1 00:00:01,280 --> 00:00:04,040 Speaker 1: Welcome to Stuff You Missed in History Class, a production 2 00:00:04,120 --> 00:00:13,360 Speaker 1: of I Heart Radios How Stuff Works. Hello, and welcome 3 00:00:13,400 --> 00:00:16,639 Speaker 1: to the podcast. I'm Tracy V. Wilson and I'm Holly Fry. 4 00:00:17,840 --> 00:00:20,040 Speaker 1: Something that's come up on our show a few times 5 00:00:20,320 --> 00:00:24,040 Speaker 1: is the difficulty of teaching anatomy to doctors in the 6 00:00:24,079 --> 00:00:27,600 Speaker 1: early days of formal medical education. In terms of the 7 00:00:27,640 --> 00:00:30,080 Speaker 1: episodes that Holly and I have worked on together, there's 8 00:00:30,120 --> 00:00:34,280 Speaker 1: the Doctor's Riot of seventy eight and ignat Similvis and 9 00:00:34,320 --> 00:00:37,640 Speaker 1: the Handwashing Mores, and they both talked about the shortage 10 00:00:37,640 --> 00:00:41,680 Speaker 1: of cadavers for dissections due to all kinds of cultural taboos, 11 00:00:42,040 --> 00:00:45,239 Speaker 1: along with the lack of refrigeration and the spread of 12 00:00:45,280 --> 00:00:48,960 Speaker 1: disease from cadavers to living patients. Um. The shortage of 13 00:00:49,000 --> 00:00:52,559 Speaker 1: cadavers also led to grave robbing and murder, and previous 14 00:00:52,600 --> 00:00:55,720 Speaker 1: hosts talked about that in the episode Burke and Hair, 15 00:00:55,800 --> 00:00:59,200 Speaker 1: Who Didn't Steal Corpses. One of the ways that people 16 00:00:59,200 --> 00:01:01,920 Speaker 1: have tried to have void some of these problems as 17 00:01:01,960 --> 00:01:05,600 Speaker 1: by using anatomical wax models as teaching tools. And in 18 00:01:05,680 --> 00:01:09,280 Speaker 1: eighteenth century Bologna, one of the most skilled and renowned 19 00:01:09,319 --> 00:01:13,000 Speaker 1: anatomists and wax model makers was a woman named Anna 20 00:01:13,040 --> 00:01:16,800 Speaker 1: Mirandi Manzolini, and she's the person we're talking about today, 21 00:01:17,080 --> 00:01:19,640 Speaker 1: which does also mean we're going to be talking a 22 00:01:19,680 --> 00:01:24,280 Speaker 1: lot about cadavers and dissections. Also, sometimes you will see 23 00:01:24,360 --> 00:01:28,920 Speaker 1: Anna Mirandi Manzolini referred to as both Mirandi and Manzolini, 24 00:01:29,080 --> 00:01:31,840 Speaker 1: regardless of whether she was married at that point in 25 00:01:31,880 --> 00:01:34,559 Speaker 1: the narrative. And since we're going to be talking about 26 00:01:34,600 --> 00:01:38,479 Speaker 1: both her and her husband, just for the sake of clarity, 27 00:01:38,680 --> 00:01:43,200 Speaker 1: Anna is Mirandi and her husband is Manzolini. So we 28 00:01:43,280 --> 00:01:46,240 Speaker 1: have records of people in Europe making wax models going 29 00:01:46,280 --> 00:01:49,840 Speaker 1: back at least four thousand years. This includes votive offerings 30 00:01:49,920 --> 00:01:53,320 Speaker 1: left at pilgrimage sites in pre Christian and Christian Europe, 31 00:01:53,720 --> 00:01:56,680 Speaker 1: some of which depicted diseased or healthy human organs or 32 00:01:56,720 --> 00:02:00,320 Speaker 1: body parts. For example, in medieval Christianity, so one who 33 00:02:00,400 --> 00:02:03,160 Speaker 1: felt they had been divinely cured of a leg complaint 34 00:02:03,560 --> 00:02:05,760 Speaker 1: might leave a wax model of their leg at a 35 00:02:05,800 --> 00:02:09,640 Speaker 1: shrine as thanks. Starting in about the fourteenth century, people 36 00:02:09,639 --> 00:02:12,760 Speaker 1: have also made funeral effigies out of wax which depicted 37 00:02:12,760 --> 00:02:16,320 Speaker 1: the deceased. By about the thirteenth century, so just a 38 00:02:16,360 --> 00:02:18,919 Speaker 1: little bit before those effigies started to come into more 39 00:02:18,960 --> 00:02:23,840 Speaker 1: widespread use. People were also using wax models to teach anatomy, 40 00:02:23,880 --> 00:02:28,280 Speaker 1: but not in medical schools yet. Visual artists also wanted 41 00:02:28,320 --> 00:02:31,440 Speaker 1: to study anatomy, and for a couple of centuries, artists 42 00:02:31,480 --> 00:02:34,600 Speaker 1: were both making wax models and also using them to 43 00:02:34,639 --> 00:02:38,400 Speaker 1: study the human body. This didn't totally eliminate the need 44 00:02:38,480 --> 00:02:41,720 Speaker 1: for dissection, since the process of making an accurate wax 45 00:02:41,800 --> 00:02:45,480 Speaker 1: model started with someone making plaster casts of a body, 46 00:02:45,600 --> 00:02:48,200 Speaker 1: but the wax models made from those casts could be 47 00:02:48,400 --> 00:02:51,880 Speaker 1: very detailed. They were also pliable, and they held up 48 00:02:51,880 --> 00:02:55,040 Speaker 1: to repeated handling, and they lasted much longer than a 49 00:02:55,040 --> 00:02:58,880 Speaker 1: cadaver did, especially in places with warm weather, without giving 50 00:02:58,880 --> 00:03:02,840 Speaker 1: off offensive odor from decomposition or carrying the same level 51 00:03:02,880 --> 00:03:06,440 Speaker 1: of risk in terms of spreading diseases. So fast forward 52 00:03:06,520 --> 00:03:09,640 Speaker 1: a few hundred years. By the seventeenth century in Europe, 53 00:03:09,680 --> 00:03:12,680 Speaker 1: the fields of anatomy and surgery were both starting to 54 00:03:12,720 --> 00:03:17,480 Speaker 1: grow in prestige. Anatomists were directly influencing the evolution of 55 00:03:17,520 --> 00:03:20,680 Speaker 1: surgery as they studied the human body and drew conclusions 56 00:03:20,680 --> 00:03:23,560 Speaker 1: about how it worked and made these anatomical models that 57 00:03:23,600 --> 00:03:26,680 Speaker 1: were then used to teach surgeons, and all of this 58 00:03:26,880 --> 00:03:32,040 Speaker 1: was also feeding into a public fascination for anatomy. In Bologna, 59 00:03:32,120 --> 00:03:35,720 Speaker 1: where Anna Mirandi Manzolini lived, there was an annual public 60 00:03:35,760 --> 00:03:40,040 Speaker 1: dissection at the University of Bologna's Teato Anatomico called the 61 00:03:40,080 --> 00:03:44,240 Speaker 1: Carnival Dissection. This spanned several days before the start of Lent, 62 00:03:44,480 --> 00:03:47,400 Speaker 1: with the dissected cadaver being the body of someone who 63 00:03:47,400 --> 00:03:51,120 Speaker 1: had been convicted of a crime and publicly executed just before. 64 00:03:52,040 --> 00:03:54,800 Speaker 1: By the eighteenth century, Bologna was also working on an 65 00:03:54,800 --> 00:03:58,800 Speaker 1: anatomical museum full of wax representations of the human body. 66 00:03:59,200 --> 00:04:02,280 Speaker 1: Whether these models were meant for an art school or 67 00:04:02,320 --> 00:04:05,840 Speaker 1: a medical school or a museum, making them still required 68 00:04:05,960 --> 00:04:09,160 Speaker 1: multiple cadavers. A modeler who was hoping to make a 69 00:04:09,240 --> 00:04:13,040 Speaker 1: whole anatomical series might start with plaster casts of the 70 00:04:13,040 --> 00:04:16,919 Speaker 1: whole body prior to dissection. Then, after removing the skin, 71 00:04:17,279 --> 00:04:20,760 Speaker 1: another set of casts would document the muscles, the tendons, 72 00:04:20,920 --> 00:04:24,240 Speaker 1: the ligaments, and the fascia, and then those structures would 73 00:04:24,279 --> 00:04:28,000 Speaker 1: be removed layer by layer, revealing the internal organs, with 74 00:04:28,120 --> 00:04:31,719 Speaker 1: casts made of those, with the whole process continuing until 75 00:04:31,839 --> 00:04:35,719 Speaker 1: only the bones were left. Unless the modeler also wanted 76 00:04:35,760 --> 00:04:38,560 Speaker 1: to make models of the interiors of the bones. The 77 00:04:38,600 --> 00:04:41,440 Speaker 1: bones could then be cleaned and used as a teaching tool, 78 00:04:41,560 --> 00:04:45,000 Speaker 1: either as individual bones or mounted together as a skeleton. 