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Hysteria, previously also known as the disease of the womb, has moved from being a woman's illness through the medieval times' stigma of demonic possession, to the modern concept of a functional neurological disorder. Interestingly to the present assay, Charcot (1825-1893) and Richer (1849-1933) described, in their 1887 work Les Démoniaques dans l'art, by means of iconography, semiological aspects of the so-called Grande Attaque Hystérique, which resembles features of psychogenic nonepileptic seizures emulating grand mal epileptic seizures. The aim of the present assay is to describe how those charcoal iconographic representations evolved through history and are nowadays portrayed in videos recorded at epilepsy monitoring units and patients' cell phones.

Histeria, previamente também conhecida como a doença do útero, passou de uma doença feminina, pelo estigma de possessão demoníaca ao longo dos tempos medievais, até o conceito moderno de um distúrbio neurológico funcional. Curiosamente para o presente ensaio, Charcot (1825­1893) e Richer (1849­1933) descreveram, em sua obra Les Démoniaques dans l'art, de 1887, por meio da iconografia, aspectos semiológicos do chamado Grande Attaque Hystérique, que se assemelha às características de crises não epilépticas psicogênicas que emulam crises epilépticas do tipo grande mal. O objetivo deste ensaio é descrever como essas representações iconográficas evoluíram ao longo da história e são retratadas nos dias de hoje em vídeos gravados em unidades de monitoramento de epilepsia e nos celulares de pacientes.

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OBJECTIVE: The stone monuments named as "Orhon" inscriptions located in Middle Asia are considered the first written Turkish findings. Our aim was to discuss the contents and physical appearance of the monuments according to the andrological perspective. METHODS: These inscriptions were composed of three stone monuments built in the years 720-735 AD, in honor of three Khagans (Ruling leaders). RESULTS: Although the theme of the writings emphasizes the male-dominant ruling style of the antique Middle Asian migratory tribes, we claim that the most interesting point was that the phallus had a secret role in the perspective of the stone monuments. CONCLUSION: The trilogy of power, state authority, and erection was monumentalized in 8th-century inscriptions. The signs of Andrology should be sought in history, archeology, and art to expand the esthetic horizon of modern medical sciences.

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The catastrophic impact of infectious diseases on children's health, as well the transcendental and be neficial role played by the establishment and execution of health measures and immunoprevention, has been a recurrent subject in the history of medicine, although once the disease has been controlled, they are easily forgotten. In view of this, it seems necessary to recall that social scenario through an approach through painting. The pictorial works are witnesses of that since diseases are subject of representation, and at the same time, they have become an invaluable document in the history of me dicine. Pediatric pathologies such as tuberculosis, diphtheria, polio, measles, smallpox, and syphilis, as well as the initiation of vaccination, are analyzed in various paintings with the aim of deepening knowledge of the historical era, the author and his or her link to this disease.

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Resumen: El impacto catastrófico de las enfermedades infecciosas sobre la salud infantil, como también el rol trascendental y benéfico aportado por la instauración y ejecución de medidas sanitarias y de inmuno- prevención ha sido un tema recurrente en la historia de la medicina, aunque una vez logrado el con trol de la enfermedad, estas pasan fácilmente al olvido. Ante esto, parece necesario rememorar aquel escenario social mediante un acercamiento a través de la pintura. Las obras pictóricas son testigo de aquello, pues las enfermedades son objeto de representación y a su vez se han convertido en un in valuable documento en la historia de la medicina. Patologías pediátricas como tuberculosis, difteria, poliomielitis, sarampión, viruela y sífilis como también el inicio de la vacunación, son analizadas en diversas pinturas con el objetivo de profundizar el conocimiento de la época histórica, el autor y su vínculo con dicha enfermedad.

Abstract: The catastrophic impact of infectious diseases on children's health, as well the transcendental and be neficial role played by the establishment and execution of health measures and immunoprevention, has been a recurrent subject in the history of medicine, although once the disease has been controlled, they are easily forgotten. In view of this, it seems necessary to recall that social scenario through an approach through painting. The pictorial works are witnesses of that since diseases are subject of representation, and at the same time, they have become an invaluable document in the history of me dicine. Pediatric pathologies such as tuberculosis, diphtheria, polio, measles, smallpox, and syphilis, as well as the initiation of vaccination, are analyzed in various paintings with the aim of deepening knowledge of the historical era, the author and his or her link to this disease.

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Miguel Ángel Buonarroti (1475 - 1564) es considerando uno de los más grandes artistas de la historia. Estudió en detalle la anatomía humana a través de la disección de cadáveres, práctica hasta entonces relegada por motivos religiosos. Desde que en el año 1990 el médico Frank Lynn Meshberger publicara su interpretación del fresco "La Creación de Adán" basada en la neuroanatomía, en donde comparaba la imagen de Dios con la de una sección sagital del cerebro humano, muchos autores han encontrado diversas referencias anatómicas ocultas en la obra de Miguel Ángel. En el presente trabajo exponemos el hallazgo de una inédita lección de anatomía hepática oculta en el fresco La Embriaguez de Noé de la Capilla Sixtina.

