culture.

The preservation and display of actual human remains is a time-honored tradition in the great Positivist cities of the Western world, and most centers of learning had their own anatomical collections. These specimens of human anatomy were artfully prepared and displayed, and they illustrate the collective human journey from the realm of superstition through the refinements of natural philosophy and eventually to the rise of modern science. Exhibitions like "Body Worlds" still draw large crowds, eager to examine up-close what is so often kept hidden, and so often considered taboo. The sourcing of the "Body Worlds" cadavers is cause for justified legal and moral scrutiny, but their public display is an enlightening, time-honored tradition. For centuries, museums of anatomy have housed human specimens that are at once didactic, metaphorical and breathtakingly beautiful. These anatomized specimens can still be seen on exhibition in museums and in private collections, and they still provide unparalleled insight into our earthly selves. Anatomy is now digitized, and our bodies (down to a microscopic level) are available at the click of a button, but there is no substitute for the visceral presence of preserved anatomy; it is the best way to know ourselves.

Nowhere is the power of human remains more evident than in the evolution of the Christian religion and the rise of the Roman Catholic Church; there the collection and adoration of human body parts reached its artistic and spiritual pinnacle. The cult of the saints guaranteed that human remains would take center stage in the evolving political, economic and spiritual journey of the West. Religious pilgrims travelled great distances to be in the presence of the bones of the early martyrs, and the wealth thus generated drove an unprecedented competition for relics and a trade in human body parts (particularly in Western Europe) that determined the power centers of the modern world. We are all living in a map shaped by the preservation, display and possession of the dead.

The Temple of the Tooth in Kandy, Sri Lanka is home to the tooth of the Buddha, one of the most celebrated relics on Earth. Once a year the relic is featured at a 10 day festival that includes fire dancers, musicians, street performers and scores of elephants. It draws an estimated crowd of one million participants, making it one of the largest Buddhist gatherings in the world. It is obvious that there is something irresistible about our anatomy, something that reaches us on a primal level. We fear and worship human remains, we shun death but we are irresistibly drawn to the dead. That young man who stole those brains broke the law and showed great disrespect in the commission of that crime. The instinct to collect, display and commune with the dead, however, is not as bizarre or disrespectful as some may think: it connects us with our earthly selves, and allows us to glimpse eternity.
Image sourced here.

Monday, March 31, 2014

Official Provisional Charter to Operate Morbid Anatomy Museum Devoted to "Liminal, Interdisciplinary, or Marginal" Artifacts!

The Morbid Anatomy Museum just received its official provisional charter to, in the words of the charter itself:
a) To operate a museum to promote, support, and present exhibitions of artifacts and artworks rarely featured in traditional museums due to their liminal, interdisciplinary, or marginal nature;in the words of the charter; b. To foster community awareness and appreciation of art, artifacts and ideas that do not conform to mainstream culture; c. To provide and maintain an archive relating to the topics presented, ideas explored, and craft represented by the featured exibitions; d. To promote and showcase the work of lesser-known local and international artists, makers and craftspeople whose work does not conform to mainstream art culture; e. To organize and host speaking engagements related to the topics explored by the exhibitions and the archive. 
Please consider donating to our Kickstarter campaign today to help make this the best museum it can be--for all of us!--at https://www.kickstarter.com/projects/1038582734/the-morbid-anatomy-museum.

Friday, March 28, 2014

The Madrid Anatomical Theatre, "Anatomía Completa del Hombre," 1728

The Madrid anatomy theatre, engraving by Matías de Irala, from Martín Martínez's Anatomía completa del hombre, Madrid, 1728. Courtesy of the Biblioteca y Museo historicomédicos del Instituto López Piñero de Historia de la Ciencia y Documentación (CSIC/Universitat de València).