79 00:04:45,279 --> 00:04:47,680 Speaker 1: But in terms of all the soft tissues, this process 80 00:04:47,760 --> 00:04:51,279 Speaker 1: was extensive and time consuming enough that one body just 81 00:04:51,360 --> 00:04:53,760 Speaker 1: could not last long enough for a modeler to make 82 00:04:53,800 --> 00:04:58,200 Speaker 1: casts of everything before it was too decomposed to be usable. 83 00:04:58,720 --> 00:05:03,120 Speaker 1: Wax modelers were very protective of their techniques and their recipes, 84 00:05:03,160 --> 00:05:06,080 Speaker 1: but in general, in the eighteenth century, wax modelers were 85 00:05:06,120 --> 00:05:09,560 Speaker 1: starting with a formula that included bees wax oil or 86 00:05:09,600 --> 00:05:13,760 Speaker 1: tallow pitch, and turpentine. This produced a wax that was 87 00:05:13,920 --> 00:05:17,000 Speaker 1: durable but pliable, and could be mixed with pigments to 88 00:05:17,000 --> 00:05:21,520 Speaker 1: produce different colors. Modelers filled their plaster cast with this wax, 89 00:05:21,680 --> 00:05:24,840 Speaker 1: with both the filling process and the technique for releasing 90 00:05:24,960 --> 00:05:27,880 Speaker 1: the wax from the cast, both of that being very 91 00:05:27,880 --> 00:05:31,000 Speaker 1: heavily protected secrets. Once it was out of the cast, 92 00:05:31,200 --> 00:05:37,359 Speaker 1: the wax model would be cleaned, polished, and finished. Membranes, fascia, blood, vessels, 93 00:05:37,400 --> 00:05:41,000 Speaker 1: and other details might be painted on or represented with silk, 94 00:05:41,040 --> 00:05:44,440 Speaker 1: fabric or thread. The wax portions of the models were 95 00:05:44,480 --> 00:05:47,320 Speaker 1: often varnished to protect them from dust and help them 96 00:05:47,360 --> 00:05:51,760 Speaker 1: hold up better as finishing touches. Most modelers used real 97 00:05:51,920 --> 00:05:56,080 Speaker 1: human hair as well as glass eyes, although some, including 98 00:05:56,120 --> 00:05:59,920 Speaker 1: Anna Mirandi Manzlini, generally sculpted their models eyes from way 99 00:06:00,160 --> 00:06:03,200 Speaker 1: as well. Depending on how the model was meant to 100 00:06:03,240 --> 00:06:05,520 Speaker 1: be used from there, it might be mounted onto some 101 00:06:05,600 --> 00:06:09,480 Speaker 1: kind of decorative board or stand. Of course, over time, 102 00:06:09,640 --> 00:06:12,840 Speaker 1: the aesthetic and artistic standards used for these models changed 103 00:06:12,880 --> 00:06:17,080 Speaker 1: and evolved. When Anna Mirandi Mazzolini was living, models were 104 00:06:17,080 --> 00:06:21,000 Speaker 1: at an intersection between science and art. An anatomist might 105 00:06:21,080 --> 00:06:23,320 Speaker 1: also make models, but it was also common for an 106 00:06:23,320 --> 00:06:27,120 Speaker 1: anatomist and a modeler to work together. The models were 107 00:06:27,160 --> 00:06:30,280 Speaker 1: expected to represent the human anatomy, but at the same 108 00:06:30,320 --> 00:06:33,960 Speaker 1: time they might have some kind of symbolic or allegorical meaning, 109 00:06:34,520 --> 00:06:39,680 Speaker 1: especially when it came to female anatomy. Sometimes artists intentionally 110 00:06:39,760 --> 00:06:43,159 Speaker 1: created models that showed evidence of disease or some kind 111 00:06:43,160 --> 00:06:47,040 Speaker 1: of atypical formation, But when it came to ordinary anatomical 112 00:06:47,080 --> 00:06:50,240 Speaker 1: models that were going to be used for standard anatomy classes, 113 00:06:50,640 --> 00:06:54,320 Speaker 1: anatomists and modelers typically worked toward a finished products that 114 00:06:54,400 --> 00:06:58,400 Speaker 1: depicted what was thought of as standard or normal. One 115 00:06:58,480 --> 00:07:01,240 Speaker 1: full body model that was popular or during Mirandi's time 116 00:07:01,279 --> 00:07:04,520 Speaker 1: was the ecorchet or the fladed man, which was an 117 00:07:04,640 --> 00:07:09,160 Speaker 1: entire body, usually male, without skin, showing the underlying musculature 118 00:07:09,279 --> 00:07:12,800 Speaker 1: in detail. A full body model that became popular after 119 00:07:12,840 --> 00:07:16,080 Speaker 1: her death was the anatomical venus that was an entire 120 00:07:16,160 --> 00:07:20,200 Speaker 1: female body with real hair and a dissectible abdomen and pelvis. 121 00:07:20,840 --> 00:07:25,120 Speaker 1: An anatomical venus had multiple removable layers which typically revealed 122 00:07:25,360 --> 00:07:28,360 Speaker 1: a pregnancy once the uterus was visible. All of the 123 00:07:28,400 --> 00:07:31,240 Speaker 1: pregnancy was not usually apparent with all of the abdominal 124 00:07:31,280 --> 00:07:36,160 Speaker 1: pieces still in place. The anatomical venus definitely had a 125 00:07:36,200 --> 00:07:39,640 Speaker 1: more metaphorical element rather than just being a straight up 126 00:07:39,800 --> 00:07:45,000 Speaker 1: anatomy model. Apart from this desceptible abdomen, the figures, positioning 127 00:07:45,120 --> 00:07:49,600 Speaker 1: and expressions, and overall attitude often had a sensual, ecstatic, 128 00:07:49,680 --> 00:07:53,360 Speaker 1: or even erotic appearance. You can see lots of these today. 129 00:07:53,440 --> 00:07:58,040 Speaker 1: I personally find them creepy. Uh. An anatomical venus often 130 00:07:58,080 --> 00:08:00,720 Speaker 1: had jewelry on, like a string of hurls, and the 131 00:08:00,760 --> 00:08:03,080 Speaker 1: first of these is known as the Medici venus, and 132 00:08:03,120 --> 00:08:06,240 Speaker 1: it was made for Florence's Museum for Physics and natural 133 00:08:06,320 --> 00:08:09,559 Speaker 1: history around seventeen eighty, so that was a few years 134 00:08:09,600 --> 00:08:12,160 Speaker 1: after Mirandi's death. This wasn't a style of model that 135 00:08:12,200 --> 00:08:15,840 Speaker 1: she personally was making. So Mirandi was living during something 136 00:08:15,880 --> 00:08:19,680 Speaker 1: of a heyday in both anatomy and anatomical modeling, which 137 00:08:19,720 --> 00:08:22,240 Speaker 1: was happening mostly in parts of what's now Italy, but 138 00:08:22,400 --> 00:08:25,600 Speaker 1: especially in Bologna, and she was a huge part of 139 00:08:25,640 --> 00:08:28,840 Speaker 1: that heyday. Bologna itself was also in the middle of 140 00:08:28,880 --> 00:08:32,520 Speaker 1: its own revival as an intellectual and cultural center. At 141 00:08:32,520 --> 00:08:35,120 Speaker 1: the time, Bologna was one of the papal states under 142 00:08:35,120 --> 00:08:39,240 Speaker 1: control of the Vatican. By the eighteenth century, Bologna's earlier 143 00:08:39,280 --> 00:08:43,040 Speaker 1: academic and intellectual prestige had really faded as a result 144 00:08:43,120 --> 00:08:47,839 Speaker 1: of political infighting and mismanagement. A patronage system had been 145 00:08:47,920 --> 00:08:51,119 Speaker 1: used to appoint faculty positions, and that meant that appointments 146 00:08:51,120 --> 00:08:54,000 Speaker 1: were being based more on political favors than on the 147 00:08:54,080 --> 00:08:58,600 Speaker 1: candidate's qualifications. For years, the Boulonnese Senate had been appointing 148 00:08:58,679 --> 00:09:02,640 Speaker 1: Bolonese citizens merrily to these positions, with very few exceptions, 149 00:09:02,679 --> 00:09:05,800 Speaker 1: regardless of whether another candidate from somewhere else might be 150 00:09:05,840 --> 00:09:10,440 Speaker 1: more qualified. Plus, Bologna's universities were tending to teach purely 151 00:09:10,600 --> 00:09:14,520 Speaker 1: theoretical topics rather than doing any kind of experimentation or 152 00:09:14,600 --> 00:09:17,760 Speaker 1: hands on study. Of course, there are lots of different 153 00:09:17,760 --> 00:09:21,120 Speaker 1: people and institutions involved any time an entity tries to 154 00:09:21,160 --> 00:09:24,600 Speaker 1: make this