Michelangelo Buonarroti (1475 - 1564) is considered one of the greatest artists in history. He studied in detail the human anatomy through corpses dissection, practice until then relegated for religious reasons. Since the physician Frank Lynn Meshberger published in 1990 his interpretation of the fresco "The Creation of Adam" based on neuroanatomy, where he compared the image of God with a sagittal section of the human brain, many authors have found various hidden anatomical references in the work of Michelangelo. In the present paper we expose the finding of a hidden lesson on liver anatomy in the fresco The Drunkenness of Noah of the Sistine Chapel.

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The aim of this paper is to evaluate some aspects of the life of William Hunter (1718-1783), and to argue that he deserves a better place in history as he was one of the most outstanding figures in British medicine of the 18th century. A Scotsman, Presbyterian, from a family without means or connections, he underwent a classic education at the University of Glasgow, completed with apprenticeships with William Cullen and Alexander Monro first in Scotland, and then in London, with William Smellie, James Douglas and James Wilkie, in anatomy, obstetrics and surgery, respectively. Despite initial disadvantages, he was highly successful as an anatomist, educator, surgeon, man-midwife, artist, gentleman and collector. He moved and had influences in the highest medical, cultural and social circles of his time, was named Physician Extraordinary to Queen Charlotte, and was a member of many scientific, medical and cultural societies in Great Britain and in France, such as the Royal Society, the Royal College of Physicians and the Societé Royale de Médicine of Paris. His museum was notable in its magnitude and its diversity, including anatomical preparations, coins, shells, plants, birds, insects, fossils, and minerals. He donated his great museum to the University of Glasgow. His figure has been relegated mainly due to the absence of heirs, individuals or institutional, that could have cared for, maintained, and increased his legacy as happened with his brother John.

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The fresco The Creation of Adam (1511), painted on the ceiling of the Sistine Chapel by the great genius of human anatomy Michelangelo Buonarroti (1475-1564), represents one of the most emblematic and best-known scenes in the world. This fresco illustrates a key passage from the Book of Genesis: the moment when God creates the first man, Adam. Since its completion, this work has been intensively studied by many scholars of art, and by several anatomists, who have pointed out signs of anatomical representations contained in the scene. However, there is still some uncertainty regarding this famous scene, especially in relation to its complete iconography. In an attempt to understand Michelangelo's purpose better regarding this emblematic scene, this article presents unpublished evidence that the artist could have concealed within the figure of Adam the anatomical image of a rib which, according to traditional Biblical accounts, is iconographically associated with the origin of Eve, Adam's companion. Curiously, this hidden rib in Adam's body figure could be related to the traditional view of the origin of the first humans expounded in the Jewish Kabbalah. Clin. Anat. 32:648-653, 2019. © 2019 Wiley Periodicals, Inc.

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The aim of this paper is to evaluate some aspects of the life of William Hunter (1718-1783), and to argue that he deserves a better place in history as he was one of the most outstanding figures in British medicine of the 18th century. A Scotsman, Presbyterian, from a family without means or connections, he underwent a classic education at the University of Glasgow, completed with apprenticeships with William Cullen and Alexander Monro first in Scotland, and then in London, with William Smellie, James Douglas and James Wilkie, in anatomy, obstetrics and surgery, respectively. Despite initial disadvantages, he was highly successful as an anatomist, educator, surgeon, man-midwife, artist, gentleman and collector. He moved and had influences in the highest medical, cultural and social circles of his time, was named Physician Extraordinary to Queen Charlotte, and was a member of many scientific, medical and cultural societies in Great Britain and in France, such as the Royal Society, the Royal College of Physicians and the Societé Royale de Médicine of Paris. His museum was notable in its magnitude and its diversity, including anatomical preparations, coins, shells, plants, birds, insects, fossils, and minerals. He donated his great museum to the University of Glasgow. His figure has been relegated mainly due to the absence of heirs, individuals or institutional, that could have cared for, maintained, and increased his legacy as happened with his brother John.