Thursday, March 27, 2014

"Sending your Prayers to Me Will Cure the Ailment of the Soul" or The Bayer Aspirin Prayer Card: Guest post by Laetitia Barbier

One of the more intriguing new additions to the Morbid Anatomy collection is this glow-in-the-dark Bayer Aspirin Prayer card. Its donor, Enric H. March of the wonderful Barcelona history blog Bereshit explained to me that it dates from the 1940s and was produced during the Spanish Civil Postwar, while the Nazis were reshaping the map of Europe.

How to explain this heady mix of Christian imagery and medicine? In March's words: "aspirin and sacred wafer are similar in form and content, and complement each other: where there is no faith, aspirin; where there is aspirin, faith. This image is made with fluorescent paint, and lights the darkness. If you look intently image for thirty seconds and then directs you to view a white surface, it appears God. True. I do not need faith. As with aspirin."

Following is a guest post by Morbid Anatomy Library head Librarian Laetitia Barbier based into her research into this wonderful new addition to our collection:
After the Congress of Curious People in Barcelona, Joanna came back with a suitcase full of newly acquired books and artifacts for the Library. Within all these treasures, one piece of ephemera was particularly fascinating and enigmatic to me: a Bayer-produced religious card which appeared in Spain around the 1940s, and which was kindly donated by Enric H. March.

If “The Sacred Heart of Jesus” is fairly common motif  in catholic devotional icons, this one revealed itself to one of a kind. Beneath its minimal, black and white design, this compassionate-looking Christ had indeed more than one story to tell.

First curious fact: the right hand-corner is embossed with a cross-like logo which has nothing religious, as its the emblem of BAYER, the german pharmaceutical firm which synthesized and patterned Aspirin in the 19th Century. A “major remedy,” and a universal one, as indicated the small text in spanish that Jesus points-up to our attention with his benedictory hand gesture. I was pretty confused myself: was this a pious image or a commercial ad? The idea that a Jesus image could become an advocate of Aspirin’s effervescence and miraculous virtues was odd and pretty incongruous. However, it appeared clear that BAYER designed this object to be both a religious icon and a way to publicize their medicine.
In the manner of catholic prayer cards, The BAYER Sacred Heart was probably mass produced as a devotional object that people could carry around in books or wallet and use for private veneration. Nowadays, pharmaceutical firms give away pens, mugs, and other every-day objects to potential clients, so why not an icon when you want to seduce a Roman Catholic country? Moreover, the cardboard icon is coated with glow-in-the-dark-ink, leaving Jesus’s heart to glare metaphorically once the lights go out, after the night-time prayer. This card had to become a major artifact in people’s daily religious routine.

But beyond its novelty aspect, its most fascinating side dwell the underlying message which form the core of this twisted commercial strategy. If this Christ could talk, he will probably whispers to us this exact slogan: "Sending your prayers to me will cure the ailment of the soul. But for the prosaic torments of the human body, there is Bayer Aspirin.”
This is the third guest post Laetitia has written based on her favorite curiosities in the Morbid Anatomy Library; to see all posts by Laetitia, click here. Click on images to see larger, more detailed versions.

Wednesday, March 26, 2014

Picturing the Shattered Faces of War: A Guest Post by Kristin Hussey, Hunterian Museum, London


Kristin Hussey--Assistant Curator of the Hunterian Museum at the Royal College of Surgeons with responsibility for the Odontological Collection--has kindly agreed to write a series of guest posts for Morbid Anatomy about some of the most curious objects in her collection.

The fourth post from that series follows; you can view all posts in this series by clicking here.
Picturing the shattered faces of War: First World War dental radiographs
The Victorian era was a crucial time of development for the dental profession, yet nothing could have prepared late 19th century dental practitioners for the massive facial trauma wrought by the First World War (1914-1918). In a conflict fought in trenches, soldier’s heads were the most vulnerable area in the line of fire. While steel helmets undoubtedly saved lives, ricocheting bullets caused unprecedented facial injuries. Mechanized warfare sent soldier home from the Front with disfiguring blast injuries; their shattered jaws held together by wire plating and splints made from whatever materials the clearing stations had to hand.