kind of turnaround. In Bologna's case, a couple 155 00:09:24,600 --> 00:09:28,720 Speaker 1: of people were particularly prominent, though. One was General Luigi 156 00:09:28,800 --> 00:09:32,280 Speaker 1: Fernando Marsilli, who founded the Institute of Sciences and the 157 00:09:32,400 --> 00:09:37,280 Speaker 1: Arts in seventeen fourteen to be a place of quote, experiment, classification, 158 00:09:37,480 --> 00:09:42,680 Speaker 1: and exposition. This institute combined two existing institutions. They were 159 00:09:42,720 --> 00:09:46,240 Speaker 1: the Academy of Sciences and the Clementina Academy of Art, 160 00:09:46,640 --> 00:09:49,199 Speaker 1: and they were both housed together at the Palazzo Pogi. 161 00:09:49,840 --> 00:09:54,360 Speaker 1: Marsilli also envisioned the space as physically connecting the sciences 162 00:09:54,440 --> 00:09:57,960 Speaker 1: and the arts and encouraging collaboration between the two of them. 163 00:09:58,040 --> 00:10:01,120 Speaker 1: Anatomy became a huge part of the connecting point, with 164 00:10:01,160 --> 00:10:04,800 Speaker 1: the anatomists and the artists working together to create these 165 00:10:04,800 --> 00:10:09,440 Speaker 1: physical models. Another was Prospero Lambertini, who became Pope Benedict 166 00:10:09,480 --> 00:10:12,880 Speaker 1: the fourteen, who was from Bologna. While he was working 167 00:10:12,880 --> 00:10:15,720 Speaker 1: for the Vatican Library, he was dispatched to Bologna to 168 00:10:15,840 --> 00:10:20,240 Speaker 1: mediate a dispute that basically boiled down to patronage versus qualifications. 169 00:10:20,880 --> 00:10:24,080 Speaker 1: He sided with qualifications, which won the trust of people 170 00:10:24,360 --> 00:10:28,440 Speaker 1: who were trying to reform Bologna's institutes of learning. He 171 00:10:28,480 --> 00:10:32,280 Speaker 1: continued to focus on Bologna's development as an intellectual center 172 00:10:32,360 --> 00:10:36,360 Speaker 1: after he became archbishop, encouraging the creation of an anatomical 173 00:10:36,440 --> 00:10:39,560 Speaker 1: museum at Palazzo po g That project was in the 174 00:10:39,559 --> 00:10:42,240 Speaker 1: works for years, but it didn't really get moving until 175 00:10:42,320 --> 00:10:45,880 Speaker 1: after he became pope in seventeen forty, and he authorized 176 00:10:45,880 --> 00:10:49,400 Speaker 1: a budget for it. Another focus for Pope Benedict the 177 00:10:49,440 --> 00:10:53,680 Speaker 1: fourteenth was making the sciences and higher education more open 178 00:10:53,720 --> 00:10:56,920 Speaker 1: to women. That connected back to Mirandi's career as an 179 00:10:56,960 --> 00:10:59,360 Speaker 1: anatomist and a modeler, and we will get to that 180 00:10:59,480 --> 00:11:10,720 Speaker 1: after quick sponsor break in Bologna in the eighteenth century, 181 00:11:10,920 --> 00:11:14,840 Speaker 1: upper class children were generally getting the same education regardless 182 00:11:14,920 --> 00:11:17,679 Speaker 1: of their gender. Let's tied back to the idea of 183 00:11:17,720 --> 00:11:21,280 Speaker 1: reviving Bologna as an intellectual center, as well as the 184 00:11:21,320 --> 00:11:24,439 Speaker 1: idea that classical Greek and Roman knowledge needed to be 185 00:11:24,480 --> 00:11:29,040 Speaker 1: preserved for posterity. It wasn't unheard of for girls who 186 00:11:29,040 --> 00:11:32,040 Speaker 1: were of a more modest means to be educated as well. 187 00:11:32,200 --> 00:11:35,800 Speaker 1: If a girl was considered particularly talented, a lot of 188 00:11:35,840 --> 00:11:38,559 Speaker 1: times somebody in the community who had more money would 189 00:11:38,600 --> 00:11:43,440 Speaker 1: arrange for her education. Bologna's universities also became at least 190 00:11:43,440 --> 00:11:46,959 Speaker 1: as some extent open to women as students around this time. 191 00:11:47,679 --> 00:11:50,280 Speaker 1: They still were not enrolled in equal numbers to men, 192 00:11:50,360 --> 00:11:53,600 Speaker 1: but they had more opportunities for higher education than women 193 00:11:53,600 --> 00:11:57,480 Speaker 1: did in many other parts of Europe. Women who graduated 194 00:11:57,480 --> 00:12:01,080 Speaker 1: from Bologna's universities or otherwise except eld in the intellectual 195 00:12:01,120 --> 00:12:05,440 Speaker 1: sphere essentially became famous. One example is Laura Bassie, who 196 00:12:05,480 --> 00:12:08,680 Speaker 1: got a doctorate of philosophy from the University of Bologna 197 00:12:08,679 --> 00:12:12,120 Speaker 1: in seventeen thirty four. She was the first woman in 198 00:12:12,160 --> 00:12:16,160 Speaker 1: Europe to become a physics professor at a European university, 199 00:12:16,280 --> 00:12:18,719 Speaker 1: and from the year she got her doctorate until her 200 00:12:18,760 --> 00:12:22,160 Speaker 1: death in seventeen seventy eight, she lectured at the public 201 00:12:22,200 --> 00:12:24,840 Speaker 1: dissections that we talked about before the break every year. 202 00:12:25,280 --> 00:12:30,320 Speaker 1: Bologna's lady scholars were regarded with both respect and curiosity. 203 00:12:30,720 --> 00:12:33,040 Speaker 1: One part of the Enlightenment which was taking place in 204 00:12:33,080 --> 00:12:36,200 Speaker 1: Europe Throughout all of this was the woman question, which 205 00:12:36,200 --> 00:12:39,040 Speaker 1: was a debate about the nature of women and their abilities, 206 00:12:39,080 --> 00:12:42,160 Speaker 1: as well as the subject of equal rights. The lady 207 00:12:42,240 --> 00:12:45,960 Speaker 1: scholars were pointed to both as examples of women's capabilities 208 00:12:46,360 --> 00:12:51,400 Speaker 1: and as exceptions to what the typical woman was. Simultaneously, 209 00:12:51,480 --> 00:12:54,320 Speaker 1: These women rose to the tops of their fields on 210 00:12:54,440 --> 00:12:57,520 Speaker 1: their own merits, while also being viewed as kind of 211 00:12:57,559 --> 00:13:00,680 Speaker 1: curiosities who were worth knowing about because they were women. 212 00:13:01,240 --> 00:13:04,840 Speaker 1: They also continued to face sexism in these roles. Laura Bassie, 213 00:13:04,880 --> 00:13:07,920 Speaker 1: for example, could only teach from her home until very 214 00:13:07,960 --> 00:13:10,760 Speaker 1: late in life. For many years, she could only teach 215 00:13:10,760 --> 00:13:14,160 Speaker 1: at a university if she was specifically asked to buy 216 00:13:14,160 --> 00:13:17,040 Speaker 1: the senate, So she had kind of this public lecturing 217 00:13:17,160 --> 00:13:19,680 Speaker 1: role with the dissections where people could see, oh, here 218 00:13:19,760 --> 00:13:23,640 Speaker 1: is our our lady professor, isn't she amazing? But she 219 00:13:23,640 --> 00:13:27,439 Speaker 1: couldn't actually teach in a regular teaching role at the university. 220 00:13:27,760 --> 00:13:32,520 Speaker 1: The classes must come to my house. That opens up 221 00:13:32,559 --> 00:13:36,040 Speaker 1: for me a raft of questions about how you manage that. 222 00:13:36,120 --> 00:13:39,120 Speaker 1: But that's yeah, well, And it wasn't uncommon at all 223 00:13:39,160 --> 00:13:41,319 Speaker 1: for people to have schools in their homes at that point, 224 00:13:41,360 --> 00:13:43,240 Speaker 1: Like a lot of people were getting their first medical 225 00:13:43,320 --> 00:13:45,599 Speaker 1: education at a medical school that someone was teaching in 226 00:13:45,640 --> 00:13:48,679 Speaker 1: their home, but she was still barred from teaching at 227 00:13:48,679 --> 00:13:50,880 Speaker 1: the university for a long time because of her gender. 228 00:13:51,800 --> 00:13:55,120 Speaker 1: Anna Mirandi was born into this world on January twenty one, 229 00:13:55,320 --> 00:13:59,880 Speaker 1: seventeen fourteen. Her parents were Rossa Giovannini and Carlo Moran. 