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                <text>The allegorical title page of The Anatomy of Humane Bodies displays a scene with several individuals performing various tasks in a classical landscape. In the foreground, Father time is shown holding an hourglass while his scythe lies on the ground on the left. On the right of the foreground, three putti are depicted; one hold a piece of parchment, presumably with an anatomical diagram on it in front of the other two, one of which holds a skull, and the other points to a forearm which is spread across a small table. Behind them is the title of the atlas, which reads "The Anatomy of Humane Bodies by William Cowper Surgeon. 1698," which is printed on a piece of paper and pasted over the original engraved title of Ontleding des Meschelyken Lichaams. This is engraved upon a shield resting against a platform on which the allegory of Medicine sits, identified by the large volume that she rests against and the knife like tool she holds in her hand. Beside her, a young boy stands, his face shrouded by drapery, and the skin of his arm removed to display the inner musculature. Flying above and behind the allegory of Medicine is Gloria, identified by her wings and two horns. Finally, in the background, flanked by distinctly Baroque architecture, two skeletons converse with each other. This allegorical title page was purchased alongside three hundred imprints of the 105 copperplate engravings featured within Govard Bidloo's atlases from his publishers.</text>
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                <text>The Anatomy of Humane Bodies</text>
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                <text>Ontleding des Meschelyken Lichaams</text>
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                <text>William Cowper. The Anatomy of Humane Bodies. Oxford, Printed at the theatre for Samuel Smith and Benjamin Walford, printers to the Royal Society, 1698.</text>
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                <text>The anatomy of humane bodies, with figures drawn after the life by some of the best masters in Europe, and curiously engraven in one hundred and fourteen copper plates, illustrated with large explications, containing many new anatomical discoveries, and chirurgical observations, to which is added an introduction explaining the animal oeconomy, with a copious index.</text>
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                  <text>Rose Conlin</text>
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                <text>Table 88: A Skeleton Risen from its Tomb</text>
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                <text>The 88th table in Govard Bidloo's Anatomia Humani Corporis, and his later atlas Ontleding des Meschelyken Lichaams, depicts a skeletal figure holding a piece of drapery walking towards a tomb int he ground. The skeletal figure is situated beside a tomb in the ground, blocked out by large sheets of stone, located under a rusticated archway. In the background, a burial monument with a pyramidal block of stone resting atop female sphinx like figures is set on a pedestal. The artist Gerard de Lairesse, who designed the plates, took great liberty in creating a historicized landscape, complete with pastoral scenery of flowing trees, and rolling fields that lead to a far off town. The skeleton is shown walking away from the viewer, the body positioned in a contraposto stance with one leg engaged and the other abound to step onto the ledge of the tomb.  Letters label the different bones that make up the skeleton, though the anatomist has decided to only provide labeling for the larger and more easily identifiable bones.</text>
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                <text>Gerard de Lairesse (artist), Peter and Philip van Gunst (engravers)</text>
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                <text>Anatomia Humani Corporis</text>
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                <text>Ontleding des Meschelyken Lichaams</text>
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                <text>Printed for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry Boom and widow of Theodore Boom in 1685 and 1690</text>
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                <text>Printed at the theatre for Samuel Smith and Benjamin Walford, printers to the Royal Society in 1698.</text>
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                <text>Govard Bidloo</text>
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                  <text>Public Access (U.S. National Library of Medicine)</text>
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                <text>The 71st table of Govard Bidloo and William Cowper's anatomical atlases displays the dissection of the forearm, with particular attention paid to the muscles and sinews that connect throughout the back of the hand. the forearm has been mostly stripped of its muscular components, as the radius and ulna are clearly visible. The wrist rests upon a rolled up cloth, and the elbow is propped between a book, presumably an anatomical atlas, and a block of wood to hold it in place. The entire display is situated upon a wooden block, similar to a modern cutting board. The muscles and sinew of the hand that would normally stretch up the arm along the bones is spread and curled artfully across the page, showing Gerard de Lairesse's own artistic agency. Each of the major muscles,  bones, and regions of the hand are labelled with letters which are accompanied by simple explanatory text on the alternate page.</text>
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                <text>The Anatomy of Humane Bodies</text>
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                <text>Public Access (U.S. National Library of Medicine, 2004)</text>
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                <text>Anatomia Humani Corporis</text>
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                <text>Ontleding des Meschelyken Lichaams</text>
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              <elementText elementTextId="17528">
                <text>The Anatomy of Humane Bodies</text>
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                <text>Govard Bidloo. "71st Table." Anatomia Humani Corporis. Amsterdam, for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry Boom and widow of Theodore Boom, 1685.</text>
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                <text>Artists</text>
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                <text>Medical practitioners</text>
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                <text>Medical students</text>
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                  <text>Rose Conlin</text>
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                <text>Table 28: The Musculature of the Back of a Woman</text>
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          <element elementId="41">
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                <text>The twenty eighth table of each atlas by Govard Bidloo and William Cowper depicts the back of a woman, the skin peeled away to reveal the inner musculature, while the woman's body is supported by an engaged arm. The skin has been cut down the center of the back and peeled away, draping along the sides of the woman's body under the arms. A sheet surrounds the hips and genitals, creating a modest representation of the female body. Visible are the erector spinae muscles, which travel up the length of the back, the Thoracolumbar fascia which reach out along the width of the back from the spine, the deltoid muscles on the shoulder, and the teres minor and major muscles that lie underneath the deltoids. A portion of the trapezius muscle remains on the left and right, however much has been cut off to reveal the erector spinae muscles. Fatty deposits are also visible on the skin that pools around the hips of the woman's body in the form of bubble like nodes. Although the models used for this illustration were the dead cadavers that Bidloo dissected during the late 1670s and early 1680s, Gerard de Lairesse employs his own understanding of muscles to portray how they appear in different positions.</text>
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                <text>The Anatomy of Humane Bodies</text>
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                <text>Printed at the theatre for Samuel Smith and Benjamin Walford, printers to the Royal Society in 1698</text>
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                <text>1685</text>
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                <text>1690</text>
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                <text>Gerard de Lairesse</text>
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                <text>Philip van Gunst</text>
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          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="17562">
                <text>Public Access (Vassar College Library)</text>
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                <text>The 70th Table depicts the dissection of the forearm, specifically displaying the muscles and connective tissue on the top of the forearm. A full arm is displayed on a wooden plank, the shoulder is draped in white cloth, which also runs diagonally down the illustration and underneath the elbow to pool at the end of the board. The arm is flayed of all skin, however the majority of its muscles remain in tact. The purpose of this illustration is to show the connective tissue that runs along the top of the forearm and across the knuckles of each finger. A pin has been inserted across the four knuckles that lie between the proximal and middle phalanxe, a compass is inserted into the extensor indicis muscle, while another thin pole is held up by a knife and prop to maintain tension in the extensor digitorum muscles that connect to three of the fingers and the thumb, though oddly, the smallest finger's connective tissue lies limp on the table.</text>
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