Many British soldiers with jaw injuries found themselves bound for the Croydon War Hospital outside London to a specialist unit headed by James Frank Colyer (1866-1954), a dental surgeon and the curator of the Odontological Society Museum since 1900. Today the Odontological Collection holds a collection of 23 radiographs, also known as skiagrams, showing the shattered jaws of Colyer’s soldier patients.

Colyer’s prescription for healing fractured jaws was simple but effective. First the patients’ mouths needed to be cleaned and sterilized as their injuries often became infected in the time it took to reach the hospital. Once radiographs were taken, they were taken to the operating theatre to reduce the fracture as much as possible. Colyer was particularly adamant that teeth needed to be removed from the fracture line as these often became septic, keeping the bone from healing. Then supportive splints, rest and a carefully selected diet was what was needed to get Britain’s soldiers fighting fit. For his work at the Croydon Hospital, Colyer was knighted in 1920.

The collection of radiographs in the Odontological Collection is interesting both as a record of First World War injuries, as well as serving as a reminder of the incredible importance of x-ray technology in the early twentieth century. X-rays, also known as roentgen rays, had only been discovered by German Professor William Röntgen in 1895. The new technology was put to use almost immediately in the medical world, and many major hospitals had x-ray departments by 1897. By the time the First World War was raging on the Continent, portable x-ray units were widely used by the military and such equipment could be found at most clearing stations and base hospitals. Although the images are not as detailed as they are today, the radiographs were essential in identifying foreign bodies and fractures previously invisible to the dentist’s eye.
Images:
  1. The x-ray equipment at The Queen’s Hospital, Sidcup, c. 1917-1920. Courtesy of the Antony Wallace Archive of the British Association of Plastic, Reconstructive and Aesthetic Surgeons (BAPRAS)
  2. Radiograph of a fractured jaw caused by a rifle bullet, 1915-1919. (RCSOM/F 9.42) Copyright the Hunterian Museum at the Royal College of Surgeons
  3. Radiograph of a fractured jaw resulting from a fall from a mast, 1915-1919. (RCSOM/F 8.3) Copyright the Hunterian Museum at the Royal College of Surgeons
  4. A portable x-ray installation suitable for use in war, 1915. Copyright Wellcome Library, London.  
     

Tuesday, March 25, 2014

On Saint Agatha and Preserved Breasts: Guest Post by Evan Michelson, TV's "Oddities" and Morbid Anatomy Museum

Below is a guest post by Evan Michelson, board member of The Morbid Anatomy Museum and co-star of TV's "Oddities," from our recent trip exploring the history of the preservation and display of the human body in Italy. Text by Evan, and photo by myself.
Joanna Ebenstein shot this at the Museo di Anatomia Umana located in the medical school in Pisa, Italy. I am holding a human breast, preserved through mercury injection using the Mascagni technique; you can still see the metal glistening in the vessels running through the glazed, preserved skin. This specimen has an ancient and somewhat festive look; a cross between a holy relic and marzipan. It is typical of a certain school of Italian anatomical preservation where the line between anatomical didacticism and a more decorative, metaphorical presentation is often blurred.
In Italy, the healing powers of science and medicine often walk hand-in-hand with the miraculous, restorative powers of the saints. St. Agatha of Sicily, patron saint of breast cancer (among other things) is often depicted presenting her amputated breasts on a tray. It is said that Agatha was martyred for being a virtuous woman who refused the advances of a local Roman prelate; in the course of his retaliatory torture her breasts were torn off (a not-uncommon punishment for women, much documented during the Medieval period). St. Peter visited Agatha in her jail cell, where he miraculously restored her mutilated mammaries. 