230 00:14:00,559 --> 00:14:03,760 Speaker 1: She also had a brother named Lazzaro. The family was 231 00:14:03,800 --> 00:14:07,679 Speaker 1: a very modest means when Anna married, and aristocrat paid 232 00:14:07,679 --> 00:14:11,400 Speaker 1: for her dowry as an act of charity. Beyond that, though, 233 00:14:11,520 --> 00:14:15,280 Speaker 1: we know almost nothing about her life until she married 234 00:14:15,400 --> 00:14:19,720 Speaker 1: Giovanni Manzolini in seventeen forty, although there are some sources 235 00:14:19,760 --> 00:14:22,000 Speaker 1: that put the date of that marriage a few years earlier. 236 00:14:22,560 --> 00:14:25,680 Speaker 1: Giovanni Manzolini was an anatomist and a sculptor, and was 237 00:14:25,760 --> 00:14:28,760 Speaker 1: working as the chief assistant to the Papal Commission that 238 00:14:28,920 --> 00:14:32,320 Speaker 1: was building the Anatomy Museum at the Institute of Sciences 239 00:14:32,320 --> 00:14:35,440 Speaker 1: and Arts. But just a few years into their marriage, 240 00:14:35,560 --> 00:14:39,120 Speaker 1: Manzolini had a very public falling out with the Commission's director, 241 00:14:39,760 --> 00:14:43,560 Speaker 1: er Cole Lay. Pope Benedict had commissioned a full set 242 00:14:43,600 --> 00:14:47,200 Speaker 1: of muscular and skeletal figures for the museum in seventeen 243 00:14:47,200 --> 00:14:50,800 Speaker 1: forty two, including models of a nude male and female 244 00:14:50,920 --> 00:14:54,880 Speaker 1: represented as Adam and Eve. Although assistants were carrying out 245 00:14:54,920 --> 00:14:57,560 Speaker 1: most of the work on the models, Lay was getting 246 00:14:57,600 --> 00:15:00,760 Speaker 1: the credit for it, as Manzolini refined kind and improved 247 00:15:00,760 --> 00:15:03,960 Speaker 1: their wax formula and surpassed lately in his skill as 248 00:15:03,960 --> 00:15:08,640 Speaker 1: a sculptor. This really rankled. He resigned in seventeen forty six, 249 00:15:08,680 --> 00:15:12,000 Speaker 1: and he and Mirandi began making models together in their home. 250 00:15:12,920 --> 00:15:14,840 Speaker 1: Lay is going to come up again later. He seems 251 00:15:14,880 --> 00:15:18,880 Speaker 1: to have had quite an ego that he jealously protected, 252 00:15:19,040 --> 00:15:22,520 Speaker 1: including at the expense of allowing people who were better 253 00:15:22,560 --> 00:15:27,560 Speaker 1: than him to be known as better than him. We 254 00:15:28,000 --> 00:15:30,840 Speaker 1: really don't know whether Mirandi had been able to take 255 00:15:30,840 --> 00:15:35,560 Speaker 1: advantage of Bologna's relatively open higher education opportunities for women. 256 00:15:35,840 --> 00:15:38,720 Speaker 1: We don't really know what her education was. If she 257 00:15:38,760 --> 00:15:42,240 Speaker 1: attended a university, It doesn't appear that she graduated. But 258 00:15:42,520 --> 00:15:46,920 Speaker 1: she was deeply knowledgeable about anatomy, so skilled as an artist, 259 00:15:47,120 --> 00:15:49,440 Speaker 1: and she drew on all of that in her work 260 00:15:49,520 --> 00:15:54,360 Speaker 1: making anatomical models. From seventeen forty six to seventeen fifty five, 261 00:15:54,600 --> 00:15:59,120 Speaker 1: Mirandi and Manzolini worked on anatomical models as a team. 262 00:15:59,160 --> 00:16:02,320 Speaker 1: They did the require dissections and cast making in their 263 00:16:02,320 --> 00:16:05,920 Speaker 1: home and finished the models in their home studio. They 264 00:16:05,920 --> 00:16:09,160 Speaker 1: also taught anatomy classes using the models that they made. 265 00:16:09,680 --> 00:16:11,560 Speaker 1: It was common at the time for people to teach 266 00:16:11,600 --> 00:16:15,520 Speaker 1: all kinds of subjects, including anatomy and medicine, in their homes. 267 00:16:15,520 --> 00:16:19,000 Speaker 1: As Tracy said a moment ago, their students included medical 268 00:16:19,040 --> 00:16:23,000 Speaker 1: students as well as people who were just enthusiastic about anatomy. 269 00:16:23,160 --> 00:16:26,360 Speaker 1: Many accounts say that Mirandi was squeamish about the cadavers, 270 00:16:26,400 --> 00:16:29,560 Speaker 1: but that she overcame her fear and revulsion to work 271 00:16:29,600 --> 00:16:32,800 Speaker 1: with her husband. However, a lot of the earliest biographies 272 00:16:32,840 --> 00:16:35,760 Speaker 1: of her also present her accomplishments as something that she 273 00:16:35,880 --> 00:16:39,280 Speaker 1: did only out of her devotion to her husband, so 274 00:16:39,360 --> 00:16:43,520 Speaker 1: it's not clear if she really was squeamish or if 275 00:16:43,520 --> 00:16:46,400 Speaker 1: that was sort of an embellishment made to emphasize how 276 00:16:46,440 --> 00:16:50,160 Speaker 1: dedicated she was to him, how she like had something 277 00:16:50,240 --> 00:16:52,440 Speaker 1: she needed to overcome, and that she only did it 278 00:16:52,520 --> 00:16:55,800 Speaker 1: because she was so dedicated to her husband and to 279 00:16:55,920 --> 00:16:58,480 Speaker 1: being a good wife to him. The work that Mirandi 280 00:16:58,520 --> 00:17:03,080 Speaker 1: and Manzolini did together acquired them to dissect hundreds of cadavers. 281 00:17:03,600 --> 00:17:05,680 Speaker 1: By the end of her career, Mirandi had done as 282 00:17:05,680 --> 00:17:09,440 Speaker 1: many as one thousand dissections. Most of these bodies came 283 00:17:09,480 --> 00:17:12,320 Speaker 1: from the Hospital of Santa Maria de la Marte or St. 284 00:17:12,359 --> 00:17:15,639 Speaker 1: Mary of Death, which housed Bologna's mortuary and was also 285 00:17:15,720 --> 00:17:19,680 Speaker 1: where it's poorest citizens sought care. So, as has been 286 00:17:19,720 --> 00:17:21,840 Speaker 1: the case in other episodes where we have talked about 287 00:17:21,840 --> 00:17:25,600 Speaker 1: the uses of cadavers in things like medical studies, many 288 00:17:25,640 --> 00:17:28,159 Speaker 1: of these were the bodies of poor people or of 289 00:17:28,200 --> 00:17:30,959 Speaker 1: people who had been executed for a crime that they 290 00:17:30,960 --> 00:17:34,360 Speaker 1: had been convicted of. The couple did most of their 291 00:17:34,359 --> 00:17:37,480 Speaker 1: dissecting work during the winter and overnight to try to 292 00:17:37,520 --> 00:17:40,160 Speaker 1: preserve the bodies longer, but when it came to their 293 00:17:40,200 --> 00:17:43,600 Speaker 1: finished models, their goal was never to replicate the look 294 00:17:43,640 --> 00:17:47,000 Speaker 1: of a corpse or dead tissue. This is something that 295 00:17:47,240 --> 00:17:50,640 Speaker 1: like if you see some wax anatomy models made in 296 00:17:50,680 --> 00:17:53,240 Speaker 1: the in in Britain around the same time, some of 297 00:17:53,280 --> 00:17:56,600 Speaker 1: them look like that's a model of a corpse. They 298 00:17:56,720 --> 00:18:00,320 Speaker 1: really strove for their models to appear lifelike. It came 299 00:18:00,359 --> 00:18:03,840 Speaker 1: to things like limbs and hands. The models were positioned 300 00:18:03,840 --> 00:18:06,480 Speaker 1: in a way that suggested movement, and at the same 301 00:18:06,480 --> 00:18:10,280 Speaker 1: time they also strove for total accuracy and the anatomical 302 00:18:10,320 --> 00:18:14,119 Speaker 1: structures that they were representing. This set their work apart 303 00:18:14,200 --> 00:18:18,080 Speaker 1: from some of their contemporaries, whose work was sometimes idealized 304 00:18:18,160 --> 00:18:20,760 Speaker 1: or allegorical, with sculptors trying to make a model that 305 00:18:20,880 --> 00:18:24,400 Speaker 1: was sublime rather than one that was accurate. Something else 306 00:18:24,440 --> 00:18:27,200 Speaker 1: that set them apart was their approach to the dissections. 307 00:18:27,320 --> 00:18:29,960 Speaker 1: Rather than choosing one region of the body and focusing 308 00:18:30,000 --> 00:18:34,199 Speaker 1: on that, they took a systemic approach, dissecting and modeling, say, 309 00:18:34,240 --> 00:18:37,520 Speaker 1: all of the parts of the respiratory system as one project. 