Anatomical models and wax Venuses: art masterpieces or scientific craft works?

Abstract

The art of wax modelling has an ancient origin but rose to prominence in 14th century Italy with the cult of votive artefacts. With the advent of Neoclassicism this art, now deemed repulsive, continued to survive in a scientific environment, where it flourished in the study of normal and pathological anatomy, obstetrics, zoology and botany. The achievement of having originated the creation of anatomical models in coloured wax must be ascribed to a joint effort undertaken by the Sicilian wax modeller Gaetano Giulio Zumbo and the French surgeon Guillaume Desnoues in the late 17th century. Interest in anatomical wax models spread throughout Europe during the 18th century, first in Bologna with Ercole Lelli, Giovanni Manzolini and Anna Morandi, and then in Florence with Felice Fontana and Clemente Susini. In England, the art of anatomical ceroplastics was brought to London from Florence by the sculptor Joseph Towne. Throughout the centuries many anatomical artists preferred this material due to the remarkable mimetic likeness obtained, far surpassing any other material. Independent of the material used, whether wood, wax or clay, anatomical models were always considered merely craft works confined to hospitals or faculties of medicine and have survived to this day only because of their scientific interest. Italian and English waxes are stylistically different but the remarkable results obtained by Susini and Towne, and the fact that some contemporary artists are again representing anatomical wax bodies in their works, makes the border that formerly separated art and craft indistinguishable.

Fig. 1

The Anatomical Head, G.G. Zumbo (Siracuse 1656 – Paris 1701), 18th century, Museum ‘La Specola’, Florence, Italy.

Fig. 2

View of one of the rooms, Museum ‘La Specola’, Florence, Italy.

Fig. 3

Detail, whole body specimen with the arteries displayed, XXV, 445. ‘La Specola’ workshop, end of 18th/beginning 19th century, Museum ‘La Specola’, Florence, Italy.

Fig. 4

Dissection of head and tongue, mid-19th century; Joseph Towne, Gordon Museum, Kings College, London, UK.

Fig. 5

Dissection of heart, mid-19th century; Joseph Towne, Gordon Museum, Kings College, London, UK.

Fig. 6

Dissection of head and neck, mid-19th century; Joseph Towne, Gordon Museum, Kings College, London, UK.

Fig. 7

Specimens of pathological anatomy: (A) Vaccinia; (B) Variola. Mid-19th century; Joseph Towne, Gordon Museum, Kings College, London, UK.

Fig. 8

Stylistic differences in portrayal of the face. (A) Detail, whole body specimen showing the lymphatic vessels of the thoracic and abdominal cavities; XXIX, 745, ‘La Specola’ workshop, late 18th/early 19th century, Museum ‘La Specola’, Florence, Italy. (B) View of the head from a section of the thorax at the level of the heart, c. 1827–79. Joseph Towne, Gordon Museum, Kings College, London, UK.

Fig. 9

Detail, Whole body specimen showing the lymphatic vessels in the thoracic and abdominal cavities, XXIX, 746. ‘La Specola’ workshop, late 18th/early 19th century, Museum ‘La Specola’, Florence, Italy.

Fig. 11

Basal parts of the head, with opened thorax and abdomen, by Joseph Towne, mid-19th century, Gordon Museum, Kings College, London, UK.

Fig. 10

Detail, whole body specimen with the arteries displayed, XXV, 446. ‘La Specola’ workshop, late 18th/early 19th century, Museum ‘La Specola’, Florence, Italy.

Fig. 12

Decomposable statue of a pregnant woman (The Medici Venus), 1782. C. Susini and G. Ferrini, Museum ‘La Specola’, Florence, Italy.

Fig. 13

Specimen by Joseph Towne, mid-19th century, Gordon Museum, Kings College, London, UK.