Breast cancer surgery was frequently (but not always) fatal for most of recorded human history: the cancer was often found too late and the surgery itself, performed in highly unsanitary conditions, often led to serious complications. By the time a woman sought medical help, she was usually in great distress - obviously disfigured and/or in serious pain. A terrifying, risky visit to the surgeon was the only option left to her. It is only relatively recently that early detection and advanced surgical techniques have made seemingly-miraculous breast reconstruction a common occurrence. Anatomical collections like the one in Pisa had an important part to play in the progress of scientific and medical advancement. Mysterious, strangely decorative preservations like this breast are a part of that story.
You can read more of Evan's writings on her Facebook page by clicking here. You can find out more about the museum by clicking here.

Monday, March 24, 2014

The Morbid Anatomy Museum is Coming Soon and it Needs Your Help!

For over six years, Morbid Anatomy has been showcasing, preserving, and championing forgotten and liminal artifacts, art, and ideas, providing a home for those things which would otherwise fall through the cracks of collection, informed discussion and exhibition. Now, Morbid Anatomy is moving into a 3-floor, 4,200 square foot building in the Gowanus and completely renovating it. But to do it--and to make it the most fantastic space possible--we need your help!

Towards that end, we have just launched a Kickstarter campaign--which you can view by clicking here--featuring such exciting awards as limited edition prints by artists Mark Ryden and Mark Dion (3rd and 4th images down); "experiential awards" with stars of TV's Oddities including a trip to Brimfield antiques market with Evan Michelson, shooting antique guns with Mike Zohn and a private tour of Ryan Matthew Cohn's astounding home museum; a collectable set piece from Tim Burton's Nightmare Before Christmas; tickets to our popular Morbid Anatomy Museum annual Day of the Dead bus trip; a private party in the museum; special Morbid Anatomy merch; and much, much more!

You can find out more--and contribute to what we hope you'll agree is a very worthy cause!--by clicking here. You can watch the wonderful intro video byfilmmaker in residence Ronni Thomas of The Midnight Archive and narrated by Oddities's Evan Michelson above.

Beyond the great awards, why should you considering lending your support to The Morbid Anatomy Museum? Here are a few reasons: it will be a beautiful and inspiring space to foster our unique international community of supporters, friends, artists, rogue scholars and like-minded enthusiasts; it will enshrine that which we hold dear; and it will be a place to study, to delight; a place to “meet the others.” It will also feature:
  • An inaugural temporary exhibition on 19th century anthropomorphic taxidermist Walter Potter, which will reunite many pieces from his now divided museum include the incredible circa 1890 Kitten Wedding (second image down)
  • An enlarged, beautiful library to house our rapidly expanding collection of over 2,500 books
  • An exhibition space to showcase our ever-growing permanent collection 
  • A gift shop with our own quirky merch, taxidermy, waxworks, curiosia and obscure books from around the world
  • A café serving espresso and pastries seven days a week, with plans to expand to a full bar
  • More publications by Morbid Anatomy Press
  • A new lecture and event space capable of holding twice our current numbers featuring talks by Morbid Anatomy favorites such as Stanley Burns (The Burns Archive), Paul Koudounaris (Empire of Death), Amy Herzog, Caitlin Doughty (Ask a Mortician), and Evan Michelson and Mike Zohn of TV’s Oddities.
  • Expanded public programing including visiting international scholars such as Richard Barnett (Wellcome Collection), Mel Gordon (Voluptuous Panic, Grand Guignol) and John Troyer (Centre for Death and Society at the University of Bath)
  • More field trips and classes, and live-casting of lectures
  • A film branch, with filmmaker in residence Ronni Thomas of The Midnight Archive
  • A rooftop terrace where you can enjoy a cocktail while taking in breathtaking views of industrial Brooklyn and the mighty Gowanus Canal
Again, you can find out more--and donate now!--by clicking here. Whether you can contribute or not, we hope very much to see you soon in the new museum!