310 00:18:38,200 --> 00:18:42,480 Speaker 1: Marandi and Manzolini's reputations as both anatomists and as model 311 00:18:42,560 --> 00:18:46,479 Speaker 1: makers grew very quickly as they worked together. People visited 312 00:18:46,520 --> 00:18:49,680 Speaker 1: their home studio during their grand tours of the continent. 313 00:18:50,080 --> 00:18:53,240 Speaker 1: They also learned some really high profile commissions for their work. 314 00:18:53,720 --> 00:18:57,680 Speaker 1: King Charles Emmanuel the second of Sardinia, King Charles of Naples, 315 00:18:57,800 --> 00:19:00,199 Speaker 1: and King Augustus the Third of Poland, a lot with 316 00:19:00,280 --> 00:19:05,800 Speaker 1: other monarchs, nobles and statesmen, all commissioned anatomical models from them. 317 00:19:05,840 --> 00:19:09,400 Speaker 1: Their models were also commissioned by medical forerunners in Bologna. 318 00:19:09,920 --> 00:19:14,400 Speaker 1: Giovanni Antonio Galli commissioned a set of obstetrics models, including 319 00:19:14,400 --> 00:19:18,520 Speaker 1: the uterus during pregnancy, for Bologna's first school of obstetrics, 320 00:19:18,560 --> 00:19:21,520 Speaker 1: which he opened in his home in seventeen forty nine, 321 00:19:21,720 --> 00:19:24,160 Speaker 1: and this involved making models of someone who had died 322 00:19:24,240 --> 00:19:27,760 Speaker 1: during pregnancy. The couple also made a set of obstetrics 323 00:19:27,800 --> 00:19:31,080 Speaker 1: models and models of the ear for Pierre Paolo Molinelli, 324 00:19:31,240 --> 00:19:34,800 Speaker 1: who was Bologna's first chair of practical surgery, so their 325 00:19:34,800 --> 00:19:37,199 Speaker 1: work was an important part of both these specialties in 326 00:19:37,240 --> 00:19:41,600 Speaker 1: their earliest years in Bologna. Marandi and Manzolini's work as 327 00:19:41,640 --> 00:19:46,400 Speaker 1: anatomists also went beyond just making these representative models. They 328 00:19:46,400 --> 00:19:49,919 Speaker 1: were learning and making discoveries about anatomy and physiology as 329 00:19:49,960 --> 00:19:53,360 Speaker 1: part of their work, and informing others of what they discovered. 330 00:19:54,000 --> 00:19:57,760 Speaker 1: For example, on March nine, seventeen forty nine, Manzolini published 331 00:19:57,760 --> 00:20:01,600 Speaker 1: a treatise on deafness. Well it didn't credit Mirandi as 332 00:20:01,600 --> 00:20:04,719 Speaker 1: a co author. This paper was based on anatomical and 333 00:20:04,800 --> 00:20:08,960 Speaker 1: modeling work that the couple did together. Marandi produced the 334 00:20:09,000 --> 00:20:12,400 Speaker 1: most accurate and most finely detailed models of the ear 335 00:20:12,440 --> 00:20:16,399 Speaker 1: and its associated structures. Some of which are tiny during 336 00:20:16,440 --> 00:20:19,840 Speaker 1: her lifetime, so she definitely contributed to this paper, even 337 00:20:19,840 --> 00:20:22,560 Speaker 1: though she wasn't named in it. At the time, the 338 00:20:22,600 --> 00:20:26,520 Speaker 1: medical community was debating what caused deafness and why most 339 00:20:26,560 --> 00:20:30,720 Speaker 1: deaf people also did not speak. Manzolini's paper reported on 340 00:20:30,760 --> 00:20:33,159 Speaker 1: a dissection that they had conducted on the body of 341 00:20:33,200 --> 00:20:36,240 Speaker 1: someone who had been deaf from birth and also did 342 00:20:36,240 --> 00:20:39,720 Speaker 1: not speak. They found no differences in the nerve and 343 00:20:39,800 --> 00:20:42,840 Speaker 1: muscle structures involved with speech from what they saw in 344 00:20:42,880 --> 00:20:46,080 Speaker 1: the bodies of people who did speak, but they found 345 00:20:46,119 --> 00:20:50,240 Speaker 1: that this person's coclea was essentially absent. So Manzolini's paper 346 00:20:50,280 --> 00:20:54,320 Speaker 1: concluded that in this case of congenital deafness, the deafness 347 00:20:54,400 --> 00:20:56,879 Speaker 1: was the reason for the absence of speech and not 348 00:20:57,119 --> 00:21:01,960 Speaker 1: some other anatomical cause. After the Anatomical Museum at the 349 00:21:02,040 --> 00:21:05,640 Speaker 1: Institute of Science and Arts was complete, Mirandi also led 350 00:21:05,640 --> 00:21:08,840 Speaker 1: tours of the collection for high ranking visitors to the city. 351 00:21:09,280 --> 00:21:11,840 Speaker 1: She also tended to be the person who gave tours 352 00:21:11,920 --> 00:21:15,720 Speaker 1: and demonstrations of their home studio. In addition to being 353 00:21:15,720 --> 00:21:19,360 Speaker 1: her husband's partner and everything related to dissection and modeling, 354 00:21:19,440 --> 00:21:22,280 Speaker 1: she was also really the public face of their anatomical 355 00:21:22,320 --> 00:21:27,159 Speaker 1: work and their modeling business. Mirandi's life changed significantly in 356 00:21:27,280 --> 00:21:30,160 Speaker 1: seventeen fifty five, and we will get to that after 357 00:21:30,200 --> 00:21:42,879 Speaker 1: a sponsor break. On to seven five, Giovanni Manzolini died. 358 00:21:43,560 --> 00:21:46,640 Speaker 1: He had been seriously ill with some kind of progressive 359 00:21:46,720 --> 00:21:50,040 Speaker 1: wasting condition for some time. In some accounts it's described 360 00:21:50,040 --> 00:21:54,119 Speaker 1: as tuberculosis, and others it is dropsy, which was usually 361 00:21:54,240 --> 00:21:56,720 Speaker 1: used to describe a dima, so this could have been 362 00:21:56,760 --> 00:22:00,840 Speaker 1: something like heart failure or a circulatory problem. Mirandi was 363 00:22:00,960 --> 00:22:04,160 Speaker 1: forty one at that point and the mother to two sons, 364 00:22:04,520 --> 00:22:08,800 Speaker 1: Giuseppa aged ten and Carlo, aged six. She and her 365 00:22:08,880 --> 00:22:11,840 Speaker 1: husband had actually had six or eight children together during 366 00:22:11,880 --> 00:22:14,560 Speaker 1: their marriage, but these two were the only ones who survived. 367 00:22:15,240 --> 00:22:18,240 Speaker 1: Mirandi was well known and highly respected for her work 368 00:22:18,280 --> 00:22:20,920 Speaker 1: as both an anatomist and a modeler. At this point, 369 00:22:21,440 --> 00:22:23,640 Speaker 1: she had also taken over all of her husband's work 370 00:22:23,720 --> 00:22:26,080 Speaker 1: as he became too ill to do it, and she 371 00:22:26,200 --> 00:22:30,400 Speaker 1: was faced with a difficult decision. Not long after Manzolini's death, 372 00:22:30,560 --> 00:22:33,280 Speaker 1: Catherine the Great, at the time Grand Duchess of Russia 373 00:22:33,680 --> 00:22:36,560 Speaker 1: extended an invitation for her to come live at court. 374 00:22:37,400 --> 00:22:40,520 Speaker 1: Other monarchs and nobles had done the same. There wasn't 375 00:22:40,720 --> 00:22:43,440 Speaker 1: exactly a bidding war, but many of these offers were 376 00:22:43,520 --> 00:22:47,200 Speaker 1: motivated by the idea that Mirandi would be available now 377 00:22:47,240 --> 00:22:51,200 Speaker 1: that her husband had died. But Mirandi really just doesn't 378 00:22:51,240 --> 00:22:54,400 Speaker 1: seem to have wanted to leave Bologna. It doesn't even 379 00:22:54,440 --> 00:22:57,760 Speaker 1: appear that she traveled outside of Bologna during her life. 380 00:22:58,320 --> 00:23:01,480 Speaker 1: The leadership of Bologna did want her to leave either. 