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En el antiguo Perú, en la era preincaica, en la localidad de Sechín, sus habitantes dejaron grabados en piedras una serie de imágenes anatómicas, que tal vez constituyan los testimonios más antiguos de disecciones humanas realizadas en el mundo. (AU)

In Ancient Peru, in the pre-Inca era, in the town of Sechin, its habitants left engravings in stones a series of anatomical images, which may be the oldest testimonies of human dissections made in the world. (AU)

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Northern Europe at the beginning of the 16th Century was in turmoil as a result of religious and political dissention, epidemics of plague, syphilis, ergotism, and famine, and the threat of the Ottoman Empire. In Alsace, a fulcrum between Germany, France, Switzerland and the Netherlands, Grünewald painted his celebrated and complex altarpiece at Isenheim in a convent chapel of the Antonine religious order that kept a hospital for the care of patients suffering from ergotism, plague, syphilis and other illnesses. The ten paintings of this altarpiece convey a series of religious, medical and political meanings, with the scenes of the Crucifixion and the Resurrection being thought to play an integral part of the curative process. This was because patients could be soothed by comparing their suffering to that of Christ on the cross and could console themselves by the Resurrection. The portrait of Christ in the cross is astounding in its realism and naturalism. It represents, with great pathological veracity, a tortured body in agony, a break with previous traditional representations of this event. Impressive pathological detail is also given to a figure in the Temptation scene. The entire work is suffused with religious connotations provided by the composition, the forms and the richness and sophisticated use of colors. Although Grünewald's paintings are few and the facts of his personal life sparse, it is known he married a Jewish woman, supported the peasant revolts, and was probably a Lutheran in a Catholic area. While Grünewald is considered the epitome of a German artist, the universal projections of his art have influenced physicians and the artistic productions of many painters, writers, musicians and sculptors throughout the world.

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The aim of this article is to introduce the museum we have at the Pathology Department, School of Medicine of the National University of Rosario, Argentina. The origin dates from to 1922 when Dermatology Professor Dr. Enrique P. Fidanza bought moulages at L'Hôpital Saint-Louis in Paris for the purpose of teaching. The collection included around 100 moulages and was worth approximately 1000 dollars. These pieces were exhibited at the Dermatology Department for many years and later moved to the Pathology Department where some pieces started being repaired, whereas others have deteriorated. The collection is composed of 100 moulages done by a French craftsman by the name of Niclet and 258 made by Argentine craftsmen including Alba Ramirez and G. Rouzaut, among others. The pieces are classified according to different dermatological diseases such as: the different stages of syphilis, lupus, benign and malignant neoplasm, infectious diseases, etc.

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Northern Europe at the beginning of the 16th Century was in turmoil as a result of religious and political dissention, epidemics of plague, syphilis, ergotism, and famine, and the threat of the Ottoman Empire. In Alsace, a fulcrum between Germany, France, Switzerland and the Netherlands, Grünewald painted his celebrated and complex altarpiece at Isenheim in a convent chapel of the Antonine religious order that kept a hospital for the care of patients suffering from ergotism, plague, syphilis and other illnesses. The ten paintings of this altarpiece convey a series of religious, medical and political meanings, with the scenes of the Crucifixion and the Resurrection being thought to play an integral part of the curative process. This was because patients could be soothed by comparing their suffering to that of Christ on the cross and could console themselves by the Resurrection. The portrait of Christ in the cross is astounding in its realism and naturalism. It represents, with great pathological veracity, a tortured body in agony, a break with previous traditional representations of this event. Impressive pathological detail is also given to a figure in the Temptation scene. The entire work is suffused with religious connotations provided by the composition, the forms and the richness and sophisticated use of colors. Although Grünewald's paintings are few and the facts of his personal life sparse, it is known he married a Jewish woman, supported the peasant revolts, and was probably a Lutheran in a Catholic area. While Grünewald is considered the epitome of a German artist, the universal projections of his art have influenced physicians and the artistic productions of many painters, writers, musicians and sculptors throughout the world.

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Looking closely at an Argentine dream interpretation column published in a popular women's magazine from 1948 to 1951, this article examines the role of the dream image in shaping psychoanalytic discourse on femininity and national identity. The column, 'Psychoanalysis Will Help You,' emerged during Juan Domingo Perón's first presidency, featuring verbal interpretations written under the pen name 'Richard Rest,' as well as surreal photomontages by Grete Stern, a German-born, Bauhaus-trained photographer living in exile since 1936. While the column's Jungian text encourages readers' adaptation to the external reality of their social situation, Stern's droll images emphasize the disjuncture between subject and environment, exposing tensions between the experience of exile and the Peronist mission to consolidate an Argentine national identity. Experimenting formally with European avant-garde techniques, Stern presents femininity and nation as conflictive imaginary configurations. This theme resurfaces at the 2013 Venice Biennale, where Nicola Costantino's multimedia installation Eva - Argentina: A Contemporary Metaphor was exhibited alongside Carl Jung's Red Book. Formal contrasts between Stern's use of photomontage, Costantino's projection technique, and Jung's theory of mandala symbolism indicate the divergent ways in which their artwork posits the therapeutic function of the dream image, as well as the role of aesthetic production in psychoanalytic care.

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