Images, top to bottom:
  1. Rendering of the Morbid Anatomy Museum by Architects Robert Kirkbride and Anthony Cohn
  2. Kitten Wedding by Walter Potter; to be on view at The Morbid Anatomy Museum in June
  3. Mark Ryden, “Tree of Mystery”An limited edition artwork by Mark Ryden in a beautiful hand-carved wood frame
  4. Limited edition signed and number print by Mark Dion, available only as part of this kickstarter!


Saturday, March 22, 2014

Heroic Figure of Death with Three Female Allegories, Pen and Ink, 18th Century?

An heroic figure of Death with three female allegories. Pen and ink drawing. 18th Century? 

Friday, March 21, 2014

Two Allegorical Figures, Lithograph, Wellcome Images

Two allegorical figures: a skeleton holding a scythe and a ball of fire stands next to a female figure. Lithograph. 

Tuesday, March 11, 2014

"Ink and Silver: Medicine, Photography, and the Printed Book, 1845-1880," Columbia University Medical Center, NYC

Stephen E. Novak--Head, Archives & Special Collections at A.C. Long Health Sciences Library at Columbia University Medical Center--just sent word of this wonderful looking free lecture on 19th century medicine and photography taking place at Columbia University Medical Center on Thursday, April 3. Full details follow. Hope very much to see you there
History of the Health Sciences Lecture Series
Ink and Silver: Medicine, Photography, and the Printed Book, 1845-1880
Stephen J. Greenberg, MSLS, PhD, Coordinator of Public Services, History of Medicine Division, National Library of Medicine
Thursday, April 3, 2014
Refreshments, 5:30, Lecture 6pm
Russ Berrie Pavilion, Room 1
1150 St. Nicholas Avenue at West 168th Street
Sponsored by the Columbia University Augustus C. Long Health Sciences Library
Free and Open to the Public
The impact of the introduction of photography after 1839 on the arts and popular culture has long been extensively explored.  The use of photography in medicine has also attracted the interest of historians and archivists, resulting in many significant collections of material both in public and private hands.
However, far too often, individual images have been made to stand alone, far removed from their original context, and therefore mysterious to the viewer. Why were these pictures taken? Who saw them? Were they meant for private study or professional publication?  How did they reflect the techniques and aesthetics of the rest of contemporary photography? Most importantly, how, in a purely technical sense, did one produce and publish medical photographs in the 19th century?
Dr. Greenberg will address the use of photography in 19th-century printed medical books, both from technological and aesthetic viewpoints, using the vast photographic resources of the National Library of Medicine to highlight milestones in the history of medical photography, and to explain how they were presented to the viewer.
The lecture is on Thursday, April 3 at 6pm in Room 1 of the Russ Berrie Pavilion.  Refreshments will be served beginning at 5:30.
Image: from G.-B. Duchenne’s 1862 Mecanisme de la Physionomie Humaine.

Tuesday, March 4, 2014

The Museo Roca, The Parade of Monsters, and Spanish Popular Anatomical Museums at The Barcelona Congress for Curious People!


Last week, we celebrated day one of the Barcelona Congress for Curious People with a special "Medicine and Science in Old Barcelona" walking tour; it featured a variety of anatomically-themed lectures, including one in the astounding 18th Century Royal Academy of Medicine's Anatomical Theatre, and another by Enric H. March--author of the wonderful (but sadly Catalan language only) blog Bereshit--on the history of popular anatomical museums in Barcelona such as the Museo Roca and its "Parade of Monsters."

March explained to me that he became interested in popular anatomical museums when he happened upon some ephemera related to The Museo Roca at a local antique shop in 2008. He has since done a great deal of research, including some in tandem with Alfons Zarzoso--curator of the Museu d'Història de la Medicina de Catalunya--who was the first to introduce me to the topic many years ago. We ended up featuring a number of pieces from this collection for the Wellcome Collection's 2009 exhibition Exquisite Bodies: or the Curious and Grotesque History of the Anatomical Model.