381 00:23:01,680 --> 00:23:04,600 Speaker 1: She wasn't just one of their lady scholars, she was 382 00:23:04,640 --> 00:23:07,919 Speaker 1: their lady anatomist. If she moved away, they would be 383 00:23:07,960 --> 00:23:10,600 Speaker 1: losing both a resource for the study of anatomy and 384 00:23:10,720 --> 00:23:14,600 Speaker 1: sort of a tourist attraction. So Pope Benedict the fourteen 385 00:23:14,760 --> 00:23:18,800 Speaker 1: granted Mirandi a lifetime stipend of two hundred lira. In 386 00:23:18,880 --> 00:23:22,600 Speaker 1: seventeen fifty five, she was also named public Modeler and 387 00:23:22,680 --> 00:23:26,639 Speaker 1: Demonstrator of Anatomy at the University of Bologna. Also in 388 00:23:26,720 --> 00:23:30,000 Speaker 1: seventeen fifty five, she was inducted as an honorary member 389 00:23:30,240 --> 00:23:33,760 Speaker 1: of Clementina Academy of Art. The last woman to be 390 00:23:33,800 --> 00:23:37,800 Speaker 1: so inducted before Mirandi was previous podcast subject Rosalba Carrera 391 00:23:38,119 --> 00:23:41,920 Speaker 1: thirty five years previously. Mirandi also continued to teach anatomy 392 00:23:41,960 --> 00:23:45,080 Speaker 1: in her home, and in early seventeen fifty six she 393 00:23:45,200 --> 00:23:47,919 Speaker 1: was given access to as many cadavers and body parts 394 00:23:47,920 --> 00:23:50,119 Speaker 1: as she might need for her modeling work from the 395 00:23:50,160 --> 00:23:54,040 Speaker 1: Hospital of St. Mary of Death. However, that two hundred 396 00:23:54,080 --> 00:23:58,719 Speaker 1: lira was a very small stipend. By comparison, l lay 397 00:23:59,040 --> 00:24:04,000 Speaker 1: stipend was twelve hundred lira. Laura Bassie's was about five lira, 398 00:24:04,160 --> 00:24:07,040 Speaker 1: and that was probably because she had a university degree 399 00:24:07,160 --> 00:24:12,159 Speaker 1: while Mirandi didn't. Additionally, anatomical models were really time and 400 00:24:12,240 --> 00:24:16,960 Speaker 1: labor intensive to produce, and Mirandi's commissions often involved multiple 401 00:24:17,040 --> 00:24:21,000 Speaker 1: intermediaries along the way. It was not uncommon at all 402 00:24:21,040 --> 00:24:23,840 Speaker 1: for the time between the commission and the payment for 403 00:24:23,880 --> 00:24:27,639 Speaker 1: her work to be at least two or three years. 404 00:24:27,680 --> 00:24:30,640 Speaker 1: So this stipend and her commissions were enough to keep 405 00:24:30,680 --> 00:24:33,680 Speaker 1: Mirandi in Bologna, but not enough to let her make 406 00:24:33,800 --> 00:24:37,840 Speaker 1: ends meet. On October three, seventeen fifty six, she surrendered 407 00:24:37,840 --> 00:24:41,080 Speaker 1: her older son, just Sepate, to an orphanage and relinquished 408 00:24:41,119 --> 00:24:43,760 Speaker 1: all her parental rights for him. That was something that 409 00:24:43,840 --> 00:24:46,679 Speaker 1: had been arranged almost a year before, because it was 410 00:24:46,760 --> 00:24:49,520 Speaker 1: obvious that Mirandi could not make enough money as a 411 00:24:49,560 --> 00:24:53,119 Speaker 1: woman in her position to support two children, It really 412 00:24:53,320 --> 00:24:56,160 Speaker 1: was not that uncommon for parents to surrender their children 413 00:24:56,200 --> 00:24:58,840 Speaker 1: to orphanages at this point, and a little more than 414 00:24:58,880 --> 00:25:02,520 Speaker 1: two years later, Jesseppa was adopted by a noble family 415 00:25:02,560 --> 00:25:05,880 Speaker 1: who had no air of their own. Randi had been 416 00:25:05,960 --> 00:25:09,480 Speaker 1: quite well known before her husband's death, but afterward, her 417 00:25:09,480 --> 00:25:13,040 Speaker 1: status as a widow made her even more of a curiosity. 418 00:25:13,200 --> 00:25:16,399 Speaker 1: She continued doing dissections and making models at home, with 419 00:25:16,440 --> 00:25:19,720 Speaker 1: a particular focus on the hands, the sensory organs, and 420 00:25:19,720 --> 00:25:23,280 Speaker 1: the male reproductive system. She wrote a two hundred fifty 421 00:25:23,280 --> 00:25:26,639 Speaker 1: page anatomical notebook, which was a handbook of anatomy that 422 00:25:26,720 --> 00:25:30,280 Speaker 1: corresponded with her models, along with nine volumes of notes 423 00:25:30,640 --> 00:25:34,120 Speaker 1: on her dissections and her models. One thing she doesn't 424 00:25:34,119 --> 00:25:36,920 Speaker 1: seem to have kept is extensive notes on the anatomy 425 00:25:36,960 --> 00:25:40,959 Speaker 1: of the female reproductive system, possibly because she thought anything 426 00:25:41,040 --> 00:25:44,119 Speaker 1: she might contribute to that knowledge would be dismissed as 427 00:25:44,160 --> 00:25:47,760 Speaker 1: intuition or something else non scientific because of her sex. 428 00:25:48,480 --> 00:25:51,080 Speaker 1: It's kind of speculative, But a number of people have 429 00:25:51,160 --> 00:25:54,919 Speaker 1: been like, yeah, she just didn't really comment on like 430 00:25:54,960 --> 00:25:57,640 Speaker 1: the uterus or the ovaries, on anything like that at all. 431 00:25:57,720 --> 00:26:01,800 Speaker 1: In any detail, while meanwhile she made extensive work of 432 00:26:01,840 --> 00:26:06,480 Speaker 1: the male anatomy are the male reproductive anatomy specifically. She 433 00:26:06,600 --> 00:26:09,760 Speaker 1: also distanced herself from the idea that she was an artist. 434 00:26:10,200 --> 00:26:12,439 Speaker 1: The Academy of Art that she had been inducted into 435 00:26:12,600 --> 00:26:14,920 Speaker 1: was part of the Institute of Sciences, like we set 436 00:26:15,000 --> 00:26:17,199 Speaker 1: up at the top of the show, and that was 437 00:26:17,240 --> 00:26:20,320 Speaker 1: the affiliation that she claimed for herself, which kind of 438 00:26:20,359 --> 00:26:24,320 Speaker 1: amuses me because that was technically true, but it did 439 00:26:24,320 --> 00:26:27,040 Speaker 1: put the focus on science instead of art. For the 440 00:26:27,080 --> 00:26:30,920 Speaker 1: next nine years after her husband's death, Marandi did extensive work. 441 00:26:31,400 --> 00:26:34,719 Speaker 1: She secured commissions for model series from the University of Turin, 442 00:26:35,040 --> 00:26:38,320 Speaker 1: the Royal Society of London, and nobles and monarchs, including 443 00:26:38,359 --> 00:26:42,399 Speaker 1: Catherine the Great. Visitors to her studio included George Gordon 444 00:26:42,520 --> 00:26:47,040 Speaker 1: Lord Byron, French astronomer Joseph Jerome de Lalande, and professor 445 00:26:47,080 --> 00:26:50,439 Speaker 1: of medicine John Morgan, who helped establish medical education in 446 00:26:50,480 --> 00:26:54,199 Speaker 1: the United States. Byron naturally found her focus on the 447 00:26:54,240 --> 00:26:58,359 Speaker 1: male reproductive anatomy quite titillating, as did some other commentators. 448 00:26:59,040 --> 00:27:02,840 Speaker 1: This period of tense work was interrupted in seventeen sixty four, 449 00:27:02,960 --> 00:27:06,000 Speaker 1: when Marandi became seriously ill and had to spend several 450 00:27:06,000 --> 00:27:10,480 Speaker 1: months recovering. During those nine years between her husband's death 451 00:27:10,480 --> 00:27:13,120 Speaker 1: and her illness, she had created some of the most 452 00:27:13,160 --> 00:27:15,960 Speaker 1: detailed and accurate models of some of the body's most 453 00:27:16,040 --> 00:27:20,560 Speaker 1: delicate and tiny structures. She had also discovered the course 454 00:27:20,640 --> 00:27:24,240 Speaker 1: and attachment of the oblique eye muscle. She also had 455 00:27:24,320 --> 00:27:27,520 Speaker 1: continued to improve on the wax formulation and methods that 456 00:27:27,600 --> 00:27:30,840 Speaker 1: she and her husband had used. She had sculpted large 457 00:27:30,840 --> 00:27:33,320 Speaker 1: scale versions of the eye and ear so she could 458 00:27:33,320 --> 00:27:37,280 Speaker 1: show their microscopic structures. She had corrected the work of 459 00:27:37,280 --> 00:27:42,480 Speaker 1: early anatomists, and her contemporaries consulted her on subtle anatomical questions. 