Nervous canvas

This chapter looks at skin, sensibility and touch in painterly practice and the art literature on the one hand, and in medical as well as philosophical discourse on the other. It argues that the new medical understanding of organic substances as textured joined a special attention to brushwork in mid-eighteenth-century French art practice and theory. This conjuncture prompted attempts to imitate the skin's tissue with an appropriate facture produced by the artist’s hand. The chapter takes the medical metaphorisation of skin as a ‘nervous canvas‘ in the 1765 article ‘sensibilité‘ of Diderot's and d'Alembert's Encyclopédie as its guide to discuss relations between artistic and medical visions of skin in mid-eighteenth-century France. It focuses on the so-called portraits de fantaise by Jean-Honoré Fragonard and argues that the carnations in these paintings are as much about flesh as they are about the materiality and vitality of skin. Pivotal for the analysis of the interconnections between the fields of medicine and the arts, are the writings by philosopher and art critic Denis Diderot as he thought about skin, flesh and the sense of touch his reviews of the Salon exhibitions, in his writings on physiology, as well as in his fictionalised account of the latest medical theories in his Rêve de d'Alembert.

Popular Science, Textbooks, and Scientists: The Periodic Law in Italy

This essay deals with an issue that has never before been the focus of attention in the field of research on the history of chemistry in Italy: the diffusion of Mendeleev’s periodic system in our nation. In the following text we will analyze the situation in the period preceding the arrival of Mendeleev’s theory in Italy with regard to the matter of classifying elements. By doing so, it will be possible to demonstrate that—despite the superficiality and lack of accuracy of certain studies—Italian chemistry was already very willing to consider new proposals relating to the classification of elements. We will then attempt to illustrate how Mendeleev’s work not only attracted the attention of the most renowned Italian chemists, such as Augusto Piccini and Giacomo Ciamician, but also became widely used in university texts and secondary school textbooks. In order to understand the classification criteria for elements adopted by Italian chemists before Mendeleev and therefore the cultural terrain the law of periodicity was to take root in, it would be better to refer to a number of texts used widely for teaching in universities. We will examine four of these, published between 1819 and 1867. In all these texts, the term “simple bodies” appears, with the expression “simple substances” used less frequently, while Antoine-Laurent Lavoisier (1743–94), in his 1789 Traité élémentaire de chimie (Traité thereafter), uses the same term “simple substances” or “simple substances … which may be considered as the elements of bodies.” It is interesting to note that Vincenzo Dandolo’s Italian translation (first edition 1792) uses the expression “sostanze semplici,” interpreting quite literally the Frenchman’s choice of term. Thirty years after publication of the Traité, Antonio Santagata (1774–1858), professor of general chemistry at the Pontificia Università di Bologna, published his Lezioni di chimica elementare [Lessons in elementary chemistry], derived from Lezioni di chimica elementare: applicata alla medicina e alle arti [Lessons in Elementary Chemistry: Applied to Medicine and the Arts] (Bologna, 1804), written by his predecessor in the university chair, Pellegrino Salvigni (1777–1841).

Tuberculosis and Music: A Case Report and Review of Clinical, Epidemiologic, and Cultural Factors

Tuberculosis occupies a special place among respiratory diseases due to a number of widely discrepant factors: its continued clinical and scientific importance, the major socioeconomic issues associated with the disease, and the frequency with which it figures in artistic life. This case report of tuberculosis in a musician provides an introduction to a review of the clinical, epidemiologic, and cultural links between tuberculosis and music. The following points are considered: medical management of tuberculosis, transmission of tuberculosis in congregate musical settings, tuberculosis and socioeconomic status of musicians, and artistic relationships between tuberculosis and music. The close relationship between medicine and the arts and the global implications in control of tuberculosis were the basis for undertaking this review.