El Periódico, a much read Spanish newspaper, ran a lovely piece about our day of anatomy, featuring an interview with March about his work, popular anatomical museums in general and the Museo Roca; you can see the article by clicking here, or read it in English (via Google Translate, with a few of my own fine tunings) following.

Above are some images, and also an utterly mind-blowing video montage by Yolanda Fontal which March included in his talk. It features, among other things, a walk-through of the collection when it was still in private hands in Barcelona. VERY much worth a watch, but also, due to horrific diseased genitals, definitely NSFW.

If this is of interest, definitely check out Enric H. March amazing Bereshit blog by clicking here.
The Museum of Horrors
Museum Roca came to Barcelona in 1900 as a show where people queued to see naked bodies. A Belgian billionaire bought the collection and exhibits in Antwerp

Archive Museum of Roca
Diseases and newspaper. The consequences of venereal diseases were spreading to Chinatown.
Phenomena like the giant spider from Japan, the Siamese twins, monsters, real human fetuses, creepy close-ups of genitals deformed by venereal diseases. All this and many more dreadful images formed the Roca Museum, founded by Francisco Roca, a professional illusionist and promoter of shows in Carrer Nou de la Rambla 1900.

Locals lined up to see what was exhibited in those rooms: waxworks naked and slit open to show the inside of the body, and other amazing and creepy images aroused popular curiosity for the medical or educational interest. "Impressionable people should abstain from entering," warned a poster at the entrance of the museum, which years later moved to Parallel, and ended with the pieces stored for decades in a storage room.

Sale and transfer
"Francis Arellano, collector and antiques dealer, bought the entire collection. Nobody in Barcelona was interested, and they ended at the hands of a Belgian millionaire currently who currently exhibits them in his private residence in Antwerp," reveals Enric H. March, author of the blog Bereshit, yesterday during the first day of the Congress of Curious People, held until March 2 in Barcelona. He gave an illustrated lecture on the history of anatomical museums during the nineteenth and twentieth centuries, notably the the Roca Museum.

"It was an exhibition of wax figures depicting the human body, its physiology in health and also ravaged bycertain diseases, especially venereal ones," explains March." It was the time when the scientific expositions revealed, and museums began to exhibit what until then were private collections. Between 1849 and 1938, there were 26 anatomical collections on view in Barcelona." March is particularly interested in the Roca Museum's sociological aspect, wherein the popular of such museum rose along with a more general interest in health and hygiene.

The museum was founded Roca supported by the gentry, but soon become a popular show."Went into decline when the film came to Barcelona," he says. No longer interested or famous anatomical Venus, who not only showed their female sexual organs, pubic hair also." Something unthinkable in any graphic expression of the time, even in artistic representations."

Sunday, February 16, 2014

"Machina del Mondo," Etching with Hand-Coloring, 1675-1710

 
"Machina del Mondo, ogn'un cerca di star sopra il compagno;" etching with hand-coloring, 1675-1710

Described on the British Museum website thusly: "A pyramid of ten persons climbing on top of each other, the poor at the bottom, the king at the top; Death appears to take them all."

Found via BibliOdyssey; more here.

Friday, February 14, 2014

Happy Valentine's Day and Hope to See You at "Privately Published: A Descent Into Early 20th Century Mail Order Erotica": Our Very Special Valentine’s Day Event with Cocktails by Friese Undine!

Happy Valentine's Day to you all from Morbid Anatomy, and hope to see you tonight at Colin Dickey's illustrated talk "Privately Published: A Descent Into Early 20th Century Mail Order Erotica" with artisinal cocktails by Friese Undine!

Full information about the event can be found here.

Thanks to Friese Undine for finding this wonderful image!

Wednesday, February 12, 2014

“Folly and Death," Magic Lantern or Phantasmagoria Slide?

“Folly and Death,” from the Joel Rubin collection of Kliegl slides, Theatre Research Institute; magic lantern or Phantasmagoria slide?

Via Ohio State University Libraries. More here.