460 00:27:43,160 --> 00:27:47,480 Speaker 1: Germano as Aguidi, one of Bologna's leading anatomy professors, described 461 00:27:47,520 --> 00:27:51,720 Speaker 1: her as having astonishing skill both in dissecting and in 462 00:27:51,800 --> 00:27:54,919 Speaker 1: creating the wax anatomical figures, and said that she had 463 00:27:54,960 --> 00:27:58,040 Speaker 1: become so renowned that quote her name has reached as 464 00:27:58,119 --> 00:28:02,200 Speaker 1: far as Moscow. A to this illness, though Mirandi had 465 00:28:02,200 --> 00:28:04,679 Speaker 1: a lot of trouble getting back on her feet. On 466 00:28:04,720 --> 00:28:08,240 Speaker 1: September three, seventeen sixty five, she asked for an increase 467 00:28:08,280 --> 00:28:11,160 Speaker 1: in her honor are Um of an additional two lira 468 00:28:11,240 --> 00:28:13,920 Speaker 1: a year. Her pace still would have been less than 469 00:28:14,040 --> 00:28:17,359 Speaker 1: Laura Bassie's, and it would have been a third of als, 470 00:28:17,480 --> 00:28:21,200 Speaker 1: but that was denied. On May six of the following year, 471 00:28:21,400 --> 00:28:24,960 Speaker 1: Mirandi sold her collection of wax models to Senator Count 472 00:28:25,000 --> 00:28:29,159 Speaker 1: Girolamo Ranuzi, who eventually published the entirety of her work. 473 00:28:29,880 --> 00:28:32,119 Speaker 1: She later moved into his palace to act as a 474 00:28:32,160 --> 00:28:35,919 Speaker 1: curator and caretaker for that collection. She sold him her 475 00:28:35,960 --> 00:28:39,360 Speaker 1: anatomical library and all of her instruments on April six, 476 00:28:39,440 --> 00:28:43,040 Speaker 1: seventeen seventy one. She was permitted to keep using all 477 00:28:43,080 --> 00:28:46,000 Speaker 1: of these tools and materials, but any models that she 478 00:28:46,120 --> 00:28:49,080 Speaker 1: made from this point were probably made from plaster casts 479 00:28:49,080 --> 00:28:53,120 Speaker 1: of her existing work rather than fresh dissections. She also 480 00:28:53,160 --> 00:28:57,160 Speaker 1: continued to receive high profile visitors, including Emperor Joseph the 481 00:28:57,200 --> 00:29:01,479 Speaker 1: Second of Austria in seventeen sixty nine. I think her 482 00:29:01,520 --> 00:29:04,320 Speaker 1: patron was okay with her making wax models in his home, 483 00:29:05,680 --> 00:29:10,080 Speaker 1: but not with dissecting cadavers in his home, even though 484 00:29:10,120 --> 00:29:12,000 Speaker 1: she had done that in her own home with so 485 00:29:12,040 --> 00:29:17,000 Speaker 1: many cadavers over so many years. Anna Mirandi Manzolini died 486 00:29:17,040 --> 00:29:20,440 Speaker 1: on July nine, seventeen seventy four, at the age of sixty. 487 00:29:20,920 --> 00:29:24,800 Speaker 1: Her will mentions both of her sons. She references the 488 00:29:24,800 --> 00:29:27,880 Speaker 1: fact that her older son had been adopted by this 489 00:29:27,960 --> 00:29:30,000 Speaker 1: noble family and was going to be coming into an 490 00:29:30,040 --> 00:29:34,200 Speaker 1: inheritance from them, so that then, apart from leaving fifty 491 00:29:34,280 --> 00:29:36,480 Speaker 1: lira to a servant, she left most of the rest 492 00:29:36,480 --> 00:29:40,240 Speaker 1: of her estate to her younger son, who was not 493 00:29:40,360 --> 00:29:44,240 Speaker 1: coming into some other fortune. Most of this inheritance, though, 494 00:29:44,360 --> 00:29:47,120 Speaker 1: was continuing residuals from the sale of her models and 495 00:29:47,160 --> 00:29:50,320 Speaker 1: her library. She was buried at her local church, but 496 00:29:50,440 --> 00:29:53,960 Speaker 1: exhumed and moved to Certosa Cemetery outside the city walls 497 00:29:53,960 --> 00:29:57,680 Speaker 1: in the nineteenth century. Two years after her death, the 498 00:29:57,760 --> 00:30:01,360 Speaker 1: Bonese Senate purchased Marandi's wax works and installed them in 499 00:30:01,400 --> 00:30:04,800 Speaker 1: the Anatomical Museum at the Boulonnese Institute of Sciences in 500 00:30:04,880 --> 00:30:09,320 Speaker 1: Palazzo Pogi. The Manzolini Room was inaugurated at the institute 501 00:30:09,320 --> 00:30:14,080 Speaker 1: in seventeen seventies. Seven er Les ecourches were moved to 502 00:30:14,200 --> 00:30:17,840 Speaker 1: make room. Ercole Lay had blocked the installation of work 503 00:30:17,880 --> 00:30:20,360 Speaker 1: by anatomists and sculptors he saw as a threat to 504 00:30:20,440 --> 00:30:23,640 Speaker 1: his own reputation and legacy, but his death in seventeen 505 00:30:23,680 --> 00:30:28,440 Speaker 1: sixty six had removed that obstacle. Just after Mirandi's death, 506 00:30:28,520 --> 00:30:31,600 Speaker 1: the center of anatomy and wax modeling and what's now 507 00:30:31,680 --> 00:30:35,640 Speaker 1: Italy moved from Bologna to Florence. The Royal Museum of 508 00:30:35,720 --> 00:30:39,040 Speaker 1: Natural History open there in seventeen seventy five, with many 509 00:30:39,080 --> 00:30:43,800 Speaker 1: of its models made by Felicea Fontana. Clemento Sussini, who 510 00:30:43,800 --> 00:30:48,400 Speaker 1: made the first anatomical venus, was also from Florence. Mirandi's 511 00:30:48,400 --> 00:30:51,960 Speaker 1: earliest biographers often describe her work primarily in relation to 512 00:30:52,080 --> 00:30:55,320 Speaker 1: her husband, as something that she took up and continued 513 00:30:55,480 --> 00:30:58,600 Speaker 1: in devotion to him. They also tended to frame her 514 00:30:58,760 --> 00:31:02,440 Speaker 1: as an improvisatrice, which was a popular idea at the 515 00:31:02,480 --> 00:31:06,120 Speaker 1: time that brilliant women from modest families just sort of 516 00:31:06,160 --> 00:31:10,400 Speaker 1: appeared and then spontaneously and naturally evidenced some kind of 517 00:31:10,480 --> 00:31:13,880 Speaker 1: major gift in the sciences. It wasn't until more recent 518 00:31:13,920 --> 00:31:17,320 Speaker 1: decades that people examined her work on its own without 519 00:31:17,400 --> 00:31:19,840 Speaker 1: the idea that it was an extension of her husband 520 00:31:20,280 --> 00:31:24,400 Speaker 1: or some kind of specifically feminine random genius. In the 521 00:31:24,440 --> 00:31:28,160 Speaker 1: centuries after her death, Mirrandi's wax models changed hands a 522 00:31:28,160 --> 00:31:32,040 Speaker 1: few times and eventually fell into disrepair. Much of what 523 00:31:32,120 --> 00:31:35,880 Speaker 1: was commissioned for private collectors has since been lost. Her 524 00:31:35,960 --> 00:31:39,480 Speaker 1: extensive study of the male reproductive anatomy was lost as well. 525 00:31:39,560 --> 00:31:43,200 Speaker 1: Her notes still remain, but not the actual models, but 526 00:31:43,400 --> 00:31:47,480 Speaker 1: many of the surviving pieces were extensively restored in advance 527 00:31:47,600 --> 00:31:51,600 Speaker 1: of the muse A de Palazzo Pogis reopening in two thousand. 528 00:31:52,080 --> 00:31:55,880 Speaker 1: This included Mirandy's life size self portrait in wax, along 529 00:31:55,880 --> 00:31:58,840 Speaker 1: with a portrait of her husband. In her self portrait, 530 00:31:58,960 --> 00:32:00,960 Speaker 1: she has dressed in the attire fire of a Bullonese 531 00:32:01,000 --> 00:32:04,240 Speaker 1: upper class woman, including strings of pearls at her neck 532 00:32:04,320 --> 00:32:07,160 Speaker 1: and wrists, and she's shown in the act of dissecting 533 00:32:07,200 --> 00:32:10,840 Speaker 1: a human brain. Her husband is depicted in the process 534 00:32:10,920 --> 00:32:14,080 Speaker 1: of dissecting a heart. Art critics have noted that this 535 00:32:14,160 --> 00:32:18,120 Speaker 1: was a subversion of seventeenth century beliefs about sex and gender, 536 00:32:18,680 --> 00:32:22,720 Speaker 1: something that was really being debated during the Enlightenment. One 537 00:32:22,840 --> 00:32:26,160 Speaker 1: widespread belief, though, was that women were ruled by their 538 00:32:26,160 --> 00:32:30,240 Speaker 1: hearts and their feelings, while men were ruled by their minds, 539 00:32:30,240 --> 00:32:34,320 Speaker 1: something that persists today. But these two wax works pair 540 00:32:34,440 --> 00:32:39,520 Speaker 1: Mirandi with a brain and her husband with a heart. Eventually, refrigeration, 541 00:32:39,720 --> 00:32:43,840 Speaker 1: air conditioning, and adequate supply of cadavers, and the development 542 00:32:43,880 --> 00:32:47,880 Speaker 1: of plastics supplanted the wax and anatomical model. Most of 543 00:32:47,880 --> 00:32:50,800 Speaker 1: them that still exist today are museum pieces rather than 544 00:32:50,800 --> 00:32:55,640 Speaker 1: being used as active instructional tools. However, wax is still 545 00:32:55,680 --> 00:32:58,640 Speaker 1: a modeling medium for artists and things like the Madam 546 00:32:58,720 --> 00:33:03,320 Speaker 1: Tussaud wax us. I mean, wax is cool. It is. 547 00:33:03,400 --> 00:33:05,280 Speaker 1: I've been to the one in New York and I 548 00:33:05,320 --> 00:33:08,720 Speaker 1: actually had a lot more fun there than I thought 549 00:33:08,720 --> 00:33:10,840 Speaker 1: that I might. I don't know what, I just it's like, 550 00:33:10,880 --> 00:33:13,080 Speaker 1: it's a wax museum whatever. But and then there was 551 00:33:13,160 --> 00:33:16,520 Speaker 1: a there was a Ghostbusters installation. I don't know if 552 00:33:16,520 --> 00:33:18,800 Speaker 1: it's still there, but I was very excited about that. 553 00:33:19,960 --> 00:33:21,840 Speaker 1: Uh that was like a day that you and I 554 00:33:21,880 --> 00:33:23,200 Speaker 1: were in New York for something and I had a 555 00:33:23,240 --> 00:33:28,680 Speaker 1: couple of free hours. Anyway, if you want to learn 556 00:33:28,760 --> 00:33:31,120 Speaker 1: more than what we have just talked about, um read 557 00:33:31,280 --> 00:33:33,960 Speaker 1: The Lady Anatomist, The Life and Work of Anna Mirandi 558 00:33:34,000 --> 00:33:37,160 Speaker 1: Manslini by Rebecca mess Barger. That was one of the 559 00:33:37,200 --> 00:33:40,480 Speaker 1: sources for this episode. It goes into more detail about 560 00:33:40,480 --> 00:33:42,480 Speaker 1: all kinds of stuff about her life, and it's just 561 00:33:42,560 --> 00:33:46,360 Speaker 1: in general, a really interesting book with lots of great footnotes. 562 00:33:46,600 --> 00:33:50,080 Speaker 1: If you want other citations in detail, do you have 563 00:33:50,080 --> 00:33:53,200 Speaker 1: a little bit of listener mail? I knew, uh this 564 00:33:53,280 --> 00:33:56,880 Speaker 1: is from Teagan. This actually came almost a month ago 565 00:33:56,920 --> 00:33:59,480 Speaker 1: at this point, but I needed to ask to a 566 00:33:59,560 --> 00:34:02,920 Speaker 1: question about it before I read it, and Teagan said 567 00:34:02,920 --> 00:34:06,520 Speaker 1: it's fine, please read it. So uh. Teagan says, Dear Tracy, 568 00:34:06,560 --> 00:34:10,000 Speaker 1: and Holly Tan has an episode suggestion that I'm going 569 00:34:10,040 --> 00:34:13,839 Speaker 1: to skim past. I also couldn't resist writing to you 570 00:34:13,880 --> 00:34:16,720 Speaker 1: after hearing your behind the scenes many on Lord Elgin 571 00:34:16,760 --> 00:34:19,400 Speaker 1: and the Parth and on Marble's. I am a museum 572 00:34:19,480 --> 00:34:22,439 Speaker 1: curator slash educator, and I'm very much in the give 573 00:34:22,480 --> 00:34:25,160 Speaker 1: them Back camp and was interested to hear their history. 574 00:34:25,560 --> 00:34:27,600 Speaker 1: I visited the British Museum a few years ago with 575 00:34:27,640 --> 00:34:29,920 Speaker 1: my husband on our honeymoon, but we didn't stay in 576 00:34:29,920 --> 00:34:32,239 Speaker 1: that room very long because I had promised myself I 577 00:34:32,239 --> 00:34:34,480 Speaker 1: would turn my work brain off for the day so 578 00:34:34,520 --> 00:34:37,080 Speaker 1: that I could enjoy the museum. Of course, I was 579 00:34:37,120 --> 00:34:40,080 Speaker 1: still wearing my Museums are not neutral t shirt like 580 00:34:40,160 --> 00:34:43,080 Speaker 1: you do. I was amused to see that the British 581 00:34:43,120 --> 00:34:46,200 Speaker 1: Museum has pamphlets in that room explaining their position on 582 00:34:46,320 --> 00:34:48,799 Speaker 1: not returning the marbles, which were as one sided as 583 00:34:48,800 --> 00:34:51,680 Speaker 1: you might imagine. It was uncomfortable to me to see 584 00:34:51,680 --> 00:34:55,359 Speaker 1: these pamphlets when they didn't have any such disclaimers with 585 00:34:55,400 --> 00:34:59,440 Speaker 1: the many many other artifacts of questionable providence or ownership. 586 00:34:59,520 --> 00:35:02,920 Speaker 1: But that's the power of a high profile controversy. I 587 00:35:02,960 --> 00:35:06,880 Speaker 1: strongly agree with you about the paternalism aspect of museum collecting. 588 00:35:07,080 --> 00:35:09,960 Speaker 1: I can say that the field is absolutely having conversations 589 00:35:09,960 --> 00:35:13,640 Speaker 1: that include but if this high profile repatriation happens, then 590 00:35:13,640 --> 00:35:16,200 Speaker 1: people will look more closely at the providence of other 591 00:35:16,280 --> 00:35:19,200 Speaker 1: things we have. As you can imagine, there are lots 592 00:35:19,200 --> 00:35:22,040 Speaker 1: of people within the field who say, yes, that's the point. 593 00:35:22,320 --> 00:35:25,520 Speaker 1: No one's goal is to empty museum collections entirely, but 594 00:35:25,560 --> 00:35:28,880 Speaker 1: to be more ethical in our practice. Present day professional 595 00:35:28,920 --> 00:35:32,279 Speaker 1: standards require museums to do due diligence to ensure that 596 00:35:32,360 --> 00:35:35,320 Speaker 1: the people who give or sell them artifacts have good 597 00:35:35,320 --> 00:35:38,919 Speaker 1: and clear title. But professional standards don't mean everyone lives 598 00:35:38,960 --> 00:35:40,759 Speaker 1: up to them all the time, and of course there 599 00:35:40,800 --> 00:35:43,200 Speaker 1: are plenty of museums that have not done the work 600 00:35:43,239 --> 00:35:47,040 Speaker 1: to confront the histories of their collections. Last, but not least, 601 00:35:47,320 --> 00:35:50,000 Speaker 1: if you're ever interested in a guided visit to the 602 00:35:50,040 --> 00:35:54,239 Speaker 1: either gnome at Massachusetts General Hospital, where surgical anesthesia was 603 00:35:54,320 --> 00:35:57,680 Speaker 1: first successfully publicly demonstrated in eighteen forty six, I'd be 604 00:35:57,719 --> 00:36:01,719 Speaker 1: happy to show you around. UM. I'm very intrigued by 605 00:36:01,719 --> 00:36:04,400 Speaker 1: that idea, so maybe I will make a trip into 606 00:36:04,440 --> 00:36:08,680 Speaker 1: Boston sometime soon. All the best, Teagan and then um 607 00:36:08,760 --> 00:36:14,400 Speaker 1: taken clarifies that it is uh long time, first time emailing, 608 00:36:15,080 --> 00:36:17,160 Speaker 1: but Tigan did meet both of us after a live 609 00:36:17,200 --> 00:36:23,360 Speaker 1: show in Summerville, UM, after volunteering with headcount. Thank you 610 00:36:23,440 --> 00:36:26,279 Speaker 1: so much, Tigan for writing to us today. Thank you 611 00:36:26,360 --> 00:36:30,439 Speaker 1: also when I emailed to say, hey, I really love 612 00:36:30,520 --> 00:36:33,399 Speaker 1: this email, but also it seems like an email where 613 00:36:33,400 --> 00:36:36,399 Speaker 1: people could uh you know, pieceta tails together. We try 614 00:36:36,440 --> 00:36:40,359 Speaker 1: to protect people's privacy. UM, she said, please read it. Well, 615 00:36:40,360 --> 00:36:42,719 Speaker 1: not please read it, she said, we had her permission 616 00:36:43,080 --> 00:36:47,520 Speaker 1: to read it. So thank you Tiggan for that email, UM, 617 00:36:47,760 --> 00:36:50,839 Speaker 1: and for having that great insider perspective on what's going 618 00:36:50,840 --> 00:36:52,800 Speaker 1: on at